© 1996-2009 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They can easily be converted to standard musical
notation via highlighting with your cursor starting at “X:1” through to the
end of the abc’s, then “cutting-and-pasting” the highlighted notation into
one of the many abc conversion programs available, or at concertina.net’s
incredibly handy “ABC Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces between
all the lines of abc notation after pasting, so that they are single-spaced,
with no intervening blank lines. This being done, the F/C abc’s will convert
to standard notation nicely. Or, get a copy of abcNavigator 2 – its well
worth it. [AK] |
WE ALL TAKE A SUP IN OUR TURN. Irish, Air (6/8 time, "not a jig"). D Major. Standard tuning.
One part. “Song Air, not a Jig” clarifies Irish collector P.W. Joyce. Joyce
elsewhere says ‘sup’ indicates “one mouthful of liquid: a small quantity drunk
at one time. This is English:- 'I took a small sup of rum.' ('Robinson
Crusoe.') 'We all take a sup in our turn.' (Irish
Folk Song.)” Joyce had his melody from the Pigot Collection. The Joyce and
O’Farrell versions are identical. Joyce (Old Irish Folk Music and Songs),
1909; No. 728, pg. 362. O’Farrell (Pocket
Companion, vol. III), c, 1808; pg. 11. O'Neill (O’Neill’s Irish Music),
1915/1987; No. 94, pg. 53.
X:1
T:We’ll
All Take a Sup in Our Turn
M:6/8
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
a2f
d2A | Add cee | fdd gee | (fg)a (gf)e | d3 z2A | Add cee | fdd gee | (fg)a
(gf)e | d6 ||
WE
ARE ALL FORESAKEN FOR WANT OF SILLER. English, Slip Jig.
WE ARE THE BOYS OF WEXFORD.
Irish, Air (4/4 time). F Major. Standard tuning. AB. Howe (1000
Jigs and Reels), c. 1867; pg. 20.
X:1
T:We are
the Boys of Wexford
M:C
L:1/8
S:Howe’s 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:F
WE ARE BOLD VOLUNTEERS. Irish, Air (6/8 time). B Flat Major. Standard tuning. One part. Source
for notated version: "From an anonymous correspondent in
X:1
T:We are bold volunteers
L:1/8
M:6/8
S:Joyce – Old Irish Folk Music
Z:AK/Fiddler’s Companion
K:Bb
F|F3 GFD|F2G B2d|e2d dcB|GB2 F2d|f3
f2g|f2d B3|e2d dcB|(c3 c2)d|
f3 f2g|f2d B3|e2d dcB|GB2 F2
B,/D/|F3 GFD|F2G B2 d/f/|e2d cBA|(B3 B2)||
WE ARE GAYLY YET.
English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB.
The melody is unique to Charles and Samuel Thompson’s third country dance
collection (London, 1773). Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 3), 1773; No. 56.
X:1
T:We are gayly yet
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
d2f2|ec
A2|BcdB|”tr”A4|GEeE|FDfD|[B,B]dcB|{B}”tr”A4:|
|:Ac ed|cecA|”tr”B3 c|”tr”d4|GB GE|FA d2|BGF”tr”E|D4:||
WE BE SOLDIERS THREE. English, Ballad Air (3/4 time). G Dorian. Standard tuning. One part.
The air appears in Deuteromelia
(1609) and Pills to Purge Melancholy
(1698). Chappell (Popular Music of the
Olden Time), vol. 1, 1859; pg. 133.
WE BE
THREE POOR MARINERS. AKA and see “Brangill of Poictu.” English,
Ballad Air (cut time). C Major. Standard tuning. AB. The air appears in Deuteromelia (1609) and the Skene Manuscript (c. 1690) {appears as
"Brangill [Branle] of Poictu"}. A Branle, or, in English,
Braule/Brawl, was a term for a class of dances in the sixteenth and seventeenth
centuries, including, according to Chappell (1859), "all those...in which,
as in the Cotillion, the dancers follow a leader." A line from the song
goes:
***
Shall we go dance the round, the round,
***
Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 134‑135.
WE BROUGHT THE SUMMER
WITH US (Thugamar fein an
Samhradh linn).
AKA and see “Samhradh, Samhradh.”
Irish, Slow Air (6/8 or 3/4 time). E Major/Mixolydian (Stanford/Petrie): D
Mixolydian (Ó Canainn). Standard tuning. One part (Ó Canainn): AB
(Stanford/Petrie). The melody, which is still very much a part of the living
tradition, appears earliest in Neales’ Collection
of the Most Celebrated Irish Tunes (
***
Of all the fish that’s in the sea,
The Herring is king, the herring is king.
Sing thugamur fein an samhra linn
Tis we have brought the summer in.
***
Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 97, pg. 83 (appears as
“Thugamar Féin an Samhradh Linn”). Stanford/Petrie (Complete Collection), 1905; No. 502, pg. 127. Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 2 (appears as “Thugamar Féin an Samhradh Linn”).
X:1
T:We brought the summer with us
M:6/8
L:1/8
S:Stanford/Petrie (1905), No. 502
Z:AK/Fiddler’s Companion
K:E
B2d e2f | g2f e2d | BdB (AF)D | d2d
B2A | B2d e2f | {e/f/}g2f e2d |
BdB AFD | E2E E3 || =d2B AFD |
“tr”d2e f3 | e2=d BAB | =d2d B2A |
B<Bd e2f | {e/f/}g2f e2ed |
(B<d)B AFD | D2D D3 ||
WE HAVE NOTHING ELSE TO DO.
English, Slip Jig. A Major. Standard tuning. AABB. The melody also
appears in John Johnson’s 200 Favourite Country Dances, vol. 8 (London,
1758). Thompson (Compleat Collection of 200 Favourite Country Dances,
vol. 1), 1757; No. 127.
X:1
T:We have nothing else to do
M:9/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
E|:ABA cec BGE|ABA cec dBG|ABA cde fga|fdB ecA BGE:|
|:(a/g/f/g/)a
ecA ecA|(a/g/f/g/)a fdB fdB|(a/g/f/g/)a ecA ecA|fdB ecA BGE:||
WE MAY ROAM THRO' THIS
WORLD. AKA and see "Garryowen."
WE MET. American, Waltz. C Major. Standard
tuning. ABCD. From the music manuscripts of Setauket,
X:1
T:We Met
M:3/4
L:1/8
R:Waltz
S:William Sidney Mount manuscripts; page dated 1840.
Z:AK/Fiddler’s Companion
K:C
G | e3 Gce | e2 z2 Gc | e2f2e2 | e2d zG | d3 GBd | f2 z2 df | a2g2f2 | (f2e2) z ||
G | e3 Gce | e2 z2 Gc | e2f2e2 | e2d2 zG | d3 GBd | f2 z2 ed | G2A2B2 | (d2c2) z ||
c | e3 fga | (g2f)z ed | e3 dcB | c2A2 ze | e3 fga | (g2e)z fe | e3 dcB | c2A2 z ||
G
| e3 Gce | e2 z2 Gc | e2f2e2 | e2d2 zG | d3 Gdf | (ag) (fe) (dc) | G2A2 zB |
(d2c)z z ||
WE MET AT THE FAIR (Do Teagmar Ag an Aonac). Irish, Air (6/8 time,
"gaily"). A Major/Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 342, pg. 59.
X:1
T:We Met at the Fair
M:6/8
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:A
c/d/|e>AB GFE|c>Bc dcd|ede
cAF|(=G3 G2) c/d/|e>AB GFE|c>Bc eag|
fde cAB|A3 A2||A/B/|ccd eef|{a}=gec
d2 c/d/|eAB {d}cAF|
(=G3 G2) c/d/|eAB GFE|c>Bc
eag|fde cAB|A3 A2||
WE
MUST ALL WAIT TILL MY LADY COMES HOME. English, Country Dance Tune (6/8
time). G Major. Standard tuning. AABB.
X:1
T:We must all wait till my lady comes
home
M:6/8
L:1/8
R:Jig
S:Frank Kidson – Old English Country
Dances (1890)
Z:AK/Fiddler’s Companion
K:G
D|G>AG G2A|BcB B2G|Bdg dBG|FAA
A2D|G>AG G2A|
BcB B2g|dcB ABc|BGG G2:: f|g2d
e2d|g2d e2d|c2B A2G|
FAA A2f|b2d e2d|g2d e2d|dcB ABc|BGG
G2:|
WE PREFER OUR OWN KING. AKA and see "Se'n Righ atha aguin is
fear linn," "Over
the River to Charlie [2]," "Wha'll (Who’ll) Be King
But Charlie," "Behind the Bush in the
Garden [1]." Scottish. A Jacobite era tune known in both
WE SAW YOU
COMING. Irish, Hornpipe. C Major. Standard tuning. AABB. McGuire
& Keegan (Irish Tunes by the 100),
1975; No. 73, pg. 20
WE SHOULD ALL BE UNHAPPY TOGETHER.
AKA and see “Sound Argument.”
WE STOOD THERE AND
GAZED. Irish, Jig. Composed by Irish
fiddler Gerry Harrington, of the band Smoky Chimney, inspired by the Halle-Bopp
comet.
