The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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WH - WHE

 

 

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, 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]

 

 

 

WHA... See also "Who..."

 

WHA CAN HELP IT. AKA and see “Salute to Boston.” Scottish, Jig or Air (6/8 time). C Major (MacDonald): A Major (Gow). Standard tuning. AAB. The melody is attributed to Niel Gow (1727-1807) by his son Nathaniel Gow (1763-1831) in the Gow's Sixth Collection (1822), but a version first appeared in print Malcolm MacDonald's Second Collection (1789) a volume dedicated to the Earl of Breadalbane, reprinted in 1797. MacDonald was a bass player in Nathaniel Gow's band and perhaps heard the tune played by Gow. It is possible MacDonald did not know who had written it, or, as was common in those days, simply omitted the composer. Cape Breton musicians play a jig tempo version called “Salute to Boston,” although some of the second strain melodic material differs from Gow’s original. “Bonnie Strathmore” has some similarities to this tune. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 4. MacDonald (A Second Collection of Strathspey Reels), 1789; pg. 6. Culburnie Records 120, Alasdair Fraser – “Legacy of the Scottish Fiddle.” Rounder Records 7020, Alex Francis MacKay – “Lifelong Home.” Smiddy Made SMD 615, Pete Clark – “Even Now” (2007).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

X:1

T:Wha Can Help It

M:6/8

L:1/8

R:Jig

S:MacDonald – 2nd Collection of Strathspey Reels  (1789)

Z:AK/Fiddler’s Companion

K:C

 E | CEG GEG | AGA c2d | {f}edc (e/f/g)e|dDD D2E | CEG GEG |

AGA c2f | {f}”tr”e2c (e/f/g).d | ecc c2 :||g | (e/f/g)e c2e | gag gec | faf ege |

afd d2f | (e/f/g)e c2e | gag gec | {f}e2c (e/f/g).d | ecc c2g | (e/f/g)e c2e |

gag gec | faf ege | afd d2f | ece fdf | ece f2a | gec (e/f/g)d | ecc c2 ||

X:2

T:Wha can help it

M:6/8

L:1/8

R:Air

N:”Slowly”

C:Niel Gow (1727-1807)

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:A

C/B,/|A,>CE ECE|FEF A2B|{AB}c2A {Bc}d2c|BB,B, B,2 C/B,/|A,CE ECE|

FEF A2B|{AB}c2A {Bc}d2B|cAA A2:||c/d/|e>fe ece|agf ecA|(d/e/f).d ecA|

GBB B2 c/d/|e>fe ece|agf ecA|~dcd Bed|cAA A2 c/d/|efe ece|agf ecA|

(d/e/f).d ecA|GBB B2 C/B,/|”tr”A<CE ECE|”tr”FEF A2B|(A/B/c).A (B/c/d).B|cAA A2||

 

WHA LEARNED YOW TO DANCE AND TODDLE?  Scottish. The tune appears in the Skene Manuscript of c. 1615. It is similar to the English tune "Cushion Dance." Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

 

WHA SAW THE FOURTY TWA. AKA- “Wha Saw the Forty-Second.” AKA and see “March Past,” “Wha’ Widna Fecht for Charlie.” Scottish, English; Air, Polka, Morris Dance Tune (2/4 time). G Major. Standard. AABB. The title refers to the British 42nd Regiment, the famous Scottish 1st Battalion Black Watch. The tune has been employed for a number of uses, including for a polka step in the North‑West (England) polka tradition and Irish polka (a variant called “Din Tarrant’s” [6]). It is perhaps most famous as an air belonging to the song “Wha’ Widna Fecht for Charlie,” but the melody also is associated with another song, a Glasgow street song, called “Wha saw the 42nd”, with the refrain:

***

Wha saw the Forty-Second,
Wha saw them gang awa?
Wha saw the Forty-Second,
Marching doon the Broomielaw

Some of them had kilts and bunnets,

Some o’ them had nane ava’,

Some o’ them had tartan troosers

Marchin’ tae the Broomielaw!         [Ed.: the Broomielaw was the Glasgow dock from which troopships sailed]

***
David Murray (Music of the Scottish Regiments, Edinburgh, 1994) says the song might refer to the irregular dress of replacement troops, made up of reservists and volunteers who had little notice before having to embark for overseas. Thus there was little time to equip or uniform them prior to marching to the troopships. Murray says the Black Watch absorbed the tune and played “Wha saw the 42nd” when leaving a station; it was played when the regiment departed for the Korean War in 1953.

***

The song itself has been much parodied and rewritten. Nigel Gatherer finds several  variants, including “Wha saw the cotton-spinners?” which refers to a strike in Glasgow in the 1880’s. Another song goes:
***
Wha saw the tattie howkers,
Wha saw them gang awa?
Wha saw the tattie howkers,
       [howkers – from the Scottish ‘to dig’: tattie howkers = potato diggers]
.......... the Berwick Law?

***

Wha saw the Forty-Second,
Wha saw them gang awa?
Wha saw the Forty-Second,
Gaein' tae the wappenshaw.
          [wappenshaw = military parade]
***
Some o' them gat chappit tatties,
Some o' them gat nane ava;
Some o' them gat barley bannocks,
Gaein' tae the wappenshaw.

***
Wha saw the Forty-Second (etc)
***
Some o' them had tartan troosers,
Some o' them had nane ava;
Some o' them had green umbrellas,
Marchin' doon the Broomielaw.

***
Gatherer says that other variants mention the "Zulu war" and "Wha saw the bonnie lassies" (…Some had shoes and stockings on, ithers they had nane at a'" which is supposed to have referred to a pleasure boat tragedy).
Wade (Mally’s North West Morris Book), 1988; pg. 7.

 

WHA THE DEIL HAE WE GOTTEN FOR A KING?  AKA and see "The Wee(, Wee) German Lairdie," "Such a Parcel of Rogues in a Nation," "The Rashes," "Playing Amang the Rashes." Scottish.

 

WHA' WIDNA FECHT. Scottish, Jig. G Major. Standard tuning. AABB. A jig-time setting of “Wha Wadna Fecht for Charlie,” below. Kerr (Merry Melodies), vol. 2; No. 308, pg. 34.

X:1

T:Wha’ Widna Fecht

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 2, No. 208

Z:AK/Fiddler’s Companion

K:G

GGG G2A|BAG Bcd|GGG G2A|BdB A3|GGG G2A|

BAG Bcd|egg dgg|Bgg A2d::Bdd ded|gdd ede|Bdd ded|

gdB A2d|Bdd ded|gdd edd|egg dgg|Bgg A2d:|

 

WHA' WADNA/WIDNA FECHT FOR CHARLIE. AKA and see “March Past,” “Wha Saw the Forty Twa,” "Will you go and marry Katie." Scottish, Strathspey. G Major (Kerr, Stewart-Robertson): F Major (Howe). Standard tuning. AB (Howe): AABB (Athole): AA'BB' (Kerr). The title comes from a song by and unknown author to the melody "Will you go and marry Katie." "Wha Widna..." is one of the tunes sometimes used to accompany the dance Seann Triubhas (along with the more employed "Whistle o'er the lave o't"). In Ireland the tune is rendered as a polka that goes by the titles “Din Tarrant’s” [6], “Jim O’Keeffe’s,” “O’Keeffe’s (Polka)"[1] and  Mert Plunkett’s.” A Scottish street song to the tune is called “Wha saw the 42nd?”

***

English morris dancers employ the tune as an accompaniment, calling it “March Past,” a term that often refers to the marching past of a military unit in review (i.e. the regimental band plays the specific regimental march past tune as they pass in review). In fact, “Wha’ Wadna Fecht” is the official march-past tune of the 22nd Cheshire Regiment, the last surviving English County Regiment of the Line, which adopted it in 1881. Despite the Jacobite-sounding title, David Murray (Music of the Scottish Regiments, Edinburgh, 1994, pg. 207) states the tune (at least as employed by the British army) commemorates the conquest of the province Sind, part of the Indian subcontinent and now part of Pakistan. The 22nd Cheshire’s were the only British unit involved in the fighting, a hard-fought campaign, that also included Indian forces of the East India Company’s Bombay army. The combined force was commanded by Sir Charles Napier, explains Murry, who, when he became Colonel of the 22nd in 1850 presented the regiment with new colours at Dagshai, near Simla, in the Himalayan foothills. Napier defeated the army of the Baluchis, some 30,000 men, with a force of just 2,800 of his own at the battle of Miani, and went on to become one of the most famous British Victorian era military figures.

***

Howe (1000 Jigs and Reels), c. 1867; pg. 126. Kerr (Merry Melodies), vol. 2; No. 122, pg. 15. Stewart-Robertson (The Athole Collection), 1884; pg. 167.

X:1

T:Wha Wad’na Fecht for Charlie

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:G

D | GGG>A B>A B<d | GGG>c B<d A>B | GGG>A B<A B>d | e>gd>g B>g A :|

|:c | B>d de/f/ g>de>d | B>d de/f/ g>B A<c | B<d de/f/ g>de>d | e<gd<g B<g A :|

 

WHACK AT THE WHIGS, A (Buille Ar Na Uigaib). AKA and see “Curl the Wig,” "Leather the wig." Irish, Slip (Hop) Jig (9/8 time). G Dorian. Standard tuning. AAB. The Whigs are an English political party. See also the related “Will You Come Down to Limerick?” O'Niell (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 424, pg. 84. Roche Collection, 1982; vol. II, pg. 27.

X:1

T:Whack at the Whigs, A

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 424

Z:AK/Fiddler’s Companion

K:G

d | cAG G2d G2d | cAG G2d cAG | cAG G2d G2d | cde =f2d cAG :|

|: d2g faf g2g | d2g g2a bag | =f2f fge f2f | cAc =f2d cAG :|

 

WHALE POLKA, THE. English, Polka. England, Yorkshire. D Major. Standard tuning. AAB. 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. 95, pg. 54.

 


WHALEN'S BREAKDOWN. Canadian, Reel. C Major. Standard tuning. AA'BB. The tune was popularized by the great Canadian radio and TV fiddler Don Messer, originally from New Brunswick, Canada. A jig time variant of this reel is called “Bride of the Winds.” Source for notated version: Vivian Williams (Seattle) [Phillips]. Page, Northern Junket, vol. 6, No. 8, February 1959; pg. 22. Page, Northern Junket, vol. 10, No. 10, October 1971; pg. 28. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 254. Alcazar Dance Series FR 204, Rodney Miller - "New England Chestnuts 2" (1981).

X:1

T:Whalen’s Breakdown

M:2/4

L:1/8

R:Reel

S:Page – Northern Junket, vol. 10, No. 10 (1971)

Z:AK/Fiddler’s Companion

K:C

e/f/|g^f ag|g/a/g/e/ cd/c/|BG AB|c/B/c/d/ ee/f/|g^f ag|

g/a/g/e/ cd/c/|BG AB|(c2 c)z::G/F/|EC DE|F/E/F/G/ Ad/c/|

BG AB|c/B/c/d/ eG/F/|EC DE|F/E/F/G/ Ad/c/|BG AB|(c2 c)z:||

 

WHA'LL (Who'll) BE KING BUT CHARLIE (Se ‘n Righ a th’ again is fhèarr leinn AKA and see "Behind the Bush in the Garden [1]," "Fy Buckle Your Belt," "I Won't Do the Work" (Jig),  "I Sat in the Valley Green,"  "More Power to Ye,"  "Over the River (Water) to Charlie" (Pa.), "Royal Charlie," "Se'n Righ a th'againn is fearr leinn" (We Prefer Our Own King), "Times Are Mighty Hard."  Scottish, Air and Jig. C Major (Carlin, Fraser, Martin): D Major (Kerr). Standard tuning. One part (Hardie): AB (Carlin, Fraser, Howe, Martin): ABB' (Kerr). "Wha'll be King" has been called a "grand old Jacobite rallying song." "(It) is a melody common to Ireland as well as the Highlands of Scotland,‑‑but, having been known in this country since 1745, as one of the incentives of rebellion; if originally Irish, some of the troops or partisans engaged for Charles from that country might have brought it over,‑‑but the melody is simple and beautiful, assimilating itself very much to the style of either" (Fraser). This optimistic Jacobite song and tune (beginning "Wha'll be King but Charlie, the news frae Moidar cam' yestreen") has sometimes erroneously been attributed to Scottish fiddler Niel Gow, though he apparently never sought the honor. Bayard (1981) identifies the lyrics as anonymously composed, while the tune is, in its earliest printing, Captain Simon Fraser's "We Prefer Our Own King" (Se'n Righ atha ahuin is fear linn). Dunlay & Greenberg (1996) believe the setting of the tune in Kerr, which they say is “a rather strange combination of the keys D Major and B Dorian,” probably comes from Gale’s Pocket Companion (c. 1800), and that a related setting in C Major can be found in the Edinburg Repository of Music (1825). “Wha’ll be King” appears in The Songs of Scotland (1877) complete with Scots verses (though the parts are reversed from some instrumental versions). The jig is sometimes used to accompany the dance Flora MacDonald's Fancy, though "I Ha'e Laid a Herrin' is Salt" is the usually preferred tune (Emmerson, 1972). Irish versions of the tune are the well-known jig “Behind the Bush in the Garden [1]” and the slide “The Tidy Woman.” Carlin (Master Collection), 1984; No. 158, pg. 94. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1816/1874; No. 136, pg. 55. Hardie (Caledonian Companion), 1992; pg. 44. Howe (1000 Jigs and Reels), c. 1867; pg. 136. Kerr (Merry Melodies), vol. 1; No. 20, pg. 32. Martin (Traditional Scottish Fiddling), 2002; pg. 25. Green Linnet SIF‑1070, Silly Wizard ‑ "A Glint of Silver" (1986). Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

X:1

T:Wha’ll be King but Charlie

M:6/8

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:Amin

B | c2B c2d | e2f e2d | c2B c2d | e3A2B | c2d e2a | g2e d2e | c2A BA^G | A3A2 ||

B | c2A AGE | c2A AGE | c2A AGE | G3G2B | c2d e2a | g2e d2e | c2A BA^G |

A3A2B | c2A AGE | c2A AGE | edc dcB | cBA GAB | c2d e2a | g2e d2e | c2A BA^G | A3 A2 ||

 


WHA'LL DANCE WI' WATTIE. AKA and see "Cripple(d) Kitty." Shetland, Shetland Reel. Shetland, Nesting. A Mixolydian. Standard tuning. AABB. "A traditional reel from the North Mainland of Shetland. 'Wattie' was a seaman who was very fond of dancing. When he was home on leave and attending a local dance his partners had to work very hard to keep pace with him, and the word would go around 'Who'll dance with Wattie now?'" (Anderson). Anderson (Ringing Strings), 1983; pg. 79. Front Hall 018, How To Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland" (1978. Learned from Shetland fiddler Tom Anderson).

