The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

_______________________________

HOME        ALPHABETICAL FILES        REFERENCES

 

WE - WEK

 

 

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

K:D

Add dcd | e2c A2A | Aee e>fg | a2f d2 a/g/ | (f>g)a agf | b2g e2(g/f/) | e>fg (gfe) |

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. England, Northumberland. C Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 321.

           

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

A/B/ | cA F>F F>G AF | GE C>C C3C | FFFD E2 C>A | cc d>=B c3 A/_B/ | 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 tuning. One part. Source for notated version: "From an anonymous correspondent in Dundalk.” Joyce (Old Irish Folk Music and Songs), 1909; No. 218, pg. 106.

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 (Dublin, 1726), which Ó Canainn (1978) believes to be the first real collection of exclusively Irish folk music. It also appears in Burke Thumoth’s collection of c. 1750 and Cooke’s Selection of Twenty-one Favourite Original Irish Airs arranged for Pianoforte, Violin or Flute (Dublin, 1793). Breandan Breathnach, in Folk Music and Dances of Ireland, notes that the air is an example of the rare airs in Lah (Aeolian) mode.

***

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, Long Island, painter and fiddler William Sidney Mount, on a page dated 1840.

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 Ireland (1903), No. 342

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. England, Northumberland. Kidson declares this to be similar to a melody William Shield (1748-1829) uses in his “pasticcio” opera Robin Hood, or Sherwood Forest for the song “The lasses are mad.” The opera was produced in 3 acts at Covent Gardern in April, 1784, although some of the music may have been composed by other than Shield (as was common practice at the time). Kidson thinks Shield, being from the north of England, may have had knowledge of the tune and so employed it in his work. Kidson obtained the tune from a Northumbrian pipe MS of about 1816. The second part of the tune resembles that of "The Cock o' the North [1]." Kidson (Old English Country Dances), 1890; pg. 21.

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 Scotland and Ireland, according to Fraser, whose national origin was unknown. He claimed it had been known "as one of the incentives of rebellion" among the Scots Highlanders "since the 1745." Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1816; pg. 136.

                       

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. England, Northumberland. D Mixolydian. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 483.

                       

WE WILL DOWN WITH THE FRENCH. See “Down with the French.”

                       

WE WILL GO TO TARA'S HILL. Irish, Air (6/8 time). E Dorian. Standard tuning. AB. "There was a Ninety‑eight song to this air" (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. 598, pg. 310.

                       

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 France. Kidson (1915) reports it was a favorite with the unfortunate Queen Marie Antoinette, who learned it from a peasent woman brought in to nurse her child. It was the vehicle for a morris dance (in two parts, linked with a phrase from "The Cuckoo's Nest") collected from the village of Bidford, Warwickshire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pgs. 67 & 73. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 2. Merryweather (Merryweather’s Tunes for the English Bagpipes), 1989; pg. 48. Raven (English Country Dance Tunes), 1984; pg. 27. Sharp (Country Dance Tunes), 1909/1994; pg. 3.

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 America the song was evidently quite popular as the melody appears in the music manuscript copybooks of Captain George Bush (1779), Ishmael Spicer (1797-c. 1814), James Hosmer (Connecticut, 1799), Silas Dickinson (Massachusetts, c. 1800) and Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. It was published in Alexander Reinagle’s Collection of Favorite Songs, Book 1, in Philadelphia, 1789, and in Riley’s Flute Melodies (New York, 1814).

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 Galway piper) [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 541, pg. 137.

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 Dublin in 1864 and New York in 1865. The stage version lyrics were rewritten by Dion Boucicault (1820-1890), “to an old melody,” at the suggestion of his mother. The tune itself is printed in Havety's One Hundred Irish Airs, 2nd series, (1859). The ‘wearing of the green’ refers to the outlawed green cockade worn by the Irish rebels, an adaptation of the French cockade and Tree of Liberty of the 1789 revolution. Redfern Mason wrote in his Song Lore of Ireland (1910):

***

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 United States and England, and remained in the company’s catalog into the 1950's. In Scotland the melody is used for the song "Sae Will We Yet,” a convivial end-of-evening song. O'Neill (O’ Neill’s Irish Music), 1915/1987; No. 99, pg. 55. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 467, pg. 81. Sweet (Fifer’s Delight), 1965/1981; pg. 15.

X:1

T:Wearing of the Green, The

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 467

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 Dunkeld, Scotland, fiddler Niel Gow (1727-1807) as “Colonel Robertson of Strewan’s Welcome Home.” There was a Wearmouth at the mouth of the RiverWear on the North Sea in northern England, which became the town of Sunderland. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 5. Bash CD51, Chris Coe – “A Wiser Fool.”