X:1
T:We stood there and gazed
C:Gerry Harrington
R:jig
M:6/8
L:1/8
K:D
F2 D DED|f2 d edB|A2 F FED|A,CE GFE|
F2 D DED|f2 d edB|A2 F FED|1A,CE D2
E:|2 A,CE D2 e||
f2 d def|ecA AGF|GFG EFG|FDB, D2 e|
f2 d def|e2 A AGF|GFG EFG|1ABc
dag:|2 ABc d3||
WE WILL ALL LIE
TOGETHER. English, Slip Jig.
WE WILL DOWN WITH THE
FRENCH. See “Down with the French.”
WE WILL GO TO
WE WON'T GO HOME TILL
MORNING. AKA and see "Malbrook," "Marlbrouk," "Marlbrough,"
"For He's a Jolly Good Fellow." English, French, Irish; Air, Country
and Morris Dance Tune (6/8 time) and Jig. G Major. Standard tuning. AB (Bacon,
Raven, Sharp): ABA'B'A' (Karpeles): AA'BB (Merryweather). The tune probably
originated in 18th century
X:1
T:We Won’t Go Home Till Morning
M:6/8
L:1/8
S:Sharp – Country Dance Tunes
Z:AK/Fiddler’s Companion
K:G
G/A/ | B2B BAB | c2c BcB | A2A AGA |
B2A GDG | B2B BAB | c2d efg |
d2c B2A | G3 G2 || G/B/ | d2B e2e |
(d3 d2) G/B/ | d2B e2e | (d3 d2) ||
WEALTHY FOOL (WITH GOLD IN STORE), THE.
English, Air. The title of a song in William Shield’s opera The Poor Soldier (1783, lyrics by J.
O’Keeffe). In
X:1
T:Wealthy Fool, The
M:C
L:1/8
R:Air
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:G
G|G3B d3e|dBgB A2zB|G3B d3e|g3a
bgdg|gffe e3d|
dBde g3e|d>B AG A3B|G3A BG zd|G3B
d3e|(dB)gB A3B|
G3B c3e|g3a b<a g
g/a/|b>ga>f g3e|dBde g2ze|(d<B) AG A3B|G3A BGz:|
WEAPON SHAW, THE. Scottish, Reel. D Minor. Standard tuning. AAB.
A ‘weapon-shaw’ is Scots for a ‘weapon show’, or a martial display of weaponry.
The Scots song “Up and Waur them A’ Willie” begins with this line:
***
When we went to
the field of war and tae the weapon shaw,
Wi' true design to tae serve our king
and chase our faes awa'
***
Carlin (The Gow Collection), 1986; No. 511. Gow (Complete Repository), Part 2, 1802; pg. 32.
X:1
T:Weapon Shaw, The
L:1/8
M:C
S:Gow – 2nd Repository
Z:AK/Fiddler’s Companion
K:Dmin
(DEF)D F3c|GFED CDEC|D>EFD F2
Fc|(d/c/=B/A/) cE D/D/D D2:|
d>edA d/d/d f2|g>fed
cdec|d>edA d/d/d f2|ed^ce d2D2|d>edA d/d/d f2|
g>fed cdec|decd AcFA|G<E
c>E D/D/D D2||
WEARIED LAD. AKA and see "Limerick
Tinker," "Bouchalaun Buie,"
"Yellow Ragweed." Irish,
Slide (12/8 time). G Major. Standard tuning. ABCD. There may be some relation
to the “Gold Ring [1]” family of
tunes. Source for notated version: “Set by Lord Rosmore from P. Coneely
1843" (Patrick Coneely was a famous
X:1
T:Wearied Lad, The
M:12/8
L:1/8
N:”Allegro”
S:Stanford/Petrie (1905), No. 541
Z:AK/Fiddler’s Companion
K:G
D | G2A BAG AGF GFD | G2A BdB cAG
F2D | G2A BAG AGF | GFD |
=fag fed cA^F G2 || A | ded dcA d2G
G2A | ded dcA cAG FGA |
ded dcA d2G G2 d/e/ | =fag fed cA^F
G2 || d | gab a2 g a2g g2d |
gab a2g a2g f2d | gab a2g a2g g2d/e/
| =fag fed cA^F G2 || G/A/ |
B/c/BG A/c/AG d2G G2A | B/c/BG
A/c/AG cAG FGA |
_BAG AGF GFD =FGA | =fag fed cA^F G2
||
WEARING OF THE GREEN, THE (Caitead An Glas). Irish; Air, March and Air (4/4
time). G Major. Standard tuning. AB (Sweet): AAB (O'Neill). Bayard (1981) notes
that (Anne Geddes) Gilchrist and Moffat have identified this air as a
descendent of an old Scots air called "The Tulip,"
a march composed by James Oswald and appearing in his c. 1747 Airs for the Spring. Ernest MacMillan
identifies it as "Balance
the/a Straw [1]," from a 1759 instrumental setting. The melody has
been the vehicle for numerous songs, sacred and profane, and has been
extensively studied. The title "Wearing of the Green" first appeared
on a political broadside of 1798, the year of the Rebellion, and a “Wearing of
the Green” song was published in The Citizen in 1841. However, the most
famous text of the song comes from a play called Arrah-na-Pogue, produced in
***
There is, in true national poetry an accent of sincerity which goes
straight
to the heart and cannot be imitated...nowhere does it ring with a more
pathetic thrill than in "Wearing of the Green". The writer was
a lad when
he first heard it sung in Boucicault's Arrah na Pogue (1865)...Because
it
was sung in Boucicault's drama, many people have imagined that the
clever
playwright wrote it. But nobody can claim its authorship. It is an
inspired
street ballad, born of the sorrow and bitterness of the people.
***
The great Irish tenor John McCormack
recorded the Dion Boucicault version in 1912 for Victor Records. It was issued
in the
X:1
T:Wearing of the Green, The
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
G>A|BBB>A
B<dd>B|BAA>G A2 Bd|ecg>f edB>G|AGG>G G2:|
||g>f|eedB ddGA|B{d}cB>A B2
g>f|eedB ddGB|AGFE D2 GA|
BBB>A B<dd>B|BAAG A2
Bd|ecg>f edB>G|AGG>G G2||
WEARMOUTH LADS. Scottish, Jig. D Major. Standard tuning. AABB. Composed by
X: 1
T:Wearmouth Lads
T:Col. Robertson of Strewan's
Welcome Home
M:6/8
L:1/8
C:Niel Gow
S:aka Col Robertson of Strewan's
Welcome Home
R:Jig
Z:C.G.P
K:D
D2dF2A|E2cC2E|D2dF2A|DFA
gfe|D2dF2A|E2cC2E|agf gfe|dAFD2z:|
|:g|fdg faf|ece gfe|fdg fag|fda bag|fdg
faf|ece gfe|agf gfe|dAFD2:|
WEARMOUTH LASSES. AKA and see "Yarmouth Lasses."
English, Country Dance Tune (6/8 time).
X:1
T:Wearmouth Lasses
M:6/8
L:1/8
K:G
d|gfg dBd|cAc B2G|DGB B2A|Ace
e2d|gfg dBd|
cBc B2G|DGB B2d|dcA G2::DGB B2A|Ace
e2d|
DGB B2A|Ace e2d|gfg dBd|cAc B2G|DGB
B2d|dcA G2:|
WEARY AND WET. Irish, Air.
WEARY MAID, THE (An Cailin Tuirseac). AKA and see “Buain Na Rainich.” Irish, Air (4/4
time) or March. A Minor. Standard tuning. AABB. Martin Burns finds “The Weary
Maid” in pipe repertoire, perhaps derived from a Gaelic air called “Tha mi
sgith.” Indeed, the tune appears in Morison’s Highland Airs and Quicksteps, vol. 1, in the march section under the
title “Tha mi sgith” (translated as “I
am weary”). The tune also appears in bluegrass repertoire as “Misty Morn” and
was adapted by the Iona Community as a hymn entitled “Dance and Sing.” Another
song (performed as both a fast tune and a lullaby) which employs the melody is
“Buain na Rainich” (Cutting/Reaping the Bracken), which tells the story of a
fairy who fell in love with a human woman. The two met regularly in the forest
while she was gathering bracken for the hearth. Hearing of the affair, her
father and brothers disapproved and locked the woman up to prevent her
trysting, but the fairy kept going to the wood, singing. See also Scots tunes
with similarities: “Cutting Ferns” and “Drummond Castle.” “Buain na Rainich”
can also be sung to “Ca' the Yowes to the
Knowes.” Words to the tune go:
***
chorus:
Tha mi sgith, 's mi leam fhin
Buain na rainich, buain na rainich;
Tha mi sgith, 's mi leam fhin
Buain na rainich daonnan.
***
Cul an tomain, braigh an tomain,
Cul an tomain bhoidhich;
Cul an tomain, braigh an tomain,
H-uile latha 'm onar.
***
'S tric a bha mi fhin 's mo leannan
Anns a' ghleannan cheothar,
'G eisdeachd coisir bhinn an doire
Seinn 'sa choille dhomhail.
***
Anns an t-sithean, O gur sgith mi,
'S tric mo chridh' 'ga leonadh;
Nuair bhios cach a' seinn nan luinneag,
Cha dean mis' ach cronan.
***
Ciod am feum dhomh bhi ri tuireadh,
De ni tuireadh dhomhsa,
'S mi cho fada o gach duine
B'urrain tighinn g'am chomhnadh
***
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 348, pg. 60.