 

WHAR WAD BONNY ANNE LIE. AKA and see "Where Wad Our Bonny Anne Lie," "Red House."

 

WHAR WAD OUR GUIDMAN LIE. AKA and see "Where Wad Our Guidman Lie," "Red House."

 

WHAT A BEAU YOUR GRANNY WAS. AKA – “What a Beau My Granny Was.” English, Reel. D Major. Standard tuning. AABB. The Hardy version is from Geminiani's The Entire New and Compleat Tutor for the Violin, however, the tune is also contained in the Aylemore Manuscript (currently held in the Barbican House Museum of the Sussex Archaeological Society, Lewes, England). The melody has been attributed to English composer William Shield, and, from the sound of the title may have begun as a song in a ballad opera. In addition to the 1796 Aird publication (below), “What a beau…” was published in Wheatstone’s Clarinet Preceptor (London, 1801). In America, the tune was published by Benjamin and Joseph Carr in Evening Amusement (Philadelphia, 1796), Edward Riley in Flute Melodies, vol. 1 (New York, 1814), Blake’s Gentleman’s Amusement, No. 2 (Philadelphia, 1824), and Daniel Steele in New and Complete Preceptor for the Fife (Albany, 1815). The popular melody was included in musicians’ manuscripts on both sides of the Atlantic. Thomas Hammersley (London, 1790), John Rook (Wigton, Cumbria, 1840), Daniel Henry Huntington (Onondaga, N.Y., 1817), Thomas Mollyneaux (Nova Scotia, 1788), Luther Kingsley (Mansfield, Conn., 1795), George Oits (Worcester, Mass., 1793), and Eben Irving (Middletown, N.Y., 1796). Country dance instructions for the melody appear in Saltator’s Treatise on Dancing (Boston, 1807), Preston’s Selection of the Most Favorite Country Dances, Reels (London, 1796), and the Phinneys’ Select Collection of the Newest and Most Favorite Country Dances (Ostego, N.Y., 1808).

***

The title is taken from the refrain of a song, “What a Beau My Granny Was,” a complaint about modern fashion, and a sentimental remembrance all at once!  This lyric is taken from an American collection of 1833:

***

My granny had but her own hair,

Which she in comely mode did wear,

But now with wool they load each skull,

And frizzle it to make it stare;

With feathers high as if ‘twould fly,

Each girl for beauty aims to pass,

But ‘twas not so long time ago,

When a great beau my granny was.

***

My granny was both fair and plump,

And like a squirrel she could jump,

With coral lips and natural hips,

But now each girl has her cork rump.

The pleated ruff looks well enough,

Now pigeons’ craws they wear, alas!

Stuck out before like the breast of a boar,

O what a beau my granny was.

***

Aird (Selections of Scotch, English, Irish and Foreign Airs, vol. 4), 1796; pg. 6. Gammon & Loughran (Sussex Tune Book), c. 1980’s. Mattson & Walz (Old Fort Snelling…Fife), 1974; pg. 90. Trim (Trim Hardy), 1990; No. 88.

X:1

T:What a Beau My Granny Was
C:Aylemore MS
N:from the Knots of May repertoire
Q:1/4=180
I:abc2nwc
M:4/4
L:1/8
F:http://members.aol.com/LewesArmsFolk/Vol7.abc    2005-05-31 12:22:55

F:posted to Tradtunes 5/31/05
UT
K:D
f3d e3c|d2B2A2G2|F2A2d2f2|e2A2A2g2|
f3d e3c|d2B2A2G2|F2A2B2c2|[1d2D2D2g2:|[2d2D2D2D2
|:A3F A2F2|B3G B2G2|F2A2d2f2|e2A2A2A2|
A3F A2F2|B3G B2G2|F2A2B2c2|d2D2D2D2:|

X:2

T:What a beau your granny was

M:C|

L:1/8

S:Rook manuscript (Wigton, Cumbria,1840)

K:D

g|fdec dBAG|FAdF GE2e|fdec dBAG|FdEc dD2:|

|:G|FADA GBEG|FAdf eE2G|FAdf gedc|dBAG FDD:|

 

WHAT AILS YOU? [1] (Go De Ta Ort?).  Irish, Single Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 66. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1079, pg. 203. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 393. pg. 79.

X:1

T:What Ails You?

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 393

Z:AK/Fiddler’s Companion

K:D

A | d2d def | e2d c2A | B2B BAF| A2A ABc | d2d de f | e2d c2A | B2A GEF | D2D D2 :|

|: B | A2G FEF | A2A A2g | f2d edB | d2d d2B | A2G FEF | A2A A2A | Bcd edc | d2D D2 :|

 

WHAT AILS YOU? [2]. English, Reel.. D Major. Standard. AABB. Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown Tune Book]. Plain Brown Tune Book, 1997; pg. 47.

 

WHAT ARE WE GOING TO DO WITHOUT TIMBER? AKA and see “Cill Chais.

 

WHAT CALL HAVE YOU TO ME NED. Irish, Double Jig. G Major. Standard. AABB. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 49, pg. 21. Roche Collection, 1982, Vol. 1; No. 122, pg. 50‑51.

X:1

T:What Call Have You to Me Ned

M:6/8

L:1/8

R:Jig

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:G

dBG GFG | GFG ABc | dBG {A}GFG | EAG FED | dBG GFG |

GFG Bcd | ceg dBG | ABG AFD :: (Bcd) (ded) | ded dcB |

(cde) e=fe | e=fe edc | (Bcd) (ded) | dBc dfa | gfe dcB | ABG FED :|

 

WHAT CAN HE GOTTEN TO GIVE HER?  Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 

WHAT CARE I FOR ANYTHING NOW?  AKA ‑ "I Care for Nothing Now," "Ho gur coma leam h‑uile ni th'ann." Scottish, Jig. D Major. Standard tuning. AAB. This tune "is one of the songs of a desponding Jacobite, who thought life not worth enjoying, since the failure of Prince Charles's enterprise, but who afterwards lived to be convinced that its failure was the most fortunate thing that ever happened the country; and that, during the half‑century which has since elapsed, it has made more rapid strides to civilisation and improvement, than it did at any time since Noah's flood left it" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; Nop. 160, pg. 65.

 

WHAT CARE I FOR THE MINISTER? (Coma leam fhein am Ministear). Scottish, Jig (9/8 time). C Major. Standard tuning. AB. "The Highlanders, it would seem, were as much inclined as others to resist the authority assumed by the clergy, in extorting confessions, and venting public reproofs, &c., as the words to this air appear to intimate, and they felt pparticularly sore upon this point, if the clergyman was a worthless person himself" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 42, pg. 15. Hardie (Caledonian Companion), 1992; pg. 45.

X:1

T:What care I for the Minister

T:Coma leam fein am Ministear

M:9/8

L:1/8

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:C

G|E/F/GG G2c GEC|E/F/GG GAB c2e|E/F/GG G2c GEC|D2_B BFD F2D|

E/F/GG G2c GEC|E/F/GG GAB c2e|E/F/GG G2c GEC|D2_B BFD F2||g|

ecg eca gec|ecg eca f2a|ecg eca gec|_B2_b bfd f2g|ecg eca gec|ecg eca f2a|

gfe dcB cGE|D/E/FD _BFD F2||

                       

WHAT CARE I HOW FAIR SHE BE?  AKA and see "Shall I Wasting in Despair."

                       


WHAT DO YOU THINK OF HER NOW?  AKA and see “Bashful Maid,” “Biddy Maloney,” “Maloney’s Fancy,” “Maloney’s Wife” “Mellonie’s Jig,” “Miss Ommany’s Reel,” “Paddy in London.” English, Jig. England, Northumberland. D Major. Standard tuning. AABB. The melody appears under this title in the 1770 music manuscript copybook of Northumbrian musician William Vickers, about whom little is known. Seattle (William Vickers), 1987, Part 3; No. 458.

X:1

T:What Do you think of Hir [sic] Now

M:6/8

L:1/8

R:Jig

S:William Vickers’ music manuscript copybook, pg. 137  (1770)

Z:AK/Fiddler’s Companion

K:D

FGA AFA|AFA AFA|BGB AFA|BGE E3|FGA AFA|

AFA ABc|dcB AFd|AFD D3::afd gec|fdB ecA|

dBG AFA|BGE E3|agf gfe|fed edc|Bcd edc|dAF D3:|

                       

WHAT FAIRY-LIKE MUSIC. English (?). C Major. Standard tuning. AABB. Howe (Complete Preceptor for the Accordeon), 1843; pg. 26.

X:1

T:What Fairy-Like Music

M:3/8

L:1/8

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:C

c/d/ | ee f/e/ | dd e/d/ | cdB | cG c/d/ | ee f/e/ | dd e/d/ | c/e/ d/f/ B/d/ | c2 :|

|: B/c/ | dd c/d/ | ee d/e/ | ff e/f/ | g2 c/d/ | ee f/e/ | dd e/d/ | c/e/ d/f/ B/d/ | c2 :|

                       

WHAT GUDGEONS ARE WE MEN. AKA and see "Down in the North Country."

                       

WHAT HIGH OFFENCES HAS MY FAIR LOVE TAKEN. The melody appears in the Skene Manuscript, c. 1615, but, according to Samuel Bayard (writing in his article “A Miscellany of Tune Notes”) is not Scottish. Florimond van Duyse, in Het Oude Nederlandsche Lied, II (Amsterdam, 1905), identifes it as a set of a French tune, “Est-ce Mars, le grand dieu des alarmes,” printed in Adruaen Valerius’ Nederlandtsche Gedenck-Clanck (1626). Coming almost full circle, however, the 1943 editor of Valerius maintains that it is the air of an even older English seaman’s song, “The new Sa-hoo.”

 

WHAT IF A DAY. English, Ballad Air (4/4 time). G Dorian (Chappell): E Minor (Kines). Standard tuning. One part (Kines): AABBCC (Chappell). This popular sixteenth century air, attributed to Thomas Campion, appears in Robinson's "Citharen Lessons" (1609), Giles Earle's "Song Book" (1626), "Friesche Lust‑Hof" (1634), Camphuysen's "Stichtelycke Rymen" (1647), the Skene MS (c. 1610), Forbes "Songs and Fancies" (1666), a University of Cambridge lute MS, and Sir John Hawkins' virginal transcripts. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 100. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pgs. 66‑67.

 

WHAT IS THAT TO HIM WHOM IT DOES NOT CONCERN. AKA and see "Caide Sin Do'n Sin Nach mBaineann Sin Do."

 

WHAT JOYFUL TIMES?  AKA and see "Little Heathy Hill [1]."

 

WHAT MADE THE WILDCAT WILD?  See the related “Ragtime Annie [1].”

 

WHAT MAKES A NIGGER LOVE 'TATERS SO. Old‑Time. This unfortunate title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

WHAT MEIKLE SORROW AILS YOU. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), 1734, "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant," and the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740."

 

WHAT PAIN I'VE ENDURED SINCE LAST YEAR (Gur mis hta gu cròiteach o'n uiridh). Scottish, Slow Air (9/8 time). E Minor. Standard tuning. AAB. "This air the editor never heard but from his father; if that gentleman was composer of any in this work, it is the present, although even that, the editor cannot assert. It was, at any rate, revived and preserved by him; nay, more, he repeated extempore words, which the editor never could get a second time, and was not at liberty to urge on a subject which affected him so much‑‑the fate of an amiable brother of his, who was one of the sufferers in the Black Hole at Calcutta" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 153, pg. 62.

X:1

T:What pain I’ve endured since last year

T:Gur mis tha gu cràiteach o’n uiridh

M:9/8

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G

(g/f/)|eBB B>AG F<D z/F/|[G,2E2]F (G>FG) [G2B2] (g/f/)|

eBB B>AG F<D z/F/|E>Fd B>AG [G,2E2]:|

B|Bee Bgg fdd|Bee Bgg f2A|Bee Bgg f>ed|e2 d/B/ B>^A/B/^d/ e2 (d/c/)|

Bee Bgg fdd|Bee Bgg f2A|B(ef) g>ag f>ed|e2 d/B/ B>^A/B/^d/ e2||

X:2

T:What Pain I've Endured

M:9/8

L:1/8

S:Old Blind Dogs

R:slip jig

K:G

|eBB BAG FDF|E2F GFG B2B|eBB BAG FDF|EFd BAF E2E:|Bee Bgg fed|Bee Bgg f2

e|1Bee Bgg fed|edB ABd e2e|2Bef g2g fed|edB ABd e2e|

 

WHAT SHALL HE HAVE THAT KILL'D THE DEER. English, Air (6/4 time). E Minor. Standard tuning. One part. The tune is a round, or catch, and was printed in John Hilton's Catch as Catches Can (1652). Shakespeare devotes a short scene in "As You Like It" (act IV, scene 2) entirely to the round, which presumably would be sung by the actors playing foresters. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 48.