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). England, Yorkshire. A Major. Standard tuning. AABB. The tune appears in several English musicians’ manuscript collections of the 19th century, including John Moore (Tyneside, 1841), Laurence Leadley (see below), the Browne family manuscripts (Troutbeck, Cumbria), and William Hall Lister (East Boldon, near Newcastle, mid-19th c.). Source for notated version: an MS collection by fiddler Laurence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Callaghan (Hardcore English), 2007; pg.; 66. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 78, pg. 47 (appears as an untitled jig).

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. Ireland, County Donegal. Source for notated version: William Allingham (Donegal) [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905.

 

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 Ireland (1903), No. 348

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. Canada, Cape Breton. Composed by the late fiddler and pianist John Morris Rankin (d. 2000, Cape Breton, N.S.), member of the popular group The Rankin Family. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).

 

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|

ede =gdB|AAA A2 :: e|c2e ece|AA=g f3|c2e ecA|B2c dB=G|

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]. Cranford (Winston Fitzgerald), 1997; No. 171, pg. 68. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 45.

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 County Limerick and now resident of Vermont state. Black (Music’s the Very Best Thing), 1996; No. 96, pg. 49.

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 Highlands of Scotland and the Isles), 1874; No. 21, pg. 7. Kerr (Merry Melodies), vol. 3; No. 181, pg. 21. Stewart-Robertson (The Athole Collection), 1884; pg. 292 (appears as “The Weaver’s Daughter”).

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. Ireland Kerry. D Major. Standard tuning. AABB'. Source for notated version: Chieftains (Ireland) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 286. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 63. Claddagh CC14, Chieftans‑ "Chieftains 4." Front Hall 09, How to Change a Flat Tire‑ "A Point of Departure." Shanachie 79024, "Chieftains 4" (1972/1983).

 

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 COUNTY DOWN. Irish, Slow Air (3/4 time). G Dorian. Standard tuning. AABB. Source for notated version: Patrick MacDowell, "the distinguished sculptor: born in Belfast 1799: died in 1870" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 530, pgs. 284‑285.

                       

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 Highlands of Scotland and the Isles), 1874; No. 203, pg. 84.

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 village of Bampton, Oxfordshire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 46. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 35, pg. 17 (appears as "Webley Jig"). Veteran VT111, Francis Shergold - "Greeny Up" (1988. Recorded from Bampton musicians).

           

WEBSTER’S TUNE. Old-Time, Quadrille (6/8 time). USA, Missouri. In the repertoire of Missouri fiddler Cyril Stinnett.

                       

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. (Edinburgh, c. 1792). Wedderburn Castle, a Scottish Georgian country mansion, is located in the south east Borders region near the town of Duns. Both the structure and lands have been held of the Home family from the 14th century to the present day, although the building has evolved from the original fortified tower. Mary Queen of Scots stayed there on her journey to survey the English defensive walls at Berwick-upon-Tweed. 

***

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 Castle as it came to be called because of the crenulations just becoming popular in the mid-18th century, was justly willed to George Home, the builder. The last additions were made to the structure in the 1820’s; a front porch and two-story stair hall, where guests ascend the grand sweeping steps to the reception rooms.

***

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 Cape Breton Fiddle Music in New Hampshire), 1984; pg. 9. Mike MacDougall's Tape for Father Hector.

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 Ireland: 1000  Gems), 1907/1986; No. 597, pg. 109.

X:1

T:Wedding, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 597

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

T:Wedding Reel, The

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 Atlanta, Georgia, for OKeh records on March 15, 1929, by fiddler Bill Shores with guitarist Melvin Dupree and mandolinist Fred Locklear. According to Wayne W. Daniel (Pickin’ on Peachtree, 1990), “Shores was a native Alabamian who spent most of his life in the Rome, Georgia, area,” and was one of the lesser-known north Georgia fiddlers who recorded in the era.

 

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. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 52. Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

 

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. Ireland, County Donegal. G Major. Standard tuning. ABB’CC’. Caoimhin Mac Aoidh (1994) reports that in County Donegal tradition this jig was played for an Irish bride as she was 'hauled' from her home to the chapel, or as she was 'hauled home' to the bride's house for the wedding dinner and dancing (see also notes for the tunes it substituted for: "Haste to the Wedding [1]" and "Ta do Mhargadh Deania").  Green Linnet SIF-1109, Altan - "The Red Crow" (1990. Learned from the late Frank Cassidy, fiddler from Teelin, County Donegal). Nimbus NI 5320, Dermot McLaughlin - “Fiddle Sticks: Irish Traditional Music from Donegal”  (1991).