X:1
T:Weary Maid, The
T:Tha Mi Sgith
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:Amin
e|AA a2 g<e g2|e>dBA GABG|AA
a2 ge g2|e>dBc A2A:|
|:B/d/|e>dBA GABG|BGBc d2
Bd|e>dBA GABd|g>edB A2A:|
WEARY PUND O'TOW, THE. Scottish, Slow Air (3/4 time). B Flat Major
(Gow): G Major (Howe). Standard tuning. AAB (Gow): ABA (Howe). The tune and
song are printed in Johnson’s Scots
Musical Museum (No. 350). The title has to do with the processing of flax,
and tow is made up of the short
fibers of flax. The process involves taking the retted stems of the plant and
running them through hackles (akin to sharp tined combs). This splits the
fibers of the stem of the flax plant and removes the short pieces from the
long—it is these short bits that are the tow. References to human hair have
derived from this process; tow-headed
boys are boys with short blonde hair, while flaxen-haired
girls are blondes with long hair (as in the long combed-out flax fibers). Spinning a pound of tow would be a lot of
work indeed. David Kilpatrick points out that the phrase ‘weary pund o’ tow’
has a double meaning: the literal sense of labor-intensive difficult work with
flax plants in the process of making linnen, and the metaphorical sense of
getting a very small quantity of reward from a large amount of effort.
***
Bruce Olson finds a related song,
“Wary Bachelors” (from Jean Thomas’s Devil’s
Ditties, 1931) relevant to an explanation of the Weary Pund title; it goes
in part:
***
I bought my wife ten pound of flax
As good as ever growed
And out of that she hackled me
One single pound of tow.
***
Beware of a pound of tow
Before it is begun
I am afraid my wife will end her life
Before the tow is spun.
***
Carlin (The Gow Collection), 1986; No. 563. Gow (Complete Repository), Part 3, 1806; pg. 11. Howe (1000 Jigs and Reels), c. 1867; pg. 120.
X:1
T:Weary Pund O’ Tow, The
M:3/4
L:1/8
R:Slow Air
S:Gow – 3rd Repository
(1806)
Z:AK/Fiddler’s Companion
K:Bb
F|B>B B2B|(3Bcd c3B|A>B
e3d|(dc) c3f|B>B B3B|(3Bcd {d}c3B|A>B c2d2|B4 z:|
e|d>e f2 z z/B/|e>f g2 z
z/B|A>B e3d|(dc) c3 (3f/g/a/|b>b {b}a3g|ff b3 B| A>B c2d2|
B4 ze|~d>e f2 c3 B/|~e>f g2 z
z/B/|A>B e3d|dc c3 (3f/g/a/|b>b {b}a3g|f{gffe}f b3B|
F>B d2 c>B|B4 z||
WEARY WE HAVE BEEN. See “Bi Falbh Anns a Mhionaid.”
WEARYING ON THE GILL STOUP.
See note for “The Drummer.”
WEASEL [1], THE. Canadian, Reel.
WEAZLE [2], THE. AKA and see “Howlet and the Weazle.” Scottish
(?), Jig. G Major. Standard tuning. AABB. One meaning of ‘weasel’ was an
implement used in the making of shoes (as in “Pop Goes the Weazle”), however,
in the alternate title a ‘howlet’ is a young owl, so perhaps ‘weazle’ refers to
the animal. Aird (Selection), vol.
II, 1782; No. 46, pg. 17.
X:1
T:Weazle,
The [2]
M:6/8
L:1/8
S:Aird, vol.
II (1782)
Z:AK/Fiddler’s Companion
K:G
GAG B2c | ded d2g | f2a A2c | BAB G3 | GAG B2c | ded d2g | f2a A2^c | d3 d3 :|
|:
ded d2b | cdc c2a | BAG dcB | ADD D3 | GAG B2c | ded d2g | dBG cAF | G3 G3 :|
WEASIL IN THE DYKE. Scottish. Composed by J. MacKay. Green Linnet
SIF‑1094, Capercaillie ‑ "Sidewaulk" (1989).
WEAVER, THE. Scottish, Jig. A Mixolydian. Standard tuning.
AABB. Kerr (Merry Melodies), vol. 4;
No. 262, pg. 28.
X:1
T:Weaver, The
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 262 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
a|AAA cBA|cde =g3|=GGG B2G|d2=G
BAG|AAA cBA|cde =g2a|
c2e ece|AA=g f^ga|ece dB=G|AAA A2:|
WEAVER AND HIS WIFE, THE. Scottish, Jig. A Major. Standard tuning. AABB
(Martin): AA’BB (Cranford). A 20th century composition by Scottish fiddler and
composer Andrew Rankine. Source for notated version: Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford].
X:1
T:The Weaver and His Wife
C:Andrew Rankine
S:Jim Paterson
Z:Jack Campin <http://www.purr.demon.co.uk/jack/> 2004
M:6/8
L:1/8
Q:3/8=120
K:A
c | E2E EAB|c3 A3|c3 A2c|edc B3 | E2E EBc | d3 B3 | E2e dcB |
A3 A2 :|
c | EAc e3 | EAe c3 | EAc edc | d3 B2c | ded BdB | G3 F3 | E2e dcB
| A3 A2 :|
WEAVER FLYNN REEL. Irish, Reel. D Major. Standard tuning. AABB. Composed by Eamonn Flynn,
originally from
X:1
T: Weaver Flynn Reel
C: Eamon Flynn
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
A, | FD (3FEF ADFA | fedf efdB | ADFA dAFD | EA,CE GECE |
FD (3FEF ADFA | fedf efdB | ADFA dAFD | EA,CE D3 :|
B, | (3A,G,A, EA, EFGE | FD D2 FGAB | dA A2 dfab | afdf g2 fe |
dfed
BAdB | AdFA EFDF | dFAd FAdF | EA,CE D3 :|
WEAVER HAS A
DOCHTER/DAUGHTER, THE (Tha Nighean aig a'bhreabadair). AKA and see “The Weaver’s Daughter” [1]. Scottish, Slow
Strathspey. G Minor. Standard tuning. AABB. "The words sung to this melody
express surprise at the success of the weaver's daughter in finding a husband,
and, for the comfort of her new yoke‑fellow, give a ludicrous detail of
her former intimacy with many well‑known characters around Lochness"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the
X:1
T:Weaver’s Daughter, The
T:Weaver Has a Daughter, The
L:1/8
M:C
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
d|B<G G>A B<F F>d|B<G G>F e3g|f>ed>c B<G F<e|d>cB>A G2G:|
|:^f|g<d
d>=e f<c c>^f|g<d d>g d<b a>g|b>dd>c B>G
F<e|d>cB>A G2G:|
WEAVERING WAY. AKA and see "Weaving Way."
WEAVERS, THE. Irish, Slide.
WEAVER'S COMPLAINT, THE. English, Jig. G Major. Standard tuning. AABB.
A modern composition by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 199.
WEAVER'S DAUGHTER, THE
[1]. AKA and see “The Weaver Has a Daughter.”
WEAVER'S DAUGHTER [2], THE. Irish, Slow Air (2/4 time). G Mixolydian.
Standard tuning. AB. "Compare this with 'Captain Thompson'" (Joyce).
Source for notated version: Hugh O'Beirne, professional fiddler from
Ballinamore, Co. Leitrim, c. 1846 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 571, pg. 301.
X:1
T:Weaver’s Daughter, The [2]
M:2/4
L:1/8
N:”Slow”
S:Joyce – Old Irish Folk Music
and Songs
Z:AK/Fiddler’s Companion
K:G
(3d/e/f/ | gg ag/e/ | =fe/f/ dc/A/ |
GG A>Bc | d3 (3d/e/f/ |
gg ag/e/ | =fe/f/ dc/A/ | dc/A/ GG |
G3 || G/A/ | BB/c/ BA/G/ |
AB/c/ dc/A/ | GG BB/c/ | d3 (3d/e/f/
| gg ag/e/ | =fe/f/ dc/A/ | dc/A/ GG | G3 ||
WEAVER'S DAUGHTER FROM THE
WEAVER'S MARCH, THE. AKA and see "Charles of Sweden,” “The Cheat,” “Cheat or Swing,” "Come Jolly Bacchus," “Coquette [3],” "First of August," "Fisky Jenny," "The Gallant Weaver," “In My Cottage Near the/a Wood,”
“Pretty Polly [5],” "The Tenth of June," "Twenty‑first of August."
The melody, a trade tune associated with the weaving, was printed by Aird in
his Selections.
WEAVER’S SLIDE, THE. AKA and see “Coleman’s,” “Denis Murhpy’s Slide,” “Pádraig O’Keeffe’s Slide.” Irish,
Slide (12/8 time). D Major. Standard tuning. AAB. Probably a reference to
Sliabh Luachra region fiddler Denis Murphy’s father, Bill the Weaver
(Gneeveguilla, County Kerry). Source for notated version: set dance music
recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Taylor (Music for the Sets: Blue Book), 1995;
pgs. 15 & 20.
WEAVER'S TRIUMPH, THE (Tha bhuaidh aig an fhigheadair). Scottish, Jig. B Flat Major.