 

WHAT SHALL I DO? AKA and see "High Caul Cap."

 

WHAT SHALL I DO IF HE LEAVES ME?  Irish, Slow Air (3/4 time). F Major. Standard tuning. One part. Source for notated version: Mrs. Sinclair, Cork (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 662, pg. 332.

                       

WHAT SHALL I DO? MY LOVE IS GOING TO WED. Irish, Air (3/4 time). G Mixolydian. Standard tuning. AB. 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. 643, pg. 326.

                       

WHAT SHALL I DO TO SHOW HOW MUCH I LOVE HER? English, Air. The air is by the English composer Henry Purcell, from his "History of Dioclesian." It was also published by John Gay in his The Beggar's Opera (1729, where it appears as "Virgins are like the fair flower"), and in Pills to Purge Melancholy, Vol. IV. Raven (English Country Dance Tunes), 1984; pg. 51.

                       

WHAT SHALL WE DO WITH THE BABY-O. See “Whatcha Gonna Do with the Baby?”

                       

WHAT SOUNDS CAN COMPARE. AKA and see "The Black Rogue [1]."

                       

WHAT THE DE'IL AILS YOU? [1]. Scottish, Air or Strathspey; English, Reel. England, Northumberland. A Minor. Standard tuning. AB (Cole): AAB (Gow): AABB (Bremner, Vickers). John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. Bremner (Scots Reels), 1757; pg. 67. Cole (1000 Fiddle Tunes), 1940; pg. 126. Gow (Complete Repository), vol. 1, 1799, pg. 22. Oswald (Caledonian Pocket Companion), Vol. 2, c. 1780, pg. 89. Seattle (William Vickers), 1987, Part 3; No. 484. Ryan’s Mammoth Collection, 1883; pg. 164. Walsh (Caledonian Country Dances), Vol. 3, c. 1740, pg. 52. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

X:1

T:What the De’il ails you [1]

M:C|

L:1/8

R:Air or Strathspey

S:Gow – 1st Repository  (1799)

Z:AK/Fiddler’s Companion

K:A Minor

e|(c>BA)g agec|defd gfed|c>BAg agec|defg e2d:|

e|c>(BAc) E/E/E c2|d>efd (gf)ed|c>BAG E/E/E c2|d>efg e2 de|c>BAc E/E/E c2|

d>efd (gf)ed|c>BAG E/E/E c2|d>efg e2 de||

 


WHAT THE DEVIL AILS YOU [2]. AKA and see "Hi Lo Schottsiche," "Rochester Schottishe [2]," "The Cat Up the Plum Tree Schottische," "Jack Clumb Up the Plum Tree," "Sparrow in the Treetop." American, Schottische. USA, western Pennsylvania. D Major. Standard tuning. AB. Bayard (1944) says the title of this very popular schottische also is very often is not known among western Pennsylvania fiddlers. His source for the title, Charles Armstrong, husband of the player, recalled two lines of a rhyme which was attached to the tune in tradition:

***

What the devil ails you, what the devil ails you?

Why the hell can't you tell, what the devil ails you?

***

There are some resemblances to the following tunes in Irish tradition: "The Shannon Breeze [1]," "Roll Her on the Banks," "Rolling on the Ryegrass," "Punch for the Ladies [2]," "The Piper's Lass," "McCaffrey's Reel," "Maureen Playboy," "Old Molly Ahern," "The Rathkeale Hunt," "The Railway Station," "The Telegraph," "Strac an Mhuc an Leine," "Sean‑Mhaire Ni Eachthighearn," "The Ladies Tight/Top Dress," "The Lady on the Railroad," "The Connachtman's Rambles [1]," "Kitty Got a Clinking (Coming From the RACES) [1]," "Boil the Kettle Early," "The Brown Red Girl," "The Kilfinane Reel," "Love Among the Roses," "The Listowel Lasses." Sources for notated versions: Mrs. Sarah Armstrong (Derry, Pa., 1943) [Bayard, 1944]: eight southwestern Pa. fiddlers [Bayard, 1981]. Adam, No. 61 ("Hi Lo Schottische"). Bayard (Hill Country Tunes), 1944; No. 39. Bayard (Dance to the Fiddle), 1981; No. 424A‑H, pgs. 402‑404. Ford (Traditional Music in America), 1940; pg. 60, (appears as "Rochester Schottishe"). Howe (Diamond School for the Violin), 1861; pg. 56.

 

WHAT THO' I AM A COUNTRY LASS. AKA and see "Sally in Our Alley." English, Air (3/2 time). C Major. Standard tuning. AAB. Composed by Charles Coffey for the opera The Devil to Pay to a version of the same tune familiar as the vehicle for Carey's song "Sally in Our Alley."

***

In plain stuff gown, an short-ear'd coif,

Hard Labour did endure—a

Tho' late I was a cobbler's wife

In cottage most obscure--a.

***

Scott, 1926; pg. 10.

 

WHAT WILL I DO GIN MY HOGGIE DIE? AKA and see “Cocks Louns walie hoyn,” “Moss Plate.” Scottish, Air or Scots Measure. D Major. Standard tuning. AABBCCDD. The title is the name of a song by the Scots poet Robert Burns. James Dick (Songs of Robert Burns, p. 478) notes a song called “Coxton's hoggie" given by Peter Buchan to William Motherwell and published in 1834 was the original for Burns’ work.

***

Thomas Carlyle penned this anecdote of Sir Walter Scott, at the start of an outing with friends:

***

`The order of march had been all settled, and the sociable was just getting under weigh, when the Lady Anne broke from the line, screaming with laughter, and exclaimed, "Papa, papa, I knew you could never think of going without your pet!" Scott looked round, and I rather think there was a blush as well as a smile upon his face, when he perceived a little black pig frisking about his pony, and evidently a self-elected addition to the party of the day. He tried to look stern, and cracked his whip at the creature, but was in a moment obliged to join in the general cheers. Poor piggy soon found a strap round its neck, and was dragged into the background; - Scott, watching the retreat, repeated with mock pathos the first verse of an old pastoral song -
"What will I do gin my hoggie die?
My joy, my pride, my hoggie!
My only beast, I had na mae,
And wow! but I was vogie!"
***
-the cheers were redoubled - and the squadron moved on.
`This pig had taken, nobody could tell how, a most sentimental attachment to Scott, and was constantly urging its pretensions to be admitted a regular member of his tail along with the greyhounds and terriers…

***

See also note for “Cockstouns Hoggie.” McGlashan (Collection of Scots Measures), 178?; pg. 11.

X:1

T:What will I do ann my Hoggy die

L:1/8

M:C

B:McGlashan – Collection of Scots Measures

Z:AK/Fiddler’s Companion

K:D

D>E|F2A2A2de|f2f2e2 de|f2f2e2de|e4E2DE|F2A2A2 de | f2f2 e2de | fedB dBAF | E4D2 :|

|:D>E|F2A2A2 FA|BAFA BAFA|BAFA BAFA|=c4 E2AG | F2ED A2A2|B2B2 dcBA | Bcde fgfe|d4D2:|

|:D>E|F2A2A2 de|f2f2 e2 (3def|g>fga bagf|e4 E2DE| F2A2A2 de| f2af e2de| fedB dBAF | E4D2 :|

|:D>E|F2A2A2 FA|B3d A3d|B3d A2gf|f2e2 E2 D>E| F2A2A2 FA| B3d A3d|G3d F2dF | E4 D2 :|

 

WHAT WOULD YOU/I DO IF THE KETTLE BOILED OVER?  AKA and see AKA and see "The American Dwarf," “The Dancing of the Rabbits in Honan’s Garden,” “The Frost is All Gone,” "Frost is All Over [1]," "Mist of Clonmel," "On a Monday Morning," "Paddy's Return [1]," "The Praties Are Dug (and the Frost is all Over),” “What Would You do if You Married a Soldier?” “Young Tim Murphy.” Irish, Double Jig. D Major. Standard tuning. AA’BB’. The title comes from a ditty set to the tune, which goes:

***

What would I do if the kettle boiled over?

What would I do but fill it again.

What would I do if I married a soldier?

What would I do but follow the drum.

***

Doolin, north County Clare, tin whistle player Micho Russell identified the alternate title “The Dancing of the Rabbits in Honan’s Garden” as a local north Clare title named after a Doolin man named Honan who owned a field north of Fisherstreet. Russell (The Piper’s Chair), 1989; pg. 14.

X:1

T:What would I do if the Kettle Boiled Over?
M:6/8

L:1/8

R:Jig

S:Micho Russell

K:D

|:def edB|AFD E2D|FAA AFA|Bdd e3|def edB|

AFD E2D|FAA AFA|Bdd d3|:f2f afd|g2g age|

f2f afd|e2f e2e|f2f afd|g2g age|fgf ede|fdd d3:| 

 

WHAT’LL I DO IF THE KETTLE BOIL’S OVER? [2].  AKA and see “(The Praties are Dug and) The Frost is All Over,” “Kitty Lie Over (Next to the Wall,” ”Patsy McCann’s,” “Paddy’s Return [1].” Irish, Jig. D Major. Standard tuning. AA’BB’. This version of the air is of the “Paddy’s Resource” family, the title obviously taken from the “what would I do if the kettle boiled over” song set to it. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 179, pg. 56.

X:1

T:What’ll I do if the Kettle Boils Over? [2]

M:6/8

L:1/8

R:Jig

S:Mike Rafferty

Z:Lesl

K:D

B|AFD DFA|B/c/dB BAF|ABA F2E|FED E2B|AFD DFA|B/c/dB BAF|

ABA F2E|1 FDD D2:|2 FDA d2e||:fdB d2e|fdB d2e|fef def|gfg efg|

fed B2d|A2B F2G|ABA F2E|1 FDA d2e:|2 FDA D2||

 

WHAT WOULD YOU DO IF YOU MARRIED A SOLDIER?  AKA and see "The American Dwarf," “The Dancing of the Rabbits in Honan’s Garden,” “The Frost is All Gone,” "Frost is All Over [1]," "Mist of Clonmel," "On a Monday Morning," "The Praties Are Dug, and the Frost is all Over,” “What Would I do if the Kettle Boiled Over,” Irish, Jig and Air. D Major. Standard tuning. One part (only the first part of the “Frost is All Over” jig version).

***

What would you do if you married a soldier?

What would you do but carry his gun?

What would you do if he died in the army?

What would you do but marry again.

***

Source for notated version: sung by Mrs. Anastasia Corkery (Co. Cork, 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; Appendix No. 37, pgs. 587‑588.

X:1

T:What Would You Do if You Married a Soldier?

M:6/8

L:1/8

R:Air

S:Mrs. Anastasia Corkery

B:Bayard – Dance to the Fiddle, Appendix No. 37  (1981)

K:D

def edB|AFF E2D|FAA AGA|Bee e2z|def edB|AGF E2D|FAA A>FA|Bdd d2z||

 

WHAT YOU WILL [1]. English, Jig. England, North‑West. C Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 51.

X:1

T:What you will [1]

M:6/8

L:1/8

R:Jig

K:C

G|cdc BGd|ecB c2G|ABc dfd|c3 B2d|…

 

WHAT YOU WILL [2].  English, Jig. D Major. Standard tuning. AABB. Originally printed by Charles and Samuel Thompson in their third country dance collection (London, 1773). It was entered (as were several of the Thompson 1773 tunes) in the music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 66.

X:1

T:What you will  [2]

M:6/8

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

A|dAF EFG|AFD A,CD|dAF EFG|AA,^C D2::A|dcd ece|fdf ece|

dcd ecA|Aag ‘tr”f2e|afd ecA|fdB ecA|dAF BGE|AA,C D2:||

 

WHATCHA GONNA DO WITH THE BABY? AKA – “Baby-O,” “What Shall We Do with the Baby-O?” “What’ll We Do with the Baby?” Old‑Time, Breakdown/song. USA; Kentucky, Tennessee, Virginia, North Carolina. G Major. Standard or GDad (Estill Bingham) tunings. AB. Jeff Titon (2001) identifies the tune was a play-party song that was well-known in the upland South. He found the tune of several of the lists of fiddlers’ repertoires compiled in 1915 by students from Berea, Kentucky. English collector Cecil Sharp noted a version in Kentucky in 1917, and Jean Ritchie had a well-known version among ‘folk revivalists’ in the 1960’s. The fiddle/guitar duo of G.B. Grayson and Henry Whitter cut a version in 1929. The tune was even set as a New England style country dance by New York state fiddler Claudio Buchwald (1975

***

The baby laughs, the baby cries,

Stuck my finger in the baby's eyes.

***  Refrain

Whatcha gonna do with the baby?

Whatcha gonna do with the baby?

***

Wrap it up in calico,

Send it back to Georg‑i‑o.

***

Wrap it up in a tablecloth,

Toss it up in a stable loft.

***

I love that pretty little thing,

Baby is a dandy;

I love that pretty little baby,

God bless its mammy.

***

Sources for notated versions: Grayson and Whitter (Kentucky) [Kuntz]; Estill Bingham (Pineville, Bell County, Ky., c. 1986) [Titon]; Mark Gaponoff [Silberberg]. Barnes (English Country Dance Tunes), 1986 (country dance version). Kuntz (Ragged but Right), 1987; pg. 345‑246. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 168 (appears as “What’cha Goin’ To Do with the Baby?”). Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 166, pg. 192. Chubby Dragon CD1008, Brad Leftwich, Bruce Molsky et al – “Mountairy.usa” (2001). County 513, "The Recordings of Grayson and Whitter." County 778, Tommy Jarrell‑ "Pickin' on Tommy's Porch" (1984. Learned from the playing of his father, fiddler Ben Jarrell, and uncle, Charlie Barnett Lowe). Document DOCD-8055, Grayson & Whitter (reissue). Musical Traditions MTCD 321-2, Dent Wimmer (et al) – “Far in the Mountains, Vols. 1 & 2” (2002. Appears as “Baby-O”). Rounder CD0383, Mike Seegar and Paul Brown - “Down in North Carolina.” Voyager 328, "Kenny Hall and the Long Haul String Band."