X:1

T:Wedding Jig, The

M:6/8

L:1/8

K:G

G2 B, G,A,B, | DEF G2 E | EB,E G2 A | BGE E2 F |

G2 B, G,A,B, | DEF G2  E| DA,D F2 d | AFD DEF :||:

GAG {A}GFG | ABA {B}AGA | BGB GBc | def ~g3  |

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 G2 A | BGE EB^c |

{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 Norway. Source for notated version: Boys of the Lough (Ireland/Shetland) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 287. Martin (Traditional Scottish Fiddling), 2002; pg. 97. Front Hall FHR‑021, John McCutcheon ‑ "Barefoot Boy with Boots On" (1981. Learned from fiddler Aly Bain). Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000). Philo 2019, Anderson and Bain‑ "The Silver Bow." Shanachie 79002, "The Boys of the Lough" (1973). Trailer 2086 ‑ "Boys of the Lough."

                   

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). Cape Breton, Jig. A Mixolydian. Standard tuning. AABB. A different setting of the tune appears in MacDonald's Gesto Collection of Highland Music (1895) as a quickstep (a pipe march in 6/8 time); Kate Dunlay (1989) says Cape Breton fiddlers frequently use quickstep tunes as jigs.

***

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 Cape Breton."

                   

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 Ireland: 1001 Gems (1907), No. 996

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’ Blyth, The

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" (Seattle). Seattle (William Vickers), 1987, Part 2; No. 290 (two versions).

                   

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. England; Shropshire, Lincoln, Yorkshire. D Major. Standard tuning. AABB. Matt Seattle notes the first strain resembles the French bourree "Alfred Pommier." The melody was first published in the London periodicals of John Hinton (Universal Magazine of Knowledge and Pleasure, 1759) and R. Baldwin (London Magazine, or Gentleman’s Monthly Intelligencer, 1763). It was also published by Charles and Samuel Thompson (200 Favourite Country Dances, London, 1765) and Straight & Skillern (Two Hundred and Four Favourite Country Dances, vol. 1, London, 1775). Despite these early English printings, the tune has been claimed as Welsh and can be found under the title “Nos Fercher.” It appears in the J. Lloyd Williams MS 53, a small volume that belonged to John Williams, Llanfachraeth, Anglesey, in 1833, although the tunes may have been noted at the end of the 18th century. No Welsh printings survive that are earlier than the English publications. The melody can also be found in the music manuscripts of Joshua Jackson (1763-1839), a fiddler from North Yorkshire, William Clarke (Lincoln, 1770), and John Moore (referenced below). Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 35b, pg. 11. Callaghan (Hardcore English), 2007; pg. 54. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 46. Sain SCD, Ar Log – “Ar Log IV, V” (2002. Originally recorded 1991). Sain SCD 2908, Crasdant – “Nos Sadwrn Bock/Not Yet Saturday” (2001. Appears as “Nos Fercher”).

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:Wales
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. Missouri State Old Time Fiddlers' Association, Cyril Stinnett (1912-1986) - "Plain Old Time Fiddling." In the repertoire of Leake County, Mississippi, twin fiddle band Freeny's Barn Dance Band, c. 1930.

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

L:1/8

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

K:B_

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 CAM' TO OUR HA' DOOR, A. AKA and see "Wae's Me for Prince Charlie."

                   

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've the trenchin blades o' weir wad prune you o your German gear

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 HIGHLAND LADDIE. Scottish, Reel. Composed by Pipe Major Donald MacLeod. John MacFadyen Collection. Green Linnet GLCD1182, The Tannahill Weavers - “Choice Cuts 1987-1996.”

                       

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 Nova Scotia piper Barry Shears in remembrance of  his friend Bill Magennis, whose nickname in his World War II commando unit as “Wee Paddy.” Magennis was a former Pipe Major of Canada’s Black Watch, and died in 1988. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 72.

                       

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:

***

Wee Totum Fogg

Sits upon a creepie;

Half an ell o' gray

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 Limerick: “I remember also a few lines of the song, but they are quite unworthy of preservation.” Petrie’s “Wee Bag of Praties” is a similar title. Joyce (Ancient Irish Music), 1890; No. 43, pg. 45.

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, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 66, pg. 45.

X:1

T:Weel Done Jack

M:6/8

L:1/8

R:Jig

S:Lawrence Leadley ms. (c. 1840’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 Scots Musical Museum), vol. 5, No. 427.

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 Edinburgh in 1772. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Cole (1000 Fiddle Tunes), 1940; pg. 46. Howe (1000 Jigs and Reels), c. 1867; pg. 126. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 11. Ryan’s Mammoth Collection, 1883; pg. 74.

X:1

T:Weel May the Keel Row

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]. Cranford (Winston Fitzgerald), 1997; No. 222, pg. 89. Hunter (Fiddle Music of Scotland), 1988; No. 64.

                                   

WEEPING WILLOW. Old‑Time. USA, Alabama. Vocalion 5365 (78 RPM), Stripling Brothers (Alabama) {1934}.

                                   

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).

 

___________________________________________________

HOME        ALPHABETICAL FILES        REFERENCES

 

© 1996-2009 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.