Standard tuning. AAB. "This air the editor heard in a very imperfect state
from an itinerant country tailor,‑‑ranting, in place of 'Jenny Dang
the Weaver', 'The triumph of a weaver of his acquaintance over Jenny.' It
occured to the editor that it would make a delightful dance, which he has
accordingly modelled with very flattering success into its present shape"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the
X:1
T:Weaver’s Triumph, The
T:Tha bhuaidh aig an fhigheadair
M:6/8
L:1/8
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:Bb
d|:B2 F FDF|FDF FDF|~F2 G B2c|d2f edc|B2 G G^FG|G^FG G^FG|~G2A B2c|d2f edc:|
b2 B f2e|d2B fdB|b2B f2e|d2B fdB|c’2c g2c|e2c gec|c’2 c g2c|e2c gec|
b2B
f2e|d2B fdB| b2B f2e|d2B fdB|bag fed|fed cBA|BAG FED|d2f edc||
WEAVILY WHEAT. Old-Time, Song Tune (cut time). D Major. Standard tuning. One part.
Source for notated version: Kerry Blech (Seattle, Wash.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 164.
WEAVING WAY. AKA ‑ "Weavering Way." Old‑Time.
The title appears in a list of traditional Ozark Mountain fiddle tunes compiled
by musicologist/folklorist Vance Randolph, published in 1954.
WEBER’S DRIFT. AKA and see “Bush in the
Shucks.” Old-Time. DDad tuning.
WEBER'S LAST WALTZ. English, Waltz. England, Shropshire. G Major ('A' and 'B' parts) &
C Major ('C' part). Standard tuning. AABBCC. This waltz was probably not
composed by Weber, notes editor Gordon Ashman. Source for notated version: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 38,
pg. 13.
WEBLEY JIG, THE. AKA and see "Webley
Twizzle."
WEBBLEY THROUGH. AKA and see "Webley Twizzle."
WEBLEY TWIZZLE. AKA ‑ "Webley Jig," "Webbley Through."
English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AABB, x4.
Collected from the
WEBSTER’S TUNE. Old-Time, Quadrille (6/8 time). USA, Missouri. In the repertoire of
WEDDERBURN HOUSE. Scottish, Reel. D Minor (Glen, Johnson): D Mixolydian (Little).
Standard tuning. AAB (Glen, Johnson): AABB' (Little). Composed by Abraham Macintosh, appearing in his Thirty New Strathspey Reels Etc. (
***
The story of the Home family is a
tragic tale. The present-day Wedderburn House was commissioned by Patrick Home
of Billie, whose mother, a rich widow, had been the victim of a gruesome murder
in 1751 at her home in Linthill, Berwickshire, in the Borders region of
Scotland. The crime’s perpetrator really was
the butler in this case, roused to the deed with the widow’s discovery of her
employee, one Norman Ross, in the act of stealing from her. He cut her throat
and escaped by jumping out a window, but before the Mrs. expired she was able
to ring a bell and raise an alarm. Mr.
Ross broke his leg during the escape and was soon caught by the servants. He
was subsequently tried and hanged for his crime. The widow was victimized yet
one more time; her funeral cortege set out from Lintill for Bunkle church
without her coffin, and the party had to return to the house for it.
***
Patrick was sent to University on
the Continent, at Leipzig, after which he moved to Berlin and frequented the
court of Frederick the Great. There, he
fell under the spell of Sophie de Brandt, a lady-in-waiting to the Queen of
Prussia, and he determined to have her hand in marriage. Trusting that this would happen, he returned
to Berwickshire and commenced building a magnificent classical home near the
river Tweed, employing the finest architects and artisans he could find (the
interior was designed by the famous Robert Adam). Upon its completion around
1760 Paxton House, as it was called, was reckoned the finest country house of
the time. Unfortunately, Patrick’s intentions to marry Sophie met with
objections in her homeland, and Patrick was unable to be granted her hand in
marriage.
***
After some time he tried his hand in
love again, and met another lady of quality whom he courted and this time did
marry. Not wanting to reside in Paxton
House, Patrick commissioned yet another fabulous mansion, again commissioning
Robert and James Adam as designers. He
wanted no part in the building, however, and left that to his nephew George
Home, while he and his bride departed for a fashionable Grand Tour of the
Continent. The tour took six years, with George supplying letters to update
Patrick on the progress of his home. The high point of any Continental trip was
Rome, and it was there that the couple befriended a Mr. Moore, also on a Grand
Tour, but whose interest in architecture was not what Patrick’s was. The new
Mrs. Home was by this time not so keen on ruins either, and saw that other amusements
were possible. When Patrick returned early from one of his outings he found his
wife and Mr. Moore in bed together. The couple, still husband and wife,
returned to Scotland.
***
Wedderburn House, or
***
Wedderburn House
***
Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 46.
S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 15. Little (Scottish and
X:1
T:Wedderburn House
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:Dmin
f|d/d/d dA FDDF|Ec ~c2 ECC^c|d/d/d
dA FDDF|ECGE D/D/D D:|
A|Adde fagf|ec ~c2 GcEC|Adde
fdaf|egfe fddf|
Adde fagf|ec ~c2 GcEC|DFAd FAdf|egfe
fdd||
WEDDERBURN’S CAVE. English. Front Hall FHR-020, Alistair Anderson – “Dookin’ for Apples”
(1979).
WEDDING [1], THE (An Posad). AKA and see “The Sporting Days of Easter [3].”
Irish, Reel. G Major. Standard tuning. AAB. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 240. Kerr (Merry Melodies), vol. 1; No. 4, pg. 34.
O'Neill (Dance Music of
X:1
T:Wedding, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
dc|B2 AG BGAF|G2 Bd gedc|BGAG
BGAG|FDEF G2 dc|B2 AG BGAF|
G2 Bd gedc|BGAG BGAG|FDEF G2:|
|:ef|g2 ge fgaf|g2 ge fddf|g2 ge
fgaf|bgef g2 (3def|g2 ge fgaf|
gfge fddg|bgag bgag|fdef g2:|
WEDDING [2], THE. English, Jig. D Minor. Standard tuning. AAB.
Published before 1730. Raven (English
Country Dance Tunes), 1984; pg. 17.
X:1
T:Wedding, The [2]
M:6/8
L:1/8
K:Dmin
|: d3e3 | faf ege | d3e3 | faf ege | def e2d | ^cde A3 :| f3e3 | dcB AGF |
g3f3 | edc BAG | a3g3 | f3 cBA | GcB A>GF | (F3F3) | d3^c3 | faf ege |
d2f
^c2e | faf ege | dgf e2d | ^cde Aaf | fbf ea^c | (d3 d3) ||
WEDDING [3], THE. AKA and see "(My) Ain Kind Dearie (O)."
Scottish. John Glen (1891) finds the earliest printing of the tune in Angus Cumming's 1780 collection (pg. 9).
WEDDING [4], THE. Scottish (?), Reel. G Minor. Standard tuning.
AB. White’s Unique Collection, 1896;
No. 67, pg. 12.
X:1
M:C|
L:1/8
R:Reel
S:White’s Unique Collection (1896), No. 67
Z:AK/Fiddler’s Companion
K:Gmin
A | B2 (dB)
fBdB | B2 (fB) AFFA | B2 (df) bfdB | Ad(D^F) (3GGG GA |
B2 (dB)
fBdB | B2 (fB) AFFA | B2 (df) bfdB | Ad(D^F) (3GGG G ||
F | DG^FG
BGA=F | CF=EF AFFA | DG^FG BGA=F | Ad(D^F) G2 Bd |
(dg)(ga) bgaf | (cf)(fg) afcf | dgbg
fbdB | Ad(D^F) (3GGG G ||
WEDDING BELLS WALTZ. Old-Time, Waltz. Recorded in
WEDDING DAY [1]. Scottish, Hornpipe. F Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 359, pg.
39.
X:1
T:Wedding Day [1]
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 3, No. 359
Z:AK/Fiddler’s Companion
K:F
c2|AcAc fcAc|BdBd fdBd|cegb
agfe|gfed cdcB|AcAc fcAc|BdBd fdBd|
cegb agfe|g2f2f2::(ef)|gece
gece|afcf afcf|gece g2(ga)|
gfed c2(c=B)|cege cege|cfaf
cfaf|bagf efge|f2a2f2:|
WEDDING DAY [2]. English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB.
No relation to "Wedding Day [1]." Source for notated version: an MS
collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire)
[Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 119, pg. 63.
WEDDING DAY [3], THE. Canadian, Jig.
WEDDING DAY [4], THE.
English, Jig. 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. 117.
X:1
T:Wedding Day, The [4]
M:6/8
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
Aed cBA|BBB B2c|d2f ecA|G2A B3|Aed cBA|BBB “tr”B2c|d2e fga|gaf e3:|
|:eba
gfe|fff “tr”f2g|a2g “tr”f2e|d2c “tr”B3|eba gfe|”tr”f2g a2f|edc BAG|AAA A3:||
WEDDING IN THE WEST, THE. English, Reel. England, Northumberland. G
Major (perhaps G Minor). Standard tuning. AABB'. Seattle (William Vickers), 1987, Part 2; No. 364.
WEDDING JIG [1], THE. Irish, Jig.
X:1
T:Wedding Jig, The
M:6/8
L:1/8
K:G
G2
B, G,A,B, | DEF G2 E | EB,
G2 B, G,A,B, | DEF G2 E| DA,D F2 d | AFD DEF :||:
GAG
{A}GFG |
ded {e}dcB | ~c3 {d}cAG | FGA {d}BAG |1 FGE DEF :|2 FGE DB^c ||:
{e}d^ce
d^ce | dAF G2 E | EB,
{e}d^ce d^ce | dAF G2 E | DA,D F2 d |1 AFD DB^c :|2 AFD DEF ||
WEDDING JIG [2], THE. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABBCC’. Composed by Cape Breton fiddler and prolific composer Dan R. MacDonald (1911-1976). Cranford (Jerry Holland: The Second Collection), 2000; No. 235, pg. 86.