X:1

T:Whatcha Gonna Do with the Baby?

M:2/4

L:1/8

B:Kuntz – Ragged but Right
Z:AK/Fiddler’s Companion

K:G

[DA] [DB][DA]|[DB][Dd] [Dd][DA][DB][DA]|[DB] [D2d2] [D^A]|

[DB][Dd] [D>d>][DB]|A G2 [D^A]|[DB] d d>d|e d2 (g|g)/g/e/d/ B>G|

[DA] G2 [D^A]||[D/B/][D/d/][D/B/][D/A/] GA|[G/A/][G/B/][G/B/][G/A/] [GB][DA]|

[D/B/][D/d/][D/B/][D/A/] GA|[G/A/][G/B/][G/B/][G/A/] [G2B2]|[Dd][D/B/][D/A/] G>A|[DB] G2||

                       

WHATEVER YOU PLEASE. AKA and see “The Smoky House [1].”

                                   

WHAT'LL ALL THE LASSES DO. AKA and see "Clean Pea(se) Straw/Strae," "Pease Strae/Straw." Shetland. Cooke (1986) prints the following text to this dance tune, collected in Shetland:

***

What'll all the lasses do when the lads gings awa,

Some will pee their peticots, and some will burst their gaa'.

                       

WHAT’LL I DO WITH THE BABY-O?  See “Whatcha Gonna Do with the Baby?

                       

WHAT’LL WE DO WITH THE BABY? See “Whatcha Gonna Do with the Baby?

                       

WHAT'RE YOU GONNA DO WITH THE BABY-O?  See  "Whatcha Gonna Do with the Baby?"

                       

WHAT'S/WHA'S A' THE STEER(, KIMMER). AKA and see “Steer Kimmer.” Scottish, Country Dance or Highland Schottische (4/4 time). G Major (Kerr, Skye): C Major (Athole): D Major (Howe). Standard tuning. One part (Athole, Howe): AAB (Skye): AABB' (Kerr). ‘Steer’ is Scots for ‘stir’, meaning to be in a bustle, or go about in a confused harassed way. A Kimmer is a married woman, midwife or a gossip, and Charles Gore adds that it is a fairly rude word for a young woman. Nigel Gatherer suggests the translation would be “What’s all this nonsense, woman?” The tune was sometimes used to accompany the Scottish country dance "Haughs o' Cromdale." Howe (1000 Jigs and Reels), c. 1867; pg. 122. Kerr (Merry Melodies), vol. 1; No. 14, pg. 20. Kerr (Merry Melodies), vol. 4; No. 128, pg. 16. MacDonald (The Skye Collection), 1887; pg. 169. Stewart-Robertson (The Athole Collection), 1884; pg. 153.

X:1

T:What’s a’ the Steer

M:2/4

L:1/8

R:Country Dance

B:The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:C

e2 e>d|e2 e<g|e2 e>d|e2 z2|g>a ge|a2 g>e|g>a g>e|d2 ze|

cA GA|c2 e>d|c>A GA|c2 zd|e>f g>e|a2 da|g>e ed|c2 z2||

                       

WHATS MATTER WE (WI' YE) MY LOVE. Northumbrian. One of the "missing tunes" from Vickers' 1770 Northumbrian dance tune manuscript.

                       

WHAT’S THAT TO ANY ONE. Irish, Jig. G Major. Standard tuning. AABB. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 140.

X:1

T:What's That to Any One

M:6/8

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

K:G

B/2c/2|ded dBd|dge dBG|cee dBG|FAA A2 B/2c/2|

ded dBd|dge dBG|cee dBA|BGG G2:|

|:d|gag gfg|afd def|gag gfg|afd d2 e/2f/2|

gbg faf|ege def|gdB AGA|BGG G2:||

           

WHAT’S THAT TO YOU?  English, Jig. B Flat major. Standard tuning. AABB. This melody, like many in Charles and Samuel Thompson’s 1757 collection, first appeared in John Johnson’s 200 Favourite Country Dances, vol. 7 (London, 1756). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 94.

X:94

T:What’s that to you

M:6/8

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:Bb

fdb {a}g2f|ecB {B}A2B|cde fga|bfd “tr”c3|fdb {a}g2f|gcB AGF|GAB cde|

fdc “tr”B3::(3f/e/d/cc “tr”=B2c|c(G/F/E/D/) C2d|(3e/d/c/BB “tr”A2B|

B(F/E/D/C/) B,2d|b2g fdB|ecB AGF|GAB ged|”tr”c3 B3:||

           

WHEAT IS READY FOR REAPING NOW, THE. Irish, Air (6/8 time). D Major. Standard tuning. One part. Source for notated version: "Sent to me ... in 1884 by Mr. Francis Hogan of South Lodge, Brenormore, near Carrick‑on‑Suir, a good musician and a great enthusiast in Irish music and songs. He must have been then well over seventy years of age" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 265, pgs. 126‑127.

X:1

T:Wheat is ready for reaping now, The

M:6/8

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D

F/E/|D2B, DEF|A3 F2E|D>FE D2D|(D3 D2)A|B2A B2c|d3 cBA|B2B A2B|(F3F2)A|

B2A B2c|d3 cBA|Bcd edc|(d3 d2)F/E/|D2B, DEF|A2B F2E|DFE D2D|(D3D2)||

           

WHEATLEY PROCESSIONAL. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AB. Collected from the village of Wheatley, Oxfordshire, in England's Cotswolds. This is the one dance from the Wheatley tradition that is commonly performed by modern morris teams, and consists of single-stepping in the first part with capers in the second. Bacon (The Morris Ring), 1974; pg. 307. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 15, pg. 9. Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976/1992).

           

WHEATSHEAF, THE (Tafarn yr Ysgub). Welsh. From the manuscript of Welsh Triple Harper Thomas D. Llewelyn ‘Llewelyn Alaw’, from Aberdâr, a 19th century collector of Welsh music. The wheatsheaf was a symbol for brewing, among other things. Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp” (1996).

           

WHEEL, BUZZARD, WHEEL. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

WHEEL OF LIFE [1], THE. English, Jig. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 378.

 

WHEEL OF LIFE [2], THE.  English, Country Dance Tune (cut time). A Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 36.

X:1

T:Wheel of Life, The

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

(dc)(BA) (fe)(dc)|f2g2 {g}a2 gf|egaf ecBA|fedc “tr”c2B2|dcBA fedc|

f2g2 {g}a2 ba|gfed Be^df|e2E2E4::e2 e=g fedc|dcB^A B2 [B,2B2]|d2 df edcB|

cBAG A2 [A,2A2]|dcBA fedc|f2 g2 {g}a2 gf|ecBA dBAG|A2 [A,2A2] [A,4A4]:||

           

WHEELBARROW JIG, THE. American, Jig. In the repertoire of Champion, central New York State fiddler Winifred “Murph” Baker.

           

WHEELER’S BIRDIE. AKA – “Jimmie Wheeler’s Birdie.” Old-Time, Breakdown. C Major. A version of "Birdie" from the Bing Brothers, learned from fiddler Jimmy Wheeler.

           


WHEELS OF THE WORLD [1], THE (Rothaí an Domhain). AKA and see “Coleman’s (Jig) [2].” Irish, Reel. D Mixolydian (Cranitch, Breathnach): D Mixolydian/Major (Flaherty, Miller, Vallely). Standard tuning. AB (Breathnach): AAB (Cranitch): AABB (Brody, McNulty, Miller): AA'BB' (Flaherty, Vallely). The “Wheels of the World” is also the name of a famous song, a version of which was first published in Belfast in 1801 soon after the Irish Rebellion of 1798. Fiddler James Morrison famously recorded the tune in New York in December, 1930, paired with “Rakish Paddy.” Coincidentally, it was also recorded in the same month in Chicago by fiddlers Francis Cashin and Tom Cawley, backed by a piano player named Ford. See also the related “Rolling Down the Hill [2].” Sources for notated versions: James Morrison (Co. Sligo, Ireland/New York) [Brody]; flutist Éamonn de Stabaltún (Ireland) [Breathnach]; fiddler Fred Finn (1919-1986, Kiltycreen, Kilavil, County Sligo) [Flaherty]. Breathnach (CRÉ I), 1963; No. 168, pg. 66. Brody (Fiddler’s Fakebook), 1983; pg. 290. Cranitch (Irish Fiddle Book), 1996; pg. 108. Flaherty (Trip to Sligo), 1990; pg. 75. McNulty (Dance Music of Ireland), 1965; pg. 16. Miller (Fiddler’s Throne), 2004; No. 266, pg. 159. Vallely (Play 50 Reels with Armagh Pipers Club), 1982; No. 14, pg. 9. Claddagh CC17, Seán Keane‑ "Gusty's Frolicks" (1975). Green Linnet GLCD 3009/Mulligan 021, Kevin Burke‑ "If the Cap Fits" (1978. Sean Ryan's version). Shanachie 33001, James Morrison‑ "The Wheels of the World." Shanachie 29003, Tommy Peoples and Paul Brady‑ "The High Part of the Road." Philo F12018, Jean Carignan ‑ "Plays the Music of Coleman, Morrison, and Skinner" (appears as one of "Jim Morrison's Reels"). Tara CD4011, Frankie Gavin – “Fierce Traditional” (2001).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:The Wheels of the World   [1]

R:Reel

S:Danny O'Donnell, "The Donegal Fiddler"

Z:Larry Sanger; first time through tune

M:4/4

L:1/8

K:C

dc|:AD F/E/D GcAG|EC ~C2 EFGc|AD F/E/D EGAd|fedc Acdc|AD F/E/D GcAG|

EC C/C/C EFGc|AddB cBAG|1 E[EC][EC]E [A,2D2] cB:|2 E[EC][EC]E D2A2||

K:D

dcdf afdf|e=cgc acgc|d^cdf afdf|e=cce d2A2|

d^cdf adfd|=cBce gceg|abag eg~g2|fage dAB^c|

d/d/d fd adfd|=c/c/c ec gcec|d^cdf afdf|e=cce d2A2|

d^cdf adfd|=cBce gcec|abag efge|fage d2||

X:2

T:Wheels of the World, The  [1]

R:reel

H:See also #391

Z:id:hn-reel-311

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:Dmix

dD~D2 FAGF|EC~C2 EFGE|AD~D2 ABde|=fedc Ad^ce|

dD~D2 FAGF|EC~C2 EFGE|A2dB AdcA|GECE ~D3e:|

|:dAdf afdf|eg~g2 ag~g2|dAdf afdf|ged^c Adde|

d3f afdf|eg~g3 aggb|a2af efge|fage d3e:|

 

WHEELS OF THE WORLD [2], THE. AKA and see "The Day After the Fair [2]," "All Alive [2]," "His Home and (his) Country," "I know not whether to laugh or cry," "I would not give my Irish wife," "You're welcome to Waterford," "Billy Barlow," "An Seanghe Liath," "An La i ndiaidh an Aonaigh." Irish, Double Jig. E Minor. Standard. AABB. Roche Collection, 1982, vol. 1; No. 84, pg. 38.

 

WHEELS OF THE WORLD [3], THE ("Roitleanide An Domain," "Rotai an Domain" or "Rothai an Domhain"). AKA and see "Coleman's Jig,” “Portarlington Jig." Irish, Double Jig. G Major. Standard. AAB (Breathnach): AA’B (Taylor): AABB (Williamson): AABB' (O'Neill). No relation to “Wheels of the World” [1]. Sources for notated versions: whistle player Mary Bergin (Ireland) [Breathnach]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Breathnach (CRÉ III), 1985; No. 34, pg. 16. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 777, pg. 145. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 54, pg. 25. Taylor (Music for the Sets: Yellow Book), 1995; pg. 26. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 75. Gael‑Linn Records CEF 071, Mary Bergin ‑ "Feadoga Stain" (1979). Green Linnet, Patrick Street – “Corner House” (as “Portarlington Jig”).

X:1

T:Wheels of the World, The [3]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 54

K:G

G|FDD ADD|BGB cBA|Bcd ecA|ABG FED|~G3 A2A|BGB cBA|Bcd ecA|AGG G2:|

|:B|def gdB|dBG c2A|Bcd ecA|ABG FED|1 def gdB|dBG c2A|Bcd ecA|AGG G2:|2

~G3 A2A|BGB cBA|Bcd ecA|AGG G2:|

X:2

T:Wheels of the World [3]

M:6/8

L:1/8

R:Jig

S:Mary Bergin

K:G

FDD ADD|BAB c2A|Bcd ecA|ABG FED|FDD ADD|B3 c2A|

Bcd ecA|AGF GAG|FDD ADD|BAB c2A|Bcd ecA|ABG FED|

G3 AGA|BAB c2A|Bcd ecA|AGF G2D||GBd gdB|

dBG c2A|Bcd ecA|ABG FED|GBd gdB|dBG c2A|

Bcd ecA|AGF G2B|dBd gdB|dBG c2A|Bcd ecA|

ABG FED|G3 AGA|BAB c2A|Bcd ecA|AGF G2D||

           

WHEELWRIGHT [1], THE (An Deileadoir). AKA and see "Penal Days." Irish, Slow Air (2/4 time). A Major (O'Neill's): G Major (O'Sullivan/Bunting). Standard tuning. One part (O'Sullivan/Bunting): AAB (O'Neill's). The air and words appear to be unique to Bunting's collection, though the melody was afterwords used for Thomas Davis' song entitled "The Penal Days." Source for notated version: the Irish collector Edward Bunting noted the melody from one P. Lynch of Castlebar, County Mayo, in 1802. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 202, pg. 35. O'Sullivan/Bunting, 1983; No. 35, pgs. 56-57.

