© 1996-2008 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. 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
dcBA B3c | defd cAGF | DA BG/F/ F3 || C | F>F FD E2 C>A | cdcA B3c |
defd
c2 AF | c>B GE F3 ||
WE ARE BOLD VOLUNTEERS. Irish, Air (6/8 time). B Flat Major. Standard. 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:B_
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 BE SOLDIERS THREE. English, Ballad Air (3/4 time). G Dorian. Standard. 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. 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. 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 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:D Minor
(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:A Minor
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:B_
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 Peculi