WEDDING MARCH. See “Breton Wedding
March.”
WEDDING MARCH FROM
UNST. AKA ‑ "Unst Bridal/Wedding March." Shetland,
March (irregular time). G March (Brody): A Major (Martin). Standard (Brody) or AEae (Martin) tunings. AAB. With
this tune the fiddler led the wedding couple from the church to the bride's
house for the party, accompanied in the lead by a ‘gunman’ who shot a rifle at
intervals to frighten evil spirits and insure luck to the gathering. Wedding
marches were a common Scandinavian practice, imported to the Shetlands during
the Scandinavian colonization period, and Christine Martin (2002) says the
march is sometimes still played in
WEDDING NIGHT, THE. AKA and see "The Lea Rig," "An Oidhche a Bha' Bhainis Ann."
WEDDING NIGHT JIG, THE. AKA and see "Boc Liath Nan Gobhar" (The Gray Buck).
***
The Penny Wedding, by David Allan (1744-1796).
***
Sing Out,
vol. 34, No. 4 (Fall, 1989); pg. 31. Celtic 35, Donald
MacLelland. Celtic 57, Donald MacLelland ‑ "The Fiddlers of
WEDDING OF BALLINAMONA. AKA and see "Ballinamona,"
Wedding of Ballyporeen," "You Know I'm Your Priest."
WEDDING OF BALLYPOREEN (Banais Baile Na Poirin). AKA and see "Ballinamona
(Oro)," "Wedding of Ballinamona,"
"Darling kippeen of a
stick," "Condy Magann,
" "You Know I'm Your
Priest." Irish, Scottish; Air (6/8 time). G Major. Standard tuning.
One part (Kerr): AB (O'Neill). Kerr (Merry
Melodies), vol. 1; pg. 41. O'Neill (Dance
Music of Ireland: 1001 Gems), 1986; No. 996, pg. 171.
X:1
T:Wedding of Ballyporeen, The
M:6/8
L:1/8
R:Air
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
B/A/|G>AG g>fg|agf g2
g/a/\b?ag efg|dec B2 B/A/|G>AG g>fg|
agf g2 g/a/|b>ag e>fg|dec
B2||c/d/|ecA A>BA|e3 c2c|dBG G>AG|
d3 B2 c/d/|ecA A>BA|a3 f2
f/f/|gdB cAF|G3 G2||
WEDDING O' BLYTH, THE. AKA and see "Blue's Gaen Oot O' the
Fashion." English, Jig (9/8 time). England, Northumberland. G Major.
Standard tuning. AAB. "This old tune was written down by the late Mr.
Thomas Doubleday from hearing it sung by a ballad girl in the street. The title
'Blue's gaen oot o' the fashion' was the refrain of a song wherein a lass is
considering to which of the services she shall unite herself.
***
Blue's faen oot o' the fashion,
Red's come in with the new;
But I'll have a sailor laddie,
And dye my apron blue.
***
There was also another popular
ballad sung to this air, one of the most popular press gang songs already
noticed.
***
O the lousy cutter,
They've ta'en my laddie frae me,
They pressed him far away foreigh,
Wi' Nelson ayont the salt sea.
They always come in the night,
They never come in the day,
They always come in the night,
And steal the laddies away.
***
Of the other title of the tune, 'The
Wedding o' Blyth', there is no doubt that a ballad existed describing it, but
nothing is now known of it excepting the wedding was a weary one" (Bruce
& Stokoe). Bruce & Stokoe (Northumbrian
Minstrelsy), 1882; pg. 163.
X:1
T:Wedding o’
T:Blues Gaen Oot ‘o the Fashion
M:9/8
L:1/8
S:Bruce & Stokoe – Northumbrian Minstrelsy
Z:AK/Fiddler’s Companion
K:G
D|GAB c2A Bcd|e2c dBG F2D|GAB c2A cd=f|e2c dBG G2:|
d|gag fgf ege|dge dBG A2d|gag fgf ege|d<ge dBG G2d|
gag
fgf ege|dge dBG A2d|GAB c2A Bcd|e2c dBG G2||
WEDDING OF THE FROG
AND MOUSE, THE. AKA - "A Frog He Would A-Wooing Go."
English, Ballad Air (3/4 time). G Major. Standard tuning. One part. The air for
this song (which Horace M. Belden believes is the most widely known song in the
English language) first appears in Thomas Ravenscroft's "Melismata"
(1611). It is an early version of the song ("Froggie Went
A-Courtin'") famous in British and American traditional folklore and
folksong, of which the earliest appearance was in Wedderburn's "Complaynt
of Scotland" (1549) where it is called "The frog cam to the myl
dur." Another early version is
found in a broadside text of 1580, called "A moste Strange weddinge of the
ffrogge and the mowse" (Rollins). See also the extensive note on this tune
and text in Cazden's (et al, 1982) Catskill Mountain (New York) collected
"Missie Mouse." Chappell (Popular
Music of the Olden Times), vol. 1, 1859; pg. 142.
WEDDING POLKA, THE. English, Polka. England, Dorset. D Major ('A'
part) & A Major ('B' part). Standard tuning. AAB. Trim (Thomas Hardy), 1990; No. 83.
WEDDING REEL, THE. Irish, Reel. D Major. Standard tuning. AABB. Gary Shannon – “Loose the Head” (appears as part of “Micho’s
Mason’s Apron” set). Lunasa – “Merry Sisters of Fate” (appears as second tune
of tenth set, mislabelled as “The Harsh February”).
X:1
T:The Wedding Reel
M:C
L:1/8
S:as played by Lunasa
Z:Transcribed by David Migoya
K:D
DDE| F2BF AFEF| D2DE FABd| e2fd
efed| B2de dBAG|
F2BF AFEF| D2DE FABd| e2fd efdB|
ABde d:|
ABd| A3f edfd| A3f edfd| ABdA BdAB|
dBAF EFDE|
F2BF AFEF| D2DE FABd| e2fd efdB|
ABde d:|
WEDDING RING [1], THE. AKA and see "Mrs. Nicol's Fancy." AKA ‑
"Port na Fainne." Scottish, Reel. G Minor. Standard tuning. AB (Cole,
Howe): AAB (Athole, Fraser, Gow, Kerr). The tune was remodelled by Capt. Simon
Fraser: "The Wedding Ring is framed by the editor, from a very imperfect
melody, and fancied by the lady whose name it bears, to whom he wishes every
connubial comfort" (Fraser). Alburger (Scottish
Fiddlers and Their Music), 1983; Ex. 100, pg. 165. Carlin (The Gow Collection), 1986; No. 317. Cole
(1000 Fiddle Tunes), 1940; pg. 45.
Fraser (The Airs and Melodies Peculiar to
the Highlands of Scotland and the Isles), 1874; No. 17, pg. 6. Howe (1000 Jigs and Reels), c. 1867; pg. 152.
Kerr (Merry Melodies), vol. 3; No.
182, pg. 21. Ryan’s Mammoth Collection,
1883; pg. 72. Stewart-Robertson
(The Athole Collection), 1884; pg.
198.
X:1
T:Wedding Ring, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson - The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G Minor
A|~B2 dc ~B2 dc|~B2 fB AFFA|~B2 df bfdB|AdD^F G2G:|
F|DG^FG BGAF|CF=EF AFFA|DG^FG BGAF|AdD^F G2 G^f|
Dgga
bgaf|cffg afcf|dgbg fbdB|AdD^F G2G||
WEDDING RING [2], THE. AKA and see see “The
Buckeen,” “Cameron House,” “George Gubbin’s Delight,” “Humors of Schull,” “Lord
Kelly--Strathspey,” "Lord
Kelly's Reel" "Mo
Ceoil Sibh a Laochra" “The
Musical Priest,” "The New Bridge
of Erin," “The Old Grey
Gander.” Irish, Air (4/4 time). A Dorian. Standard tuning. AAB. See note
for “George Gubbin’s Delight.”
Source for notated version: "From Lewis O'Brien of Coolfree: 1852"
(Joyce). Joyce (Old Irish Folk Music and
Song), 1909; No. 23, pgs. 14‑15.
X:1
T:Wedding Ring, The [2]
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
N:”Moderate”
K:A Dorian
EAAB cedc|BAGB d>B G2|EAAB
c2d2|efdB A2A:|
eaag e2 de/f/|gedc BG G2|eaag
efga|bagb a2 ab|
c’2b2a2e2|dBge dB G2|EAAB c2d2|efdB
A2A2||
WEDDING RING [3], THE. English, Country Dance Tune (cut time). D Major.
Standard tuning. AABBCC. This tune can be found as No. 8 in Dale's Collection of Reels and Dances
(folio, c. 1806). The 'C' part of the melody strongly resembles the American
tune "Bile Them Cabbage Down."
Kidson (Old English Country Dances),
1890; pg. 12.
X:1
T:Wedding Ring, The [3]
M:C|
L:1/8
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:D
dfaf ge e2|fddd e/d/c/B/ A2|dfaf ge
e2|fdec d4:|
|:dcBA GFED|FAdF GE E2|dcBA
GFED|fdec d2 d2:|
|:ffff gggg|ffff ec A2|ffff
gggg|fdec d2d2:|
WEDDING RING [4], THE.