 

WHEELWRIGHT [2], THE.  English, Jig. G Major. Standard tuning. AABB. Composed by Derek Hobbs. Miller (2004) notes the tune was inspired by an 18th century wood engraving by Thomas Bewick, a musician from Northumberland. Miller (Fiddler’s Throne), 2004; No. 111, pg. 75. Rossleigh Music CD, Derek Hobbs – “Bewick’s Footsteps: A Garland of New Tunes” (1995).

           

WHEEM, THE. Scottish, Country Dance Tune (2/4 time). C Major. Standard tuning. AABB.  McGlashan (Collection of Scots Measures), c. 1780; pg. 38.

X:1

T:Wheem, The

M:2/4

L:1/8

S:McGlashan – Collection of Scots Measures (c. 1780)

Z:AK/Fiddler’s Companion

K:C

cdef|g2 g2|fefd|e2 e2|cdef|g2 g2|AfdB|c2 c2:|

|:BGdB|cGec|BGdB|c2 c2|gege|afaf|edcB|c2 c2:|

           

WHEENA BURN, DA. Shetland, Reel. A Minor. Standard tuning. AAB. "This tune, which has been attributed to (legendary Shetland fiddler) Fredamann Stickle, is a very good description of a mill burn. Played slow it could well be another mill tune" (Anderson). Anderson (Ringing Strings), 1983; pg. 49.

           

WHELAN’S B FLAT REEL. Irish, Reel. B Flat Major. Standard tuning. AABB. Composed by button accordion player John Whelan. Black (Music’s the Very Best Thing), 1996; Nos. 269 & 270.

X:1

T: Whelan's Bb Reel

C: John Whelan

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Bb

GA |: B2 (3FFF =EFBF | G=BFD CEDC | BCDF =EFGB | ABce dDFA |

B2 (3FFF =EFBF | G=BFD CEDC | BCDF =EFGB | ABce dB B2 :|

dB (3BBB FBdF | BdFd cAFE | DBDF ECEG | =EFGB ABc_e |

dB (3BBB FBdF | BdFd cAFE | DBDF =EFGB | ABce dB B2 :|

X:2

T: Whelan's Bb Reel in A

C: John Whelan

Q: 350

R: reel

M: 4/4

L: 1/8

K:A

FG |: A2 (3EEE ^DEAE | F^AEC B,DCB, | AB,CE ^DEFA | GABd cCEG |

A2 (3EEE ^DEAE | F^AEC B,DCB, | AB,CE ^DEFA | GABd cA A2 :|

cA (3AAA EAcE | AcEc BGED | CACE DB,DF | ^DEFA GABd |

cA (3AAA EAcE | AcEc BGED | CACE ^DEFA | GABd cA A2 :|

           


WHELAN’S BREAKDOWN. Canadian, Two-Step. C Major. Standard tuning. AABB. Source for notated version: Sidney Baglole (b. 1912, Southwest Lot 16, West Prince County, Prince Edward Island; new resident of Freetown) [Perlman]. Perlman (Fiddle Music of Prince Edward Island), 1996; pg. 164.

           

WHELAN’S FROLIC. Irish, Jig (the ‘B’ part is in 9/8 time). A Minor. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black for accordion player John Whelan. Black (Music’s the Very Best Thing), 1996; No. 62, pg. 32.

X:1

T: Whelan's Frolic

C: © B. Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: Ador

e2 e dcB | c2 c BAG | EAc ^FAd | cBc BAG |

eag edB | cBA GED | EDC DED | CA,G, A,3 :|

M: 9/8

^c2 d eaa eaa | ^c2 d egd BAG | AEE ^cEE d3 |

eag edB A3 | aea b2 a g^fe | ^cde g^fg dBG |

AEE ^cEE d3 | eag edB A3 :|

           

WHELAN’S JIG (Port Uí Fhaoláin). AKA and see "The Humours of Dingle,” “The Rookery [2],.” AKA – “Whelan’s Fancy.” Irish, Double Jig. E Minor (Breathnach, Miller & Perron): E Dorian (Carlin, Mallinson, Sullivan, Taylor). Standard tuning. AABB. Breathnach identifies the Whelan of the title as Tommy Whelan, an east Galway flute player with the old Ballinakill Ceili Band. The tune resembles and is sometimes confused with "Morrison's Jig [1].” An excellent recording of the melody was made by fiddler Aggie Whyte and flute player Peadar O’Lochlainn. Sources for notated versions: P.J. Moloney [Sullivan]; a recording by Seán Ryan and P.J. Moloney [Miller & Perron]; piper Matthew Tiernan [Breathnach]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Breathnach (CRÉ I), 1963; No. 49, pg. 20. Carlin (Master Collection), 1987; No. 260, pg. 149. Mallinson (Enduring), 1995; No. 56, pg. 25. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 38. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 42. Sullivan (Session Tunes), vol. 3; No. 8, pg. 4. Taylor (Through the Half-door), 1992; No. 56, pg. 40. Taylor (Music for the Sets: Yellow Book), 1995; pg. 27. Avoca 33‑AV‑121, Seán Ryan & P.J. Moloney - "Traditional Music of Ireland, VI" (1960). Shaskeen - "Atlantic Breeze". Claddagh CC11, Leo Rowsome – “The Drones and Chanters.” Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004. Learned from concertina player Tim Collins, of the Kilfenora Ceili Band).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Leitrim Jig, The

T:Whelan’s

T:Whelan’s Fancy

T:Rookery, The

R:jig

Z:id:hn-jig-109

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:6/8

L:1/8

K:Edor

~E3 BAF|FEB AFD|~E3 BAF|dAF FED|~E3 BAF|FEB AFD|~B3 BAF|dAF FED:|

|:~B3 ~e3|fed e2d|BAB g2e|fdB AFA|~B3 ~e3|fed e2f|gbg faf|1 edB AFA:|2 edB AFD||

                       

WHELAN’S REEL. Irish, Reel. Named for Ballinakill, east Galway, musician Tommy Whelan. Green Linnet Records, Jack & Charlie Coen – “The Branch Line (1992. Originally recorded for Topic Records in 1977). 

           

WHELAN’S SOW. Irish, Jig. Composed by east Galway flute player Tommy Whelan, a member of the Ballinakill Traditional Dance Players in the 1930’s. Gearóid Ó hAllmhuráin (1999) says that Whelan and fiddler Stephen Moloney formed the basis of the old ‘Ballinakill sound’, based on a fiddle/flute blend. Both were supportive of younger musicians, says Gearóid, and both tended to credit each other when asked for the source of a particular tune. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from East Galway/Bronx, N.Y., flute player Jack Coen).

                                   

WHEN A MAID GETS TO THIRTY. English, Air and Jig. F Sharp Minor. Standard tuning. One part. The tune is dated to c. 1698 when it appeared printed as the vehicle for a broadside ballad. Plain Brown Tune Book, 1997; pg. 2.

                       

WHEN A MAN'S IN LOVE HE FEELS NO COLD (Ni B-fuil Aon Fuact Air Graideoir). Irish, Slow Air (4/4 time). Ireland, Ulster. G Major/Mixolydian. Standard tuning. AB. Source for notated version: O’Neill’s assistant compiler, fiddler Sergeant James O’Neill of the Chicago police, who learned the song from his mother in County Down [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 164, pg. 29.

X:1

T:When a Man’s in Love He Feels No Cold

M:C

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 164

Z:AK/Fiddler’s Companion

K:G

(3DEF | G2 BG G2 FG | Bcde =f2 gd | e2 d>c B2 G2 | F6 (3DEF |

G2 BG G2 FG | Bcde =f2 gf | e2 d>c B2 G2 | G6 || de |

=f>d (3cBA B>c (3def | G3d =f2 gf | e2 d>c B2 G2 | F6 (3DEF |

G2 BG G2 FG | Bcde =f2 gf | e2 d>c B2 G2 | G4 ||

           

WHEN A WIFE'S IN HER POUT. AKA and see "Now, Roger, I'll tell thee because thou'rt my son."

 

WHEN AS THE GREEKS DID ENTERPRISE. AKA and see "Troy Town,” "Queen Dido." English, Air (3/2 time). G Dorian. Standard tuning. AAB. The air, which Chappell (1859) thinks is the original "Troy Town,” appears in Forbes Songs and Fancies (1666), which contains songs "most of which are considerably older than the publication itself." Kidson (Groves) says the Welsh melody “Brenhines Dido” (Queen Dido) is “a very imperfect remembrance” of the ballad air “Troy Town” or “Queen Dido.” Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 184.

                       

WHEN BIDDEN TO THE WAKE. AKA and see “My Nanny-O.

                       

WHEN BUSY FAME. English, Air (4/4 time). C Major. Standard tuning. AB. The tune was composed by T. Farmer, and, according to Chappell (1859), was popular for fifty years during and after the reign of Charles II. The song appears in Playford's Choice Ayres (1684), and Pills to Purge Melancholy (1707 & 1719), but several other ballads were sung to the tune. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 39.

                       

WHEN CHLOE. English, Waltz. G Major. Standard tuning. AABB. Sussex Tune Book, No. 100. Chris Wood and Andy Cutting – “Lisa.”

X: 1
T:When Chloe
M:3/4
L:1/4
R:Waltz
N:OliO set # 47 - 1
Z:Steve Mansfield June 2001
K:G
G/G/ | GD B/B/ | BA B/c/ | dcB | A>A B/c/ |
dA A/B/ | ADE | D>D D | D2 :: D/E/ |
F D/F/A/c/ | F F/E/ D | EcB | A>A B/c/ |
dG A/B/ | ADF | G>G G | G2 :|

                       

WHEN DAFFODILS BEGIN TO PEER. English, Air (6/8 time). D Major. Standard tuning. AAB. The tune appears in Caulfield with no source or credit given, though it is attributed to Dr. Boyce (1710‑1719) by Baring‑Gould. It is the first song sung by the ballad‑monger Autolycus in Shakespeare's Winter's Tale (act IV, scene 3). Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 26.

                       


WHEN DARKIES ARE SAD. American, Jig. A Major. Standard tuning. AABB. A variant of this tune, with 'A' parts very similar, is an untitled Pennsylvania‑collected quadrille in Bayard (Dance to the Fiddle), 1981 (No. 502, pg. 459). Ford (Traditional Music in America), 1940; pg. 112.

           

WHEN DAYLIGHT SHINES. AKA and see "Three Meet [1].” English, Jig. G Major. Standard tuning. AAB. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 85, pg. 42. Raven (English Country Dance Tunes), 1984; pg. 105.

X:1

T:When Daylight Shines

M:6/8

L:1/8

K:G

d|gfe dcB|d2c A2B|cBc e2d|B3 GBd|gfe dcB|d2c A2B|cBc e2F|(G3G2):|

||D|G2A B2c|d3 B2d|e2d c2d|B3 G2D|G2A B2c|d3 g2g|fed cBA|(G3 G2)||

d|dcB BAG|F2A e2d|ded c2d|B3 GBd|dcB BAG|F2A e2c|d2B dcA|(G3 G2)||

           

WHEN ERIN FIRST ROSE (Air Eirig Dop Eirinn an Ceaduair). Irish, Air (6/8 time, "boldly"). G Minor. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 25, pg. 21. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 535, pg. 93.

X:1

T:When Erin First Rose

M:6/8

L:1/8

R:Air

N:”Boldly”

S:O’Neill – Music of Ireland (1903), No. 535

Z:AK/Fiddler’s Companion

K:G Minor

D | DGG G^FD | BAB c2c | dfd cBA | BGG FDC | DGG G^FD |

BAB c2 =B/c/ | Dfd cBA | BGG G2 || d/d/ | dgg fdc | Bcd f2 f/f/ |

Dfd c>BA | B>GG FDC | dgg fdc | Bcd f2 f | dfd cBA | BGG G2 ||

           

WHEN FIRST I CAME TO THE COUNTY CAVAN. Irish, Air (3/4 time). F Major. Standard tuning. AB. Source for notated version: “From Joseph Hughes” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; Nos. 637 & 638, pg. 160.

X:1

T:When first I came to the County Cavan
M:3/4
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 637

Z:AK/Fiddler’s Companion

K:F

c/d/ _ec/B/ | A2 GF/G/ FF | G>A Bc dc | B2 GE FG/B/ | c3 c/d/ ec/B/ |

A2 GF/G/ FF | G>A Bc dc | B>G FA/G/ FF | F3 || ABc | d2 cd/e/ fd |

c2B d/c/ BG | F2 GE F/G/B | c3 c/d/ ec/B/ | A2 GF/G/ FF | G>A Bc dc |

B>G FG FF | F3 ||

X:2

T:When first I came to the County Cavan
M:3/4
L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 638

Z:AK/Fiddler’s Companion

K:F

c/d/ e/d/c/B/ | A2 GF/G? FF | G>A BA/c/ dc | B>G F{A}G FF | F3 c/d/ e/d/c/B/ |

A2 GF/G/ FF | G>A Bc dc | AG F>G FF | F3 || ABc | d2 cd/e/ fd | c2 Bd/c/ BG |
F2 Ac AB/c/ | c3 c/d/ e/d/c/B/ | A2 GF/G/ FF | G>A Bc dc | B>G F{A}G FF | F3 ||

           

WHEN FIRST I CAME TO THE COUNTY LIMERICK. Irish, Air (3/4 time). F Major. Standard tuning. AB. "I have known both words and air of this song from my earliest days. The words were often printed on ballad‑sheets, of which I have some copies: but they have never been published till now. The air is a setting of 'Youghal Harbour'" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 422, pgs. 233‑234.

           

WHEN FIRST I LAID SEIGE TO MY CHLORIS. English, Air. The air was published by John Gay in his "The Beggar's Opera" (1729) where it appears under the title "At the tree I shall suffer with pleasure." The words to the original song were written by Sir Charles Sedley.  The air also appears in Pills to Purge Melancholy, vol. VI, 1720. Raven (English Country Dance Tunes), 1984; pg. 58.