English, Waltz. G Major. Standard tuning. AB. Composed in 1996 by
Jonathan Jensen. Barnes (English Country Dance Tunes, vol. 2), 2005; pg.
140.
WEDDING WHAT EVER
COMES OUT, A. AKA and see "The Rugged Saylor." English, Jig or
Slip Jig. England, Northumberland. G Major. Standard tuning. AABB.
"Atkinson's MS has a tune 'The Rugged Saylor' easily identified as another
version of this tune. He also bars it in 6 (6/4 rather than 6/8), but his
version corroborates Vickers' original rather than my reconstruction" (
WEDDING WALTZ [1]. Old-Time, Waltz. A modern composition by fiddler Tara Nevins, who
composed it for a wedding she played at. Rounder
CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988).
WEDDING WALTZ [2]. American, Waltz. D Major. Standard tuning. AA'BB'. Composed in 1994 by
fiddler George Wilson (Wynantskill, N.Y.) for his own wedding ceremony: "I
was listening to some Bach on the radio being played on old instruments, and I
had my fiddle tuned down, and one thing sort of led to another"
(Matthiesen). Matthiesen (Waltz Book II),
1995; pg. 77. George Wilson - "Northern
Melodies."
WEDGEWOOD WALTZ. American, Waltz. A Major. Standard tuning. AB. Composed by Bo Bradham
in 1987 "in my living room on Wedgewood Drive, in Greenville, SC."
Matthiesen (The Waltz Book), 1992;
pg. 55.
WEDNESDAY
NIGHT (Nos Fercher). Welsh, English; Reel.
X:1
T:Nos Fercher
T:Wednesday Night
B:National Library of Wales, MS. J. Lloyd Williams, 53
D:Ar Log O IV i V
O:
Z:Manuel Waldesco
M:4/4
K:Dmaj
|D2FA d2f2|edcB AGFE|D2FA d2f2|edcd e2d2:|
|a2fd a2fd|edcB AGFE|1 D2FA d2f2| edcd e2d2:|2 D2FA d2g2| fdec d4||
X:2
T:Wednesday 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:D
D2 FA|d2f2|edcB|AGFE|D2 FA|d2f2|edcd|{d}e4:|
|:a2
fd|B2 gf|edcB|AGFE|D2 FA|d2g2|fdec|d4:||
WEDNESDAY NIGHT WALTZ. Old‑Time, Bluegrass; Waltz. USA; Alabama, Mississippi, Arizona,
Texas, Oklahoma, Arkansas, Missouri, West Virginia, Kentucky. D Major. Standard
tuning. One part (Brody, Phillips, Thede): ABB (Christeson). R.P. Christeson
(1973) suggests this tune was founded on the once‑popular song
"Wednesday Night Waltz," however, Charles Wolfe (1997) states that it
originated with a Mississippi fiddle band, the Leake County Revelers, and the
group’s fiddler, Will Gilmer. Gilmer himself
admitted that he had picked up the tune “out in Texas somewhere.” The Revelers’ version was second
best-selling country music record of 1927 (backed by "Goodnight
Waltz") and the biggest old-time seller of 1928 (recorded for Columbia
records). In the middle of the piece the Revelers would break into the faster “Saturday Night Breakdown.” (Lonnie
Robertson’s “Hazy Hills Waltz” has a similar ‘waltz-and-two-step’ combination).
Later that same year Kanawha County, West Virginia, fiddler Clark Kessinger
(1896-1975) was asked by Brunswick records’ session manager, James O’Keefe, to
do a cover version of “Wednesday Night Waltz” for his label, and provided
Kessinger with a copy of the Leake County Revelers’ recording from which to
learn. It too proved to be a hit, and was Kessinger’s first and most popular
recording (Brunswick 220). “We’d have mad a fortune if they’d paid us
royalties,” said Kessinger, and although there was little money derived for the
artists, the Kessinger brothers (actually Kessinger, accompanied by his nephew,
Luke Kessinger), they were assured of a continued recording career (Mountains of Music, John Lilly ed.,
1999, pg. 28). Curiously, Kessinger’s Brunswick recording was released in
Québec for the French-speaking market with the completely different title “La
Valse de Musicien.” The tune was recorded for the Library of Congress by
musicologist/folklorist Vance Randolph, from the playing of Ozark Mountain
fiddlers in the early 1940's. It was also recorded by northwest Missouri
fiddler Cyril Stinnett (1912-1986). Sources for notated versions: Kenny Baker
[Brody, Phillips]; Red Williams (Dallas, Texas) [Christeson]; Max Collins
(Potawatomie County, Oklahoma) [Thede]; Melvin Wine (W.Va.) [Silberberg]. Brody
(Fiddler’s Fake Book), 1983; pg. 287.
Christeson (Old Time Fiddlers Repertory,
vol. 1), 1973; pgs. 199‑202. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 322. Ruth (Pioneer Western Folk Tunes), 1948; No.
48, pgs. 17-18. Silberberg (Tunes I Learned at Tractor Tavern), 2002;
pg. 166. Thede (The Fiddle Book),
1967; pg. 145. American Heritage 14, Bill Long‑
"Mountain Fiddlin' Music From Montana." BB 5607 (78 RPM), Riley
Puckett (with Clayton McMichen?). Brunswick 220 (78 RPM), The Kessinger
Brothers. Caney Mountain Records CEP 211 (privately issued extended play LP),
Lonnie Roberston (Mo.), c. 1965‑66. Columbia 15189-D (78 RPM), The Leake
County Revelers. Conqueror 8136 (78 RPM), Doc Roberts (Ky.). County 744, Kenny
Baker‑ "Dry and dusty." County 733, Clark Kessinger (W.Va.) ‑
"The Legend of Clark Kessinger" (reissue). Davis Unlimited 33015, Doc
Roberts (Ky.) ‑ "Classic Fiddle Tunes." Decca 5018 (78 RPM),
Stripling Brothers (Alabama) {1934}. Folkways FA 2336, Clark Kessinger‑
"Fiddler." Melotone 12390 (78 RPM), Doc Roberts.
X:1
T:Wednesday
Night Waltz
M:3/4
L:1/8
S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
K:D
D[df]|[f6a6]{^g/}|[f6a6]{^g/}|[f3a3] (b[fa][df])|[F4d4] [Ec]|
[G2B2] [B3d3]e|[B4d4][G2B2]|[F6A6]|[F2A2][F2d2][d2f2]|
[f6a6]{^g}|[f6a6]{^g}|[f2a2] [f2d’2] [fc’][df]|[F4d4] [E2c2]|
(B2 [G4e4)]|[G4e4] [A2f2]|edefed|dB Ad [d2f2]|[f6a6]{^g}|
[f6a6]{^g}|[f3a3] b[fa][df]|[F4d4] [E2c2]|[G2B2][B3d3]e|
[B4d4][G2B2]|[F6A6]|[F4A4][F2A2]|BG AB df|abafdB|
A2^G2A2|[d6f6]|e2c2A2|[F6d6]|[F2d2] D2E2||
F6|(E2D2E2)|F6|A,6|(B,4 D2)|(D4 E2)|(F6|F4)F2)|(E4D2)|
E4D2|(F6|A,6)|(B,4C2)|(D4F2)|(E6|E2)(D2E2)|F6|(E2D2E2)|
F6|(A,4 A2)|(B,4D2)|D4 (E2|F6)|(F4 F2)|(E4 D2)|(E4 D2)|
(F6|A,6)|(B,4 D2)|(D4 E2)|(D6|D2)||d2 [d2f2]|[f6a6]{^g/}|[f6a6]{^g/}|
[d3f3] (b[fa][df)]|[F4d4] [E2c2]|[G2B2][B3d3]e|[B4(d4][G2B2)]|
[(F6A6]|[F2)A2][F2d2][d2f2]| ]|[f6a6]{^g/}|[f6a6]{^g/}|[f2a2][f2d’2][fa][df]|
[F4d4][E2c2]|B2 [G4(e4]|[G4e4)] [A2f2]|edefed|dB Ad [d2f2]|
]|[f6a6]{^g/}|[f6a6]{^g/}|[f3a3] (b[fa][df)]|[F4d4][E2c2]|[G2B2][B3d(3]e)|
[B4(d4] [G2B2)]|[[F6A6]|[F4A4] [F2A2]|BG AB df|abafdB|A2^G2A2|
[d6f6]|e4cA|[F2d2][d2f2][f2a2]|(d’6|d’2) z2z2||
X:2
T:Wednesday Night Waltz
M:3/4
L:1/8
K:G
D||”G” B6|”Gb” _B4B2|”G” =B6|”G7” G4G2|”C”G6|”C#dim” F4E2|
“G” D6|”D7” DE FG A_B|”G” =B4B2|”Gb” _B4B2|“G” =B6|”Em” G2E2|
“A7” A4E2|”A7” A4B2|”D7” A3 G FE|DE FG A_B|
“G” B6|”Gb” _B4B2|”G” =B4|”G7” G4 G2|”C” G4G2|”C#dim” A2G2E2|
“G”
D6|”E7” B2 dc|”A7” B3A G2|”D7” A3G F2|”G” G2D2B,2|G,4||
WEE BAG OF PRATIES, THE. Irish, Reel (?). G Major. (Stanford/Petrie): B
Flat Major (Howe). Standard. AB. Howe (1000
Jigs and Reels), c. 1867; pg. 20. Stanford/Petrie (Complete Collection), 1905; No. 607, pg. 152.
X:1
T:Wee Bag of Praties, The
M:2/4
S:Stanford/Petire (1905), No. 607
Z:AK/Fiddler’s Companion
K:G
c2 | B/G/ B/d/ c/>B/A/c/ |
B/G/B/d/ cA/>c/ | B/G/B/d/ c/>B/A/G/ | dG/F/ ED ||
GG/A/
F/D/D/F/ | .AA/B/ {B}AG | G/B/d/e/ c/B/A/G/ | dG/F/ ED ||
X:2
T:Wee Bag
of Praties, The
M:C
L:1/8
S:Howe’s 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
e/ | dBBd
ecce | dBBd e2 c>e | dBBd eccd/e/ | fdec B2 B3 ||
B/ | B>dcB AFFG | ABcd e2 c>A
| B>d cB AF F2 | fdec B2 B3 ||
WEE BIRD
WEE BIT. Scottish?, Reel. D Major. Standard tuning.
AABB. Cole (1000 Fiddle Tunes), 1940;
pg. 36. Ryan’s Mammoth Collection,
1883; pg. 61.
X:1
T:Wee Bit
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(FG) |: .D.f(cd) B2 (GB) | Aafd cdeg
| fdcd B2(GB) | Adcd (fd) d2 | .D.d(cd) B2 (GB) |
Aafd cdeg | fdcd B2 (GB) | Adcd
(fd)d2 :: adbd a2 (fg) | a2 (fd) (ce)e2 | adbd a2 (fd) |
Aceg (fd) d2 | adbd a2 (fg) | a2
(fd) ceeg | fdAd B2 (GB) | Adca fd d2 :|
WEE BIT COGGIE. Scottish, Reel. A Major. Standard tuning. AAB. A coggie is a wooden
drinking vessel or sometimes a barrel. Kerr (Merry Melodies), vol. 4; No. 12, pg. 4.
X:1
T:Wee Bit Coggie
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 12 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
f|eAcA eAfA|eAcA Bcdf|eAcA eaga|fdBd
cAA:||
g|a2 (ed) cAfg|a2(ga) fdBg|a2 (ed)
cde=g|fdBd cAAg|
a2 (3gag (3fgf (3efe|d2 (3cdc (BE)E2|BdAe
dfBa|gefg a3||
WEE CUP O’ TEA, A. Scottish, Reel. A Minor.
Standard tuning. AABB. Kerr (Merry
Melodies), vol. 3, No. 144; pg. 17.
X:1
T:Wee Cup o’ Tea, A
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 144
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A Minor
EAAB c2 Ac | B2 GB dBGF | EAAB c2 Ac
| (BG)dB cAAe :|
|: cega gece | dBGB dBGB | cega gece
| dBGB cAAe :|
WEE GEORDIE HAS LOST
HIS PLINKER. AKA and see “Over the Hills and Far Away”
[4]. English. England, Northumberland.
WEE(, WEE) GERMAN
LAIRDIE, THE.
Scottish, English; Air (4/4 time). England, Northumberland. D Major. Standard
tuning. AB. The title of this song refers to the Scottish Jacobite campaign of
the 18th century. It appears in Henry Robson's list of popular Northumbrian
song and dance tunes ("The Northern Minstrel's Budget"), which he
published c. 1800. Gatherer (1987) identifies James Hogg as the composer, and
states the tune was meant to accompany a song of the same name, though it has
usually been sung to another tune. Hogg himself printed two tunes with the
song, one by himself and the other "an old set" which was "the
best original one" he could locate. The song itself he took from Cromek's Remains of Nithsdale and Galloway Songs (1810), except for three lines from
an older collection, where it is in a section of 'Jacobite Ballads, 1715'.
Cazden (et al, 1982) discusses the relationship of this melody to other tunes
in the "Boyne Water" family, and notes it is a reverse phrasing from
the ususal form. See also the related tunes in this family: "Wha the Deil Hae We
Gotten for a King?" "Such a Parcel of Rogues in
a Nation," "The Rashes,"
"Playing Amang the
Rashes," "Boyne Water."
The words go:
***
Wha the deil hae we gotten for a king but a wee wee German lairdie,
When we gaed oer tae bring him hame he was delvin in his yairdie.
sheuchin kail an layin leeks, wi'oot the hose an but the breeks
And up wi his beggar duds he cleeks, this wee, wee German lairdie
***
An hes clapt doon in oor guidmans chair, this wee wee German lairdie
And hes brought forth o foreign trash and dibbled them in his yairdie.
He's pu'd the rose o' English loons, and broken the harp o' Irish cloons
But oor thistle taps will jag his thoombs, this wee wee German lairdie.
***
Come up upon oor hielan hills thou wee bit German lairdie,
And see how the Stewarts lang kail thrives thats dibbled in oor yairdie.
And if a shook ye dare tae pu, or haud the yokin o' a plough
We'se brak yer sceptre ower your mou', thou wee bit German lairdie
***
Oor hills are steep, oor glens are deep, nae fittin for a yairdie
oor Norland thistles winna pu' thou wee bit Hreman lairdie.
We'se pass ye neath the claymore's shear thou fecklless German lairdie.
***
Auld Scotland thou art ca'd a hole for nursin siccan vermin.
But the very dogs o" England's court can bark and
howl in German.
Then keep thy dibble in thy ain hand, thy spade but and thy yairdie
Forwha the deil now claims your land but a wee wee German lairdie.
***
Gatherer (Gatherer’s Musical Museum), 1987; pg. 30. Wood, Songs of Scotland (1848‑49). Hogg,
Jacobite Relics, I, #51 (1819). The Pocket Encyclopedia of Scottish, English
and Irish Songs, (vol. 2), 1816.
WEE
WEE MURDIE. Scottish, Jig. D Major. Standard tuning. AABB'. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 17.
WEE NANNIE. Scottish, Strathspey. D Major. Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 70, pg. 10.
X:1
T:Wee Nannie
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 70
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
F>G|A<d c>B
A>FD>E|F<B A>F E2 F>G|A<d c>B A>FD>F|1 E>A c/B/A/^G/
A2:|2
A>d f/e/d/c/ d2||:
(3ABc|d>ef>d e>c A2 |B>cd>B A>F D2|d>ef>d
e>cA>d|1
c>e e/d/c/B/ A2:|2 A>d
f/e/d/c/ d2||
WEE PICKLE TOW, THE. AKA and see "The Rock and the/a Wee Pickle Tow."
WEE PADDY. Canadian, Jig. D Major.
Standard tuning. AABBCCDD’. Composed by
WEE PUG, THE. Scootish, Strathspey. G Major. Standard
tuning. AA’BB’. Kerr (Merry Melodies),
vol. 4; No. 94, pg. 12.
X:1
T:Wee Pug, The
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 94
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D|G>AB>c d2 B>c|d<B
g>e d3D|1 G>AB>c d<B g>f|e<d B>G A3:|2
E>FG>A B<d e<g|d<B
A>B G3||:d|g>ag>f e>d B<d|g>ag>f e3d|
g>ag>f e>d B<g|B<A
A>B A3d|g>ag>f e>d B<d|g>ag>f e3f|
(3gab (3agf (3gfe (3dcB|1 d<B
A>B G3:|2 (3ded (3cBA G3||
WEE RABBIT, THE. Irish, Jig. Composed by Deanta member Rosie
Mulholland. Green Linnet SIF 1147, Deanta – “Ready for
the Storm.”
X:1
T:Wee Rabbit, The
R:jig
M:6/8
K:D
E|F2D {G}DED|E2F {c}GFE|A2d
d{f}dc|d{f}dc B2A|
F2B {c}B{A}B{c}B|d{e}dc B2d|c2A
{c}A2G|A3 A2G|
FGA G2F|EFG F2E|D2F A2B-|B2A G2F|A2B
c2d|e2c B2A|{c}A2d {e}d2c|
d3 d3e|f{a}fd {e}ded|f2a d'2c'|b3-
b2b|bba b2a|g2f gfe|
WEE SAMMY. Scottish, Strathspey. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 19, pg. 5.
X:1
T:Wee Sammy
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 19
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A,>CE>C
D>FA>F|E>Ac>A (G<B)B2|A,>CE>C D>FA>F|E>GB>e
(c<A)A2:|
|:a>ec>A
d>ef>g|a>ec<A (G<B)B2|a>ec>A d>ef>a|(3efe (3dcB
(c<A)A2:|
WEE TODD [1]. Scottish, Jig. A Major. Standard tuning. AABB. According to John MacPhee, Glasgow, the tune was composed by the late Angus MacAulay, originally from Benbecula, who spent his adult life in Glasgow. The real name of the tune is 'Wee Tot'. He composed the tune in 1956 for his grand-daughter who was about a year old at the time and originally called it “Wee Tot” in her honor, although the name has since become corrupted. MacAulay never wrote his tunes down, MacPhee explains, and it might have been lost except that musician Addie Harper heard it being played one night at a dance in Loch Carron. The melody impressed him enough to write it down, and later Harper’s band, the Wick Scottish Dance Band, included it on their tape “By the Peat Fire,” which helped to popularize it. However, on the Wick band album the tune (appearing as “Wee Todd”) is credited to "McLachlin, presumably Iain McLachlan of Benbecula, says Nigel Gatherer. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 48.
WEE TODD
[2].
WEE TOT. See “Wee Todd” [1].