           

WHEN FIRST I LEFT OLD IRELAND. Irish, Air (2/4 time). F Dorian. Standard tuning. ABC. A version of  the air “Star of the County Down.” Source for notated version: “From a mason in Belfast, via P. McDowell” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 863, pg. 215.

X:1

T:When first I left old Ireland

M:2/4

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 863

Z:AK/Fiddler’s Companion

K:Fmin

C/=E/ | FF FE/F/ | AF FA/B/ | c>B AC | E3 C/=E/ | FF FE/F/ | A>B cA |

B>A FF | F3 || A/B/ | cc cc/>B/ | A>B c{c}B | AF/G/ AC | E3 C/=E/ |

FF FE/F/ | A/>G/A/B/ c>A | B>A FF | F3 || A/B/ | cc c>B | (3A/B/c/ B>A FA/B/ |

c>B (3A/B/c/ Bc/=e/ | f (3=e/f/g/ f C/=E/ | FF FE/F/ | A>B cA | B>A FF | F3 ||

           

WHEN FIRST I MET THEE (Anuair Do Casad Tu Liom). AKA and see "O! Patrick, Fly From Me." Irish, Air (2/4 time, "with spirit"). F Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 218, pg. 38.

X:1

T:When First I Met Thee

M:2/4

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 218

Z:AK/Fiddler’s Companion

K:F

F | A>G GG | GF FF | G^F GA | cB Az/A/ | G>G G^F | GA Bc |

d>e fd | cA F || c | c>f fe | fe {e}dc | c>f fe | ed c>c | cf fc | dc BA |

Gd cB | BA {A}GF | F2 F>F | {A}GF FF | G^F GA | cB A2 |

G2 G>G | GA Bc | d>e fd | cA F2 ||

           

WHEN FIRST I SAW (THEE GRACEFUL MOVE).  English, Air (2/4 time). G Major. Standard tuning. AABB. The melody is a the air to a love song first appearing in John Watt’s Musical Miscellany, vol. 4 (London, 1730), and subsequently published in Henry Roberts’ British Harmony, vol. 1 (London, 1758), and Robert Horsfield’s Vocal Music; or the Songster’s Companion (London, 1775) . It also appeared in Longman and Broderip’s New Instructions for the French Horn (1785), Joseph Hill’s Compleat Tutor for the German Flute (London, c. 1762), and Preston’s New and Compleat Instructions for the Hautboy (London, 1780). The melody appears in America in publisher John McCulloch’s Philadelphia Songster (1789), Daniel Wright’s American Musical Miscellany (Northampton, Mass., 1798), and Samuel Holyoke’s Instrumental Assistant (Exeter, N.H., 1800). In manuscript form, it appears in Massachusetts musician’s manuscript copybook of 1790, and keyboardist Sally Pickman’s copybook of 1785 (Salem, Mass.). The vocal air version was often sung as a duet. The song is attributed to Caterine Galli—Signora Galli—(c. 1723-1804) a mid-18th century mezzo-soprano of the London stage, a pupil and favourite of composer George Frideric Handel. She had come to England in 1743, debuted in the composer’s Joseph and his Brethren, 1744, and became a staple performer for many of his subsequent works, such as Acis and Galetia, 1749, and Judas Maccabaeus, 1747. She left England in 1754 but returned in 1773 to appear in Sacchini’s Lucio Vera, and remained in London until her death. In 1797, being in “distressed circumstances” she sang at the age of 74 again in a revival of Judas at Covent Garden. Unfortunately, the appearance of the melody in Watt’s Miscellany in 1730 (words only, directed to be sung to the tune of “All in a hedge”) much predates her arrival in England, and the attribution may have been made because of song-sheets featuring her name as having sung the song at “publick gardens” in London.

***

Caterine is also remembered for her supporting role in the murder-scandal of April 7, 1779, when she went to the theatre accompanied by her friend Martha Ray, for sixteen years the mistress of the Earl of Sandwich (the First Lord of the Admiralty). They were at Covent Garden to see a double-feature of the operas Rose and Colin and Love in a Village. At the conclusion of the performance they left with the crowds, but just as Ray was to step into her carriage she was shot dead by a spurned lover, Rev. James Hackman, who then tried to shot himself with a second pistol. He did not succeed with his second shot and only wounded himself slightly; but, if death by suicide was thwarted, death by hanging was not, and he met his end at Tyburn, after which his body was given to the medical school for dissection.

***

When first I saw thee graceful move.

Ah me, what meant my throbbing breast
Say, soft confusion, art thou Love!

If Love thou art – then farewell rest.

***

Mattson & Walz (Old Fort Snelling…Fife), 1974; pg. 91.

X:1

T:When First I Saw

M:2/4

L:1/8

K:G

D|G2G2|AG>AB z/A/|B2B2|B>cd z|d2 B/G/B/d/|d2 B/G/B/d/|de/d/ cB|A3:|

|:A|A2 Bc/>d/|c>B Az|B2 c/B/A/G/|F/E/D z2|d2 B/G/B/c/|e>f gz|B2 d/c/B/A/|G3:|

 

WHEN FIRST INTO THIS TOWN I CAME. Irish, Air (4/4 time). E Flat Major. Standard tuning. One part. Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 639, pg. 160.

X:1

T:When first into this town I came
M:C
L:1/8

S:Stanford/Petrie (1905), No. 639

Z:AK/Fiddler’s Companion

K:Eb

AB | c2 cB A2B2 | e3B cB AF | E2F2E2E2 | E6 cd | e2e2f2 ed | c3B A2B2 |

AF EF A2 Bc | B6 cd | e2e2f2 ed | c3B A2B2 | A>F EF AB cd |

e6 fe | d2c2 BA B2 | e3B cB AF | E3F E2E2 | E6 ||

           

WHEN HE HOLDS UP HIS HAND. AKA and see "Ianthe the lovely." English, Air. The tune, by John Barrett, appears under this title in John Gay's Beggar's Opera of 1728.

           

WHEN HISTORY'S MUSE. AKA and see "Paddy Whack [1]."


           

WHEN I AM DEAD AND MY DAYS ARE OVER COME MOLLY ASTOREEN AND LAY ME DOWN. Irish, Air (3/4 time). F Mixolydian. Standard tuning. AB. Stanford (1902) notes: “A similar tune (in the minor) appears under the title ‘Molly Asthoreen’ No. 447." Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 635, pg. 159.

X:1

T:When I am dead and my days are over come Molly Astoreen and lay me down
M:3/4
L:1/8

S:Stanford/Petrie (1905), No. 635

Z:AK/Fiddler’s Companion

K:F

CFG | A>G FA cd | _e>d cA B<B | A2 GF AG | G3 CFG |

A>G FA cd | _e>d cA B<B | A2 F{A}G FF | F3 || c cd | _e2 dc c=e |

f2 Ac _ed | d2 cA FA | G3 CFG | A>G FA cd | _e>d cA BB | A2 F>{A}G FF | F3 ||

           

WHEN I CAME TO MY TRUELOVE'S WINDOW. Irish, Slow Air (3/4 time). C Major. Standard tuning. One part. Source for notated version: "From the singing of my aunt, Mrs. Mary MacSweeny of Cork, and of Glenosheen Co. Limerick (1844‑1855)" {Joyce}. Joyce (Old Irish Folk Music and Songs), 1909; No. 170, pgs. 85‑86.

X:1

T:When I came to my true love’s window

M:3/4

L:1/8

R:Air

N:”Slow and with espression”

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:C

c|cG c2 df|ec d>B G z/f/|ef g2 df|ed/c/ d3f|ef g2 df|

ed/c/ B>A G g/f/|ee/d/ c2 {e/}dc|BA/B/ c2||

           

WHEN I COME HOME. American, Reel. USA, southwestern Pa. C Major. Standard tuning. AB. Source for notated version: John Taylor (fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 379, pg. 365.

           

WHEN I CROSSED THE VALLEY (Nuair Tarsnuig Me an Gleann). Irish, Air (4/4 time). F Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 256, pg. 44.

X:1

T:When I Crossed the Valley

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 256

Z:AK/Fiddler’s Companion

K:F

c>B | BAGF f3g | {f/g/}a2 g>f fedc | d3 c A>GA>c | d2 e>f f2 c>B |

BAGF f3 g | {f/g/}a2 g>f fedc | d>efg agfe | d3 e f2 || g>f | fedc c2 a2 |

ged>e c2 A>B | c3d c>dc>A | c3 d/e/ f3e | d>cd>f {e}d2 cA |

cA cd/e/ f3 g | {g}agfd cd/e/ fB | A3G F2 ||

           

WHEN I FOLLOWED A LASS. English, Jig. G Major. Standard tuning. AABB. The tune is similar to “Cock o’ the North” [1] and “Jumping John.” Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 95, pg. 35.

X:1

T:When I Followed a Lass

M:6/8

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

G/A/ | B>cB BAG | GAG A2 d/c/ | B>AG AGF | AGA GGA |

BcB BAG | ABA Adc | BAG AGF | G2G G2 :|

|: d | g2d e2d | dgd e2d | gfe dBG | ABA A2 d/c/ |

BcB BAG | ABA Adc | BAG AGF | GGG G2 :|

                       

WHEN I GO DOWN TO THE FOOT OF CROAGH PATRICK. Irish, Air (4/4 time). F Major. Standard tuning. One part. Source for notated version: “From Pat Mullin, Arran More, Sept., 1857" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 818, pg. 204.

X:1

T:When I go down to the foot of Croagh Patrick
M:C

L:1/8

N:”Andante”

R:Air

S:Stanford/Petrie (1905), No. 818

Z:AK/Fiddler’s Companion

K:G

z F/G/ AA | G3 A/G/ F/D/C/D/ FF | F3 F/G/ Ac cd/e/ | f3 g/f/ e/d/c/A/ dc |

c3 F/G/ Ac de | f2 dg/f/ e/d/c/A/ dc | c3 d/c/ cA GF | G3 A/G/ F/D/C/D/ FF | F3 ||

           

WHEN I LANDED IN GLASGOW. AKA and see "Eliza."

                       

WHEN I PARTED. AKA and see “Trip to Sligo [1].” English, Jig. E Minor. Standard tuning. AABB. Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 52.

                                   

WHEN I ROSE ON A MISTY MORNING. See “Maidin Cheodhach Nuair D’Eirigheas.”

                       

WHEN I THINK OF MY LOVE. English, Air (2/4 time). G Major. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 160.

X:1

T:When I Think of My Love

M:2/4

L:1/8

R:Air

N:Set as a “duett”

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:G

D2 | g2GG | d2dd | g2 gg | (gf)(fd) | (ef)(ge) | {e}d2 Bd | (dc)(BA) | G2 :|

d | {d}^c2 cc | cg ec | d2 AA | A2 fg | a2 f>a | g2 e>g | f2 d/f/a/f/ | f2e2 |

d2 B=c | d2 Bc | d2 ef | g3e | d2 BG | AB {d}c{B}A | GB AF | G2 ||

                       

WHEN I WAS A MAIDEN (Nuair Bha Mi Fein 'Nam Mhaidun). Scottish, Reel. A Mixolydian. Standard tuning. AABB'. Pipe tune. MacDonald (Skye Collection), 1887; pg. 12.

X:1

T:When I was a Maiden

T:Nuair Bha Mi Fein ‘Nam Mhaidun

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

f|eAcA eA c2|(fB)Bc fBBa|eAcA eA ca|cAAB cAA:|

|:a|fefa fedc|fBBc fBBa|1 fefa feca|cAAB cAA:|2 fefa eaca|cAAB cAA||

           

WHEN I WAS A YOUNG MAN. AKA and see "Lan(n)igan's Ball."

                                   

WHEN I'M MARRIED. English, Reel. D Major. Standard. AABB. Harding’s All Round Collection, 1905; No. 193, pg. 61.

X:1

T:When I’m Married

M:2/4

L:1/8

R:Reel

S:Harding’s All-Round Collection (1905), No. 193

Z:AK/Fiddler’s Companion

K:D

F/E/|D>F A/B/A/F/|D/F/A/d/ f/d/e/f/|g/f/e/d/ B/d/A/F/|EA AF/E/|

D>F A/B/A/F/|D/F/A/d/ f/d/e/f/|g/f/e/d/ B/d/A/F/|Ddd::d/e/|ff fg/a/|g/f/e/d/ c/e/d/e/|

fffa|g/f/e/d/ c/e/d/c/|B/A/B/d/ A/F/E/D/|B/A/B/d/ Ad/f/|af/d/ B/B/c/d/|ec/B/ A/d/:|

                       

WHEN IN WAR ON THE OCEAN. AKA and see "Admiral Benbow." English, Air (3/4 time). G Major. Standard tuning. One part. "When in war on the ocean" was one of the songs written to the melody "Admiral Benbow," according to Chappell. Huntington (William Litten's), 1977; pg. 39.

                       

WHEN IT'S NIGHT TIME IN ITALY. English, Polka. D Major. Standard tuning. AB. Carlin (Master Collection), 1984; No. 4, pg. 16.

                       

WHEN JOHNNY COMES MARCHING HOME. AKA and see “Johnny I Hardly Knew Ye.” American, Scottish; Country Dance Tune (6/8 time). A Minor (Kerr): B Minor (Sweet). Standard tuning. One part (Sweet): AB (Kerr). The tune uses much melodic material from the Scottish air "John Anderson my Jo." See note for “Johnny, I Hardly Knew Ye.” Kerr (Merry Melodies), vol. 1; No. 6, pg. 28. Sweet (Fifer’s Delight), 1965/1981; pg. 11.

X:1

T:When Johnny Comes Marching Home

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 1, pg. 28  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

E|A2B c2d|ecA ecA|G2A B2c|ded dBG|A2B c2d|efe dcB|A2z a2:||

A|EAA A2B|c2B c2A|(G3 G2)E|(G3 G2)A|EAA A2B|c2B c2d|

(e3 e2)c|e2e edc|d2d d2B|c2c cBA|B2B Bcd|e3 d3|c3 B3|EAA A2^G|A2z a2||


                       

WHEN MUD GETS IN YOUR EYES. Scottish, Jig. Composed by Scots fiddler Bert Murray. BM-91, Buddy MacMaster – “Glencoe Hall.”

                       

WHEN MY HERO IN COURT APPEARS. AKA and see "I am a poor shepherd undone," "The distressed shepherd," "Hey, ho, my honey."

                       

WHEN MY LOVE IS NEAR ME. Irish, Air (6/8 time, "spirited"). D Minor. Standard tuning. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 139, pg. 71.

X:1

T:When my love is near me

L:1/8

M:6/8

N:”Spirited: time well marked”

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:Dmin

c|dAF FAc|d2G G2 A/=B/|cAF FAc|d2D D2c|dAF FAc|dcd fed|cde fef|d2D D2||

d/e/|fgf efe|ded c>de|fgf gfg|a2d d2e|fgf gfg|agf e>fg|afd edc|d2D D2||

                       

WHEN MY OLD HAT WAS NEW. Irish, Air (4/4 time). G Major. Standard tuning. One part. "Sir Samuel Ferguson has written a ballad with this title" (Joyce). Source for notated version: "Copied from (a) very old well‑written manuscript lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick." Joyce (Old Irish Folk Music and Songs), 1909; No. 238, pgs. 115‑116.

X:1

T:When my old hat was new

L:1/8

M:4/4

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddle’s Companion

K:G

ge|d2 G>A Bcdg|e2 cA d2 BG|E2 DE G2 GA|G6 (3Bcd|e2 ed g2g2|

B2 BA GABc|d2 dg edcB|A6 A/B/c/d/|e2 ed g2g2|B2 BA Bdef|g2 dg fedf|

e6 ge|d2 GA Bcdg|e2 cA d2 BG|E2 DE G2 GA|G6||

                       

WHEN O'HOULIHAN IS MAYOR. Irish, Air (3/4 time). G Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 12, pg. 16.

X:1

T:When O’Houlihan is Mayor

M:3/4

L:1/8

R:Air

S:O’Neill – O’Niell’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

D2 | G3 ABG | A2G2E2 | G2A2B2 | d4 ef | g2f2e2 | d2B2G2 | E2F2G2 | A2F2D2 |

G3 ABG | A2G2E2 | G2A2B2 | d4 ef | g2f2e2 | d2B2G2 | A2G2F2 | G4 || d2 |

e2c2e2 | g2f2e2 | d2B2g2 | d2B2 ef | g2f2e2 | d2B2G2 | E2F2G2 | A2F2D2 |

G3ABG | A2G2E2 | G2A2B2 | d4 ef | g2f2e2 | d2B2G2 | A2G2F2 | G4 ||

                       

WHEN ONCE I LAY WITH ANOTHER MAN'S WIFE. AKA ‑ "Winchester Wedding [1]," "The King's Jig," "The King's Delight." English, Air. The air was published by John Gay in his Beggar's Opera (1729) under the title "Gamesters and lawyers." It also appears in Musick's Handmaid (1678) and other of Playford's publications. Howe (c. 1867) felt the prurient need to amend the title by substituting the words ‘lay with’ with the word ‘kissed’. Howe (1000 Jigs and Reels), c. 1867), pg. 157. Raven (English Country Dance Tunes), 1984; pg. 57 (facsimile of Beggar’s Opera).

X:1

T:When Once I Kissed Another Man’s Wife

M:6/8

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:F

FGF cBc | AGA F2F | GAG cBc | A3G3 :: FGF cBc|

AGA FGA | BcB AGF | GFG C3 | FGF AGF | G3F3 :|

                       

WHEN PAPPY GOES TO TOWN. American, Quadrille (6/8 time). G Major. Standard tuning. ABB. Ford (Traditional Music in America), 1940; pg. 66.

X:1

T:When Pappy Goes to Town

M:6/8

L:1/8

R:Quadrille

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

deg d2B|Bcd G2A|BAB D2E|G2A B2c|deg d2B|

Bcd G2A|BAB DEF|(G3 G2)D||GGG G2B|ddd dcB|

AAA A2c|e2d dBd|G2A B2c|e2d def|g2d B2A|(G3 G2)||

           

WHEN PETTIE CAME OVER THE GLEN. Scottish, Jig (9/8 time). G Minor. Standard tuning. AAB. The tune appears in Robert Petrie’s Fourth Collection of Strathspeys, Reels, Jiggs and Country Dances, published in Edinburgh in 1805. He identifies the tune as ‘Irish’, although it doesn’t sound particularly so. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 22.

X:1

T:When Pettie Came Over the Glen

M:9/8

L:1/8

S:Robert Petrie – 4th Collection (1805)

K:Gmin

d|BAG GDG GAB|AGF FGF Adc|BAG GDG GAB|ABc cdB {B}A2:||

F|BcB dBd f2d|BcB def ecz/B/|BcB dBd f2d|cdc cdB Adc|

BAG GDG GAB|AGF FGF Adc|BAG GDG G2d|gab ag^f g2||

           

WHEN PHOEBUS ADDREST. English, Ballad Air (6/4 time). G Major. Standard tuning. AAB. The air appears in Friesche Lust‑Hof (1634) {appears as "O doe not, doe not kil me yet"}. The air for the song was later supplanted by the air printed in Playford and well‑known today in country dance circles as "Drive the Cold Winter Away." Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 172.

 

WHEN SAMSON WAS A TALL YOUNG MAN. AKA and see "Spanish Pavan.” English, Air (4/4 time). G Dorian. Standard tuning. One part. One of the many ballads sung to the popular air "Spanish Pavan.” Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 84.

 

WHEN SHE ANSWERED ME, HER VOICE WAS LOW. AKA and see “The Dove [1].” Irish, Air (4/4 time). Ireland, County Cavan. B Flat Major: A Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; Nos. 251, 613 & 1057, pgs. 62, 154 & 268.

 


WHEN SHE CAM BEN (SHE BOBBIT). AKA and see "The Laird o' Cockpen.” Scottish, Air (6/8 or 6/4 time, "andante con moto" or "brisk"). D Minor (Carolan): G Minor (Johnson): G Dorian (Johnson): A Dorian (Aird). Standard tuning. One part (Carolan): ABCDEF (Johnson): AABBCCDD (Johnson). The title in English means "When she came through to the parlour, she curtseyed.” Johnson (1984) says the tune is related (through its alternating 6/4 and 3/2 rhythms) to the 16th century English coranto, and was composed in passamezzo antico form, which was an imported style of accompaniment chord progression borrowed from 16th century Italy. The original words to the tune were bawdy or risqué, but around 1810 Lady Nairne (Caroline Oliphant) wrote new words to it, and since then it has often been known as "The Laird of Cockpen.” Her song was requested by Queen Victoria to be included in a concert programme during her 1842 visit to Taymouth Castle; John Wilson, then a famous singer of Scots songs, gave the recital. It appears in one of the earliest Scottish fiddlers MS repertory books, c. 1705, now in the private collection of Frances Collinson (1966).

***

In 1792 the Scots national poet Robert Burns (1759-1796) revised the verses. His version goes:

***

O when she cam' ben she bobbed fu' law,  (x2)
And when she cam' ben, she kiss'd Cockpen,
And syne denied she did it at a'.

***

And was na Cockpen right saucy witha'? (x2)
In leaving the daughter of a lord,
And kissin' a collier lassie an' a'!

***

O never look down, my lassie, at a',  (x2)
Thy lips are as sweet, and thy figure complete,
As the finest dame in castle or ha'
.

***

Tho' thou has nae silk, and holland sae sma', (x2)
Thy coat and thy sark are thy ain handiwark,
And lady Jean was never sae braw.

***

Sources for notated versions: the 1705 Bowie Manuscript (set by John McLachlan, c. 1700) and McGibbon's 1742 Scots Tunes (set by Willian McGibbon but very similar to Oswald's) [Johnson]. Aird (Selection), vol. II, 1782; No. 80, pg. 29. Complete Collection of Carolan's Irish Tunes, 1984; No. 205, pgs. 138‑139 (variations on the theme by Turlough O'Carolan). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 15, pg. 30 and No. 20, pgs. 48‑50. McGibbon (Scots Tunes, Book 1), c. 1746; pg. 22. Oswald (Curious Collection of Scots Tunes), c. 1739; pg. 40. Maggie’s Music MM220, Hesperus – “Celtic Roots.”

X:1

T:When she came ben she bobed (sic)

M:6/8

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:Ador

E | A>BA Bcd | BGG G2B | A>BA aba | gee e2f | g>ag gfe | dec Bcd | e2e (e>=fe/d/) | c<AA A2 :|

|: e | a2a a>bc’ bgg g2f | a2a aba | gee e2f | g>ag gfe | dgc Bcd e2e e>=fe/d/ | c<AA A2 :|

X:2

T:When she came ben she bobed

M:6/4

L:1/8

R:Jig

N:”Brisk”

S:McGibbon – Scots Tunes, Book 1 (c. 1746)

Z:AK/Fiddler’s Companion

K:Gmin

D2 | G4 G2 B3c Bc | A2F2 FG F4F2 | G4G2 g3a ga | ^f2d2d2 d4e2 | f2B2f2 “tr”f3ed2 |

c2f2c2{B}A3Bc2 | d4d2 d3 edc | B2G2G2 G4 :: (d/=e/^f) | g4 g2 g3ab2 | a2f2f2 f4 =e^f |

g2B2d2g3 aga | ^f2d2d2 d4e2 | f2B2f2 “tr”f3ed2 | c2f2c2 “tr”A3Bc2 | d4 d2 d3edc | B2G2G2 G4 :: D2 |

G4G2 (BAB)cBc | A2 (GF) FG FEFGA^F | G2B2d2 g^fgbag | ^f2d2 de d4 (c/d/e) | (d/c/B) df b2 “tr”f3ed2 |

cFAcfc {B}A3B c2 | d4 d2 dcdedc | B2G2 GA G4 :: (d/=e/^f) | g^fgaga bagabg | a2f2c2A2F2 (a/g/^f) |

gdB GBd g^fgaga | ^f2d2A2^F2D2g2 | =fBdf b2 fgfede | cFAc f2 {B}A3Bc2 | d4 d2 dedcBA | B2 (AG)(GA) G4 :|

                       

WHEN SICK IS IT TEA YOU WANT? [1] ("Ann Do Tinneas Ne Tea Ta Uait?" or "Tae ab' ea a Theastaionn is Tú Tinn?"). AKA and see "Is It Tea You Want?" (?), "Go To the Devil and Shake Yourself [1]," "Come from the Devil and Shake Yourself," "The Irish Newsman," "The One-Legged Man [1]," "The Penniless Traveller.” Irish, Double Jig. D Major. Standard tuning. AABB (O'Neill, Songer, Taylor): AABB’ (Mallinson): AA'BB' (Breathnach). The melody appears in O’Neill under the titles “When Sick is it Tea You Want?” “Go to the Devil and Shake Yourself,” and “The Penniless Traveller.” Ryan’s Mammoth Collection (1883) gives the tune as “Go to the Devil and Shake Yourself.” Breathnach finds the tune first printed about 1778 in a London country dance collection, after which it appears frequently in collections published in England throughout the rest of that century. Although the titles are similar the tune is different than Petrie’s “When you are sick ‘tis tea you want.” The origin of the title is obscure, but at least one circulating story has it that a piper came home one night after an evening spent in his favorite pub, playing and drinking far too much. The next morning he nursed a monumental hangover, and his wife, pitying him, offered to make him a cup of tea to soothe his condition. Far from appreciative, however, the piper growled, “When sick, is it tea you want?” Sources for notated versions: piper Seamus Ennis (Ireland) [Breathnach]; Maire O’Keeffe (Tralee, County Kerry) via Fran Slefer (Limerick/Dublin/Portland, Oregon) [Songer]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Breathnach (CRE III), 1985; No. 27, pg. 13. Mallinson (Enduring), 1995; No. 28, pg. 12. O'Neill (Krassen), 1976; pg. 18. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 714, pg. 133. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 16, pg. 19. Ryan’s Mammoth Collection, 1883; pg. 81. Songer (Portland Collection), 1997; pg. 209. Taylor (Music for the Sets: Yellow Book), 1995; pg. 21. Drumlin Records, Brian McNamara – “A Piper’s Dream.” Tara Records TA 1002, Seamus Ennis ‑ "The Pure Drop" (1973).

X:1

T:When Sick is it Tea You Want?

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 16

Z:AK/Fiddler’s Companion

K:D

Add dcB|ABA AFA|Add d2e|fdB B2A|Add dcB|ABA AFA|dfd efe|fdd d2z:|

|:afd dcd|BGG G2g|bge ede|cAA A2A|Add dcB|ABA AFA|dfd ege|fdd d2z:|

 

WHEN SICK IS IT TEA YOU WANT? [2]. Irish. Stanford/Petrie Collection.

                       

WHEN THAT I WAS A LITTLE TINY BOY. English, Air (2/4 time). E Minor. Standard tuning. One part. The song is in the epilogue of the Bard's "Twelfth Night." Kines states the tune is credited by most authorities as being the one to which it was sung in Shakespeare's time. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 18.

                       

WHEN THE BATTLE’S O’ER.  AKA – “After the Battle.” Scottish. A late 19th century composition by Pipe Major William Robb, of the Argyll and Sutherland Highlanders, the tune entered piping repertoire before World War I. The late Andy Stewart set lyrics to the melody, which is similar to the melody Thomas Moore used for his song “The Last Rose of Summer.” 