WEE TOTUM FOGG. The antiquarian Stenhouse identified this as a Scottish nursery-rhyme tune to which is sung:
***
Sits upon a creepie;
Wad be his coat and breekie.
***
The
melody appears earliest in print in Johnson’s Scots Musical Museum, (No. 514). The tune is in the triple-time old
(single) hornpipe rhythm (i.e. 3/2).
WEE WEE BAG OF PRATIES, THE. Irish, Air (4/4 time). B Flat Major. Standard
tuning. AB. A pratie is, of course, a potato. Learned by Joyce during his
childhood in the 1840's in
X:1
T:Wee Wee Bag of Praties, The
M:C
L:1/8
R:Air
S:Joyce – Ancient Irish Music
(1890)
Z:AK/Fiddler’s Companion
K:B_
e/ | dBBd ecce | dBBd e2 c>e |
dBBd eccd/e/ | fdec B2 (BB/) || B/ |
B>dcB AFFG | ABcd e2 c>A |
B>dcB AF F2 | fdec B2 (BB/) ||
WEE, WEE MAN, THE. AKA and see "Bundle and Go [1]," "The Basket of Turf." Scottish, Jig.
G Major. Standard tuning. AABB. Harding’s
All‑Round Collection, 1905; No. 17, pg. 6. Kerr (Merry Melodies), vol. 1; No. 14, pg. 32.
X:1
T:Wee, Wee Man, The
M:6/8
L:1/8
R:Jig
S:Harding’s All-Round Collection, No. 17 (1905)
Z:AK/Fiddler’s Companion
K:G
f|gfe edB|gfg G2B|gfe edB|dBA
A2f|gfe edB|gfg a2b|
gfe efg|dBA A2::B/c/|d2B d2B|gfg G2
(B/c/)|d2B d2g|
ecA A2 (B/c/)|d2B d2B|gfg a2f|gfe
efg|dBA A2:|
WEE WILLIE WINKLE. AKA and see "Castles in
the Air."
WEE WILLIE'S
STRATHSPEY. Scottish, Strathspey. G Major.
Standard tuning. AAB. Composed by the son of the author of the Skye Collection, James Porteous, only
nine years of age. MacDonald (The Skye
Collection), 1887; pg. 102.
X:1
T:Wee Willie’s Strathspey
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:G
D<G G>A B<G G2 | E<A
A>G F2 (ED) | D<G G>A B<G G2 | E>A (G/F/)(E/D/) (G2G,2) :|
D<G(G>c) B(c/d/) d>B |
c>AB>G F2 (E>D) | D<G(Gc) B(c/d/) dg | B>G (B/A/)(G/F/) G2 GD |
GBde/f/ gfed | cBAG G2 ED | (3GBG
(3AcA (3Bcd (3efg | (3gfe (3def g2 (gab ||
WEEDS IN THE GARDEN. Irish, Air. Composed by Bearna, County Galway, fiddler Liam Lewis in
honor of Tom Pháidín Tom, a neighbour and sean-nós singer of some skill (he was
recorded on De Danaan’s album “Mist Covered Mountain,” albeit with a bit of
accompaniment).
WEEL DONE JACK. English, Country Dance Tune (6/8 time). England, Yorkshire. D Major.
Standard tuning. AABB. For other (unrelated) tunes with the same name see “Well Done Jack.” Source for notated
version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby,
X:1
T:Weel Done Jack
M:6/8
L:1/8
R:Jig
S:
K:D
a2f g2e|f2d ecA|a2f g2e|feee efg|a2f
g2e|f2d cBA|
Bcd cde|d3D3::DFA AFA|DGB BGB|DFA
AGF|
GEE E3|DFA AFA|DGB BGB|Agf
edc|d3D3:|
WEEL HODDLED, LUCKY. AKA ‑ "Honest Lucky."
Scottish. "Also known as 'Honest Lucky', this is from the Blaikie
manuscript, 1692. Walter Scott mentions this old anecdote: a minister
sermonizing from his pulpit complained of the persistent skirling of the local
piper. He said 'I hear you have a tune among you called 'Weel Hoddled, Lucky'; if
I hear ony mair o' this I'll hoddle the best o' ye.' That's telling them!
(Williamson)." Flying Fish FF 358 Robin
Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."
WEEL MAY THE BOATIE
ROW. AKA and see "The Boatie Rows." The first strain is
shared with several other tunes, including "The Lass of Patie's Mill,"
"Gie the Lasses Mair O't,"
"The Lass That Winna Sit
Down," "Lady
Dumfries (Reel)," "The
Highlander's Farewell [3]." Scottish, Scots Measure (2/4 time). D
Major. Standard tuning. AABBCCDD. Gow (Complete
Repository), Part 4, 1817; pg. 8. Johnson (The
X:1
T:Weel may the Boatie row
M:2/4
L:1/8
R:Scots Measure
S:Gow – 4th Repository (1817)
Z:AK/Fiddler’s Companion
K:D
D|(FA) A>B|Ad (e/d/)c/B/|(A<F)
F>D|(F2 E>)D|(F<A) A>B|Ad (e/d/)c/B/|(AF) E>F|D3:|
|:A|dA A~c|dA Ad|{c}B>A
Bd|e3~c|(d<f) (B<d)|A>d (B/A/)(G/F/)|{F}E>D EF|D3:|
|:D|~F>G AF|B>c
{e}d{c}B|(A<F) F>D|(F2 E>)D|F>G AF|B>c dc/B/|A>F GE|D3:|
|:(A/4B/4c/)|dAA~c|dA Ad/c/|{c}B>A Bd|{cd}e3~c|(d<f) (B<d)|A>d (B/A/)(G/F/)|{F}E>D EF|D3:|
WEEL MAY THE KEEL ROW (THAT MY LAD'S IN). AKA and see “Johnny
When You Die [2],” "The Keel Row."
Scottish, English; Reel and Air. England, Northumberland. D Major (Cole,
Jones): A Major (Howe) . Standard tuning. AB (Cole, Howe, Ryan): AAB (Jones).
According to Ryan’s Mammoth Collection,
this is the “original version” of the “Keel Row,” also included in the
collection (pg. 47). The tune appears in James Johnson's McLean Collection,
printed in
X:1
M:2/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
E | c>c
A>c | d2 Bd | c>c Ac | (BG) EE | cc Ac | d2 Bd | c>A B>G | A3 ||
D | c>e ea | f2 ed | c>A Ac |
(BG) Ed | c>e e>a | f2 ed | c>A BG | A3 ||
X:2
T:Weel may the Keel row. a Reel.
R:reel
M:C|
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones, 2005
K:D
a | fddf g2 (ea) | f2 (ef) e2 (ce) | fd d/d/d g2 (eg) | fdec d2 d :|| g | faad' b2 (gb) | {g}f2 (df) e2 (ce) |
faad'
b2 (gb) | fdec d2 (dg) | fa-ad' b2 (gb) | f2 (df) e2 (ce) | faad' bd'ab | fdec
d2 d |]
WEEL'S ME I GOTTEN
SHOTT ON HER. AKA and see "Fairly Shot on/of Her [1]."
WEEPING BIRCHES OF
KILMORACK, THE. AKA - “The Weeping Birches.”
Scottish, Slow Air (4/4 time). E Flat Major. Standard tuning. AB. Composed by J. Scott Skinner after visiting the site of a tragedy
in Scotland with two friends, Donald Morrison and Dr. McDonald. Hunter (1979)
relates that above the Falls of Kilmorack on the river Beauly lies the Pass of
Dhreim, where some time previous to the friends' sojurn a traction engine with
a couple of trucks had fallen one hundred feet into the gorge, resulting in the
death of two men. "A strange phenomenon happened‑‑most of the
birches within thirty yards of the accident began to wither away. Skinner
became obsessed with the tragedy and gave it expression through this fine
melody." On Cape Breton the tune is known simply as “The Weeping Birches.”
Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton)
[Cranford].
WEEPING WILLOW. Old‑Time. USA, Alabama. Vocalion 5365
(78 RPM), Stripling Brothers (
WEEPING WILLOW TREE, THE. English, Morris Dance Tune (6/8 time). G
Major. Standard tuning. A,A,ABABABAB. The melody was collected from the village
of Headington, Oxfordshire, in England's Cotswolds, along with these words:
***
Oh, once they said my lips were red and now they're scarlet pale,
Oh, I was a silly girl to believe this flattering
tale.
He vowed he'd never deceive me; I like a silly believed he,
The moon and the stars they shone so bright,
Over the willow tree. (Quarry Men, c. 1950)
***
Oh, once they said my cheeks were red, but now they are drawn and pale,
When I like a silly girl believed his flattering tale.
He said he's never deceive me, and I like a silly believed he,
When the moon and the stars so brightly shone
Over the willow tree (Journal, English Folk Dance & Song Society)
***
Bacon (The Morris Ring), 1974; pg. 190.
WEEVILY WHEAT. See note for “Christmas Eve” [4].
WEINDIA
LITTLE (DA BURN O). Shetland, Shetland Reel. D Major.
Standard tuning. AABB. This traditional tune is widely known in the Shetlands
as it has been in the repertoire of Shetland fiddle band. It is named after a
burn that ran down to the sea close to the home where the source, Shetland
fiddler Arthur Peterson, was born in Hillswick. Source for notated version:
Arthur Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson
(Da Mirrie Dancers), 1970; pg. 22. Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996).
___________________________________________________
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