                       

WHEN THE BRIGHT SPARK OF FREEDOM. AKA and see "(A) Sprig of Shillelah [1]."

                       

WHEN THE COCK CROWS IT IS DAY [1] (Air Glaodac an Coileaig Ata Se La). Irish, Air (6/8 time, boldly"). G Minor (O’Neill): F Minor (Stanford/Petrie): B Minor (O’Farrell). Standard tuning. AB (O’Neill, Stanford-Petrie): AABBCCDD (O’Farrell). Source for notated version: “From O’Neill’s collection” (1787) [Stanford/Petrie]. O’Farrell (National Irish Music for the Union Pipes), 1804; pgs. 20-21. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 583, pg. 102. Stanford/Petrie (Complete Collection), 1905; No. 478, pg. 121.

X:1

T:When the Cock Crows it is Day [1]

M:6/8

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 581

N:”Boldly”

Z:AK/Fiddler’s Companion

K:Gmin

G|B>cd cBG|G3 G2G|Bcd gfd|c3 cdf|gag fed|edc dBG|Bcd cBG|({F/A/}G3) G2||B|

FED FED|B3 B2G|FED FED|c3 cdf|gag fed|e{f/e/}dc dBG|Bcd cBG|{F/4/G/4A/4}G3 G2||

X:2

T:When the Cock Crows it is Day

M:6/8

L:1/8

R:Jig

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:Bmin

B | d>ef edB | B3B3 | def baf | e3 efa | bc’b agf | gfe fdB | Bfe dBB/A/ | B3B3 :|

|: d | AGF AGF | d3 d2B | AGF AGF | e3 efa | b>c’b agf | g{a/g/}fe fdB | Bgf edB | B3B3 :|

|: B | df/g/a/f/ df/g/a/f/ | dBB BAB | df/g/a/f/ baf | efe efa | bc’b agf | ga/g/f/e/ fdB | Bgf edB | B3B2 :|

|: d | AF/G/A/F/ AF/G/A/F/ | Ddd dcB | AF/G/A/F/ A/F/G/A/F/ | Eee efa |

b/a/g/a/b/g/ a/g/f/g/a/f/ | g/f/e/f/g/a/ fdB | Bg/f/e/d/ edB | B3 B2 :|

 


WHEN THE COCK CROWS IT IS DAY [2] (Air Glaodac an Coileaig Ata Se La). Irish, Air (6/8 time, "boldly"). C Major or G Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 584, pg. 102.

X:1

T:When the Cock Crows it is Day [2]

M:6/8

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 584

N:”Boldly”

Z:AK/Fiddler’s Companion

K:C

G|Gcc BGA|(G3 G2)G|Gcc Bcd|e2c d2B|Gcc cBc|def edc|dBG FEF|G3 G2||

G|Gcc BGA|G3 G2G|Gcc Bcd|e2c d2B|Gcc cBc|def edc|dBG {G}FEF|G3 G2||

 

WHEN THE COCK CROWS IT IS DAY [3]. AKA and see  "The Big Bow Wow," "The Beardless Boy," "Kate Kearney," "The Dissipated Youth [1]," "Giolla na Scriob," "Priest avourneen," "Seanbhean Chrion an Drantain." “Stagger the Buck,” "Tá an Coileach ag Fógairt an Lae" [2]. Irish, Jig. G Major. Standard tuning. AABB (Darley & McCall): AA’BB’ (Moylan). Breathnach (1996) notes the tune as given in the Darley & McCall collection (originally called the Feis Ceoil Collection of Traditional Irish Music) is identical with that played nowadays, and he speculates that Séamus Ennis, who popularized it, or his father, picked it up from there. See also the related “Be Easy, You Rogue,” “Stop You Rogue.” Sources for notated versions: fiddler William Shudell (Duncormick, Co. Wexford, Ireland), noted from his playing at one of the Feis Ceoil competitions at the turn of the 20th century [Darley & McCall]; Bill the Weaver {Bill Murphy, father of west Kerry fiddler Denis Murphy} via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 79, pg. 36. Moylan (Johnny O’Leary), 1994; No. 329, pg. 187. Kells Music 9505, Tommy Keane & Jacqueline McCarthy - “The Wind Among the Reeds.”

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources  Alan Ng’s Irishtune.info

X:1

T:When the Cock Crows It Is Day [3]

R:jig

Z:From Tommy Keane & Jacqueline McCarthy, "The Wind Among the Reeds"

Z:transcribed by Jeff Myers

M:6/8

L:1/8

K:G

D|GAB AGE|c2 E c2 D|GAB AGE|A2 D A2 D|GAB AGE|

c2 d (3efg e|dBG AGE|1 G3 G2:|2 G3 GBd||

g2 e dBG|c4 z d|(3efg e dBG|A3 ABd|g2 e dBG|c2 d (3efg e|

dBG AGE|1 G3 GBd:|2G3||

                       

WHEN THE KING CAME O'ER THE (BOYNE) WATER(S). AKA and see "Boyne Water [1]," "The Cavalcade of the Boyne," "King William's March." Scottish, Slow Air (4/4 time). D Minor. Standard tuning. AABB. The air dates back at least to the 17th century. Carlin (Gow Collection), 1986; No. 564. Gow (Complete Repository), Part 3, 1806; pg. 5. McGibbon (Scots Tunes, book II), c. 1746; pg. 40.

X:1

T:When the King came o’er the (Boyne) water

M:C

L:1/8

R:Air

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:D Minor

z|d3c d2f2|c>dcA F2 GA|{A}B2 (AG) (d2 c)A|G3F D3:|

|:G|F2f2f3g|f>gfd c3f|d2g2 g3a|(b>a)(gf) ~d3f|(cd) (fg) {fg}a2 g>a|

f2 (FG) (BA) (GF)|B2 AG (d2 c)A|G3F D3:|

X:2

T:When the King came o’er the Water

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book II, pg. 40 (c. 1746)

Z:AK/Fiddler’s Companion

K:D Minor

d3cd2f2 | c>dcA F2(GA) | B2(AG) d2”tr”(cA) | “tr”G3FD2 :|

|: G2 | F2(f>g)f3g | (f>gf)d c3f | d2(ga)”tr”g3a | g>agf d3f |

(cd)(fg) ({f/g/}a2) g>a | f2 (F>G)A2 (GF) | B2(AG) d2”tr”(cA) | “tr”G3FD4 :|


                                   


WHEN THE KING ENJOYS HIS OWN AGAIN. AKA and see “Trusty Dick,” “King Enjoys His Own,” “World Turned Upside Down [1].” English, March (4/4 time). D Major (Callaghan): G Major (Chappell). Standard tuning. AAB (Callaghan): AABC (Chappell). This extremely popular tune was a Cavalier air and ballad by Mathew (or Martin) Parker which first appeared in 1643; political in nature, it supported Charles I, sang his praises and prognosticated his eventual victory in the civil wars (Merryweater, 1989). The song was circulated in secret during the commonwealth, although in the end the unfortunate Charles was, of course, beheaded and his cause lost. Ritson states the air "served afterwards, with more success, to keep up the spirits of the Cavaliers, and promote the restoration of his son‑‑an event it was employed to celebrate all over the kingdom." As a Whig tune it was played in 1690 when the Irish (never ones to pass up a good tune, even though they learned it from the supporters of William the III) played it {in derision?} when they sacked Kilbrogan (Winstock, 1970; pg. 26). The Irish harper Denis Hempson (or O’Hempsey) was fifty years old when, on a second trip to Scotland in 1745, he played the tune for Prince Charlie in Edinburgh. Collinson (1975) reports it was played by bagpipers (in an altered form for the instrument) for Bonnie Prince Charlie upon the same occasion of his triumphal entry into Edinburgh. It was later played by Jacobite officers in a Manchester church as Bonnie Prince Charlie’s forces retreated to Scotland in 1745, feeling betrayed by the town whose former warm reception had turned hostile when the fortunes of the Prince waned (Winstock, 1970). Chappell (1859) says that, although the tune is sometimes claimed as Scottish, it is an English composition. He also states that it was not only a vehicle for numerous Jacobite songs, but that several written in support of the House of Hanover can be found. “When the King Enjoys His Own Again” appears in Musick's Recreation on the Lura‑Viol (1652), Musick's Delight on the Cithren (1666), and Elizabeth Rogers' Virginal Book (1656).

***

Under the title “The King’s Joy” it was printed in Richard Roberts’ Cambrian Harmony (1829) and reprinted in Parry’s Welsh Harper (1848), with the suggestion that it is an old Welsh tune “never before published arranged as they were originally performed by the Ancient Britons.”

***

Barry Callaghan (2007) remarks that, although the melody began as a song tune, it was absorbed into dance repertoire by the late 18th century. Later it was printed under the title “Trusty Dick, or The King Enjoys His Own” in Daniel Wright’s Compleat Collection of celebrated country Dances (1740, printed by I. Johnson). “When the King…” appears in the music manuscript copybook of Henry Aktinson (1694, Morpeth, Northumberland), and the music manuscript of John Winder (1789, Wyresdale, Lancashire), although under the title “29th of May” in the latter ms. (this title is usually attached to another melody). Callaghan also notes the a variant of the melody was employed in a traditional play from Ruardean, Forest of Dean, Gloucestershire, where it accompanies the dance of a ‘sword carrier’.

***

Callaghan (Hardcore English), 2007; pg. 40. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 210‑211.

X:1

T:When the King Enjoys His Own Again

M:C

L:1/8

S:Chappell – Popular Music of the Olden Times  (1859)

Z:AK/Fiddler’s Companion

K:G

D2 | D2 D2 G2 G2 | AB cd B2 AB | c2 E2 F2 G2 | A3 G G2 :|

|| A2 | A2 FG A3 B | AG FG A3 B | AG FG A3 B | F3 D D2 ||

D2 | d2 dc B2 AG | AB cd B2 AB | c2 E2 F2 G2 | A3 G G4 ||

                       

WHEN THE KYE COME HAME. Scottish, Air (4/4 time). D Major. Standard tuning. AB. Both words and music to this pastoral song of love and courtship are attributed to James Hogg (1770-1835).

***

Give me the highest joy
That the heart o' man can frame:
My bonnie, bonnie lassie,
When the kye come hame.

***

Howe (1000 Jigs and Reels), c. 1867; pg. 124. Green Linnet GLCD 1193, Tannahill Weavers – “Epona” (1998).

X:1

T:When the Kye Come Hame

M:4/4

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D

(Bc) | (d>cBc) (BAFE) | (F<A) A>B A2 (Bc) | (d>cBc) (BAFE) | (FB) B2c2 (dB) |

(A>Bde) (f2ed) | (e>def) A2 (d>e) | (f>edc) (B<A) (F>E) | F2B2B2 || (DE) |

(F2A2) (AGF>E) | F2B2B2 (de) | f>edc (BAF>E) | F2A2A2 ||

                       

WHEN THE LEAVES BEGIN TO FALL. American, Waltz. A Major ('A' part) & E Major ('B', 'C', and 'D' parts). Standard tuning. ABCD. Ford (Traditional Music in America), 1940; pg. 138.

X:1

T:When the Leaves Begin to Fall

M:3/4

L:1/8

R:Waltz

B:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:A

c2d2|c4B2|E4G2|(B6|B2) B2c2|B4 A2|C4 E2|(A6|

A2) A2A2|G4e2|F4d2|(E6|E2) A2A2|G4e2|F4d2|(c6|

c2)c2c2|c4 B2|E4 G2|(B6|B2) B2c2|B4 A2|C4 E2|(A6|

A2) A2A2|G4 e2|F4 d2|E6|E2 z2 A2|G4 e2|F4G|(A6|A2)||

K:E

Gc|B4 Gc|B4 Ge|(d3c) AF|D2 z2 B2|(c3B) ^AB|

d4B2|(c3B) ^AB|e4 Gc|B4 Gc|B4 (Ge)|d3c AF|

D4B2|c3B ^AB|d4B2|(e6|e2)||E2A2|c4c2 |e2c2A2|

(G6|G2)z2 ff|G4e2|E4e2|(c6|c2)E2A2|c4 c2|

e2c2A2|(G6|G2) ff|G4 e2|E4c2|(A6|A2)z2z2||

“Fine”

e2e2e2|fe^decA|(G6|g2)z2z2|e2e2e2|(gf)edcB|(A6|

a2)z2z2|e2e2e2|fe^decA|(G6|g2)z2z2|g2g2g2|bagac^d|(e6|e2)||

                       

WHEN THE LEAVES BEGIN TO TURN BROWN. American, Song Tune (cut time). G Major. Standard tuning. AB (Silberberg): ABB (Phillips). Sources for notated versions: Tommy Jackson [Phillips]; Jack Link [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 164. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 168.

                       



WHEN THE SNOW AND THE FROST ARE ALL OVER. Irish, Air (6/8 time, "playful, not too fast"). D Dorian. Standard tuning. AB. Joyce (Old Irish Folk Music and Song), 1909; No. 113, pg. 58.

X:1

T:When the Snow and the Frost are all Over

M:6/8

L:1/8

R:Song air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D Dorian

D/E/|FGA GAE|DEG A2 B/c/|dcA GAE|D3 C2 D/E/|FGA GAE|DEG A2 B/c/|

DcA GAE|D3 D2||G|ABc d2 e|dAB c2 e|dcA GAE|D3 C2 D/E/|FGA GAE|

DEG A2 B/c/|dcA GAE|D3 D2||

                       

WHEN THE STORMY WINDS DO BLOW. AKA and see "You Gentlemen of England." English, Air (4/4 time). G Major. Standard. AB. The song appears in broadside ballads, and in the collection Loyal Songs (1686). As was usual with popular tunes, many other ballads were written to the tune including "You Calvinists of England," "The Valiant Virgin, or Phillip and Mary." Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 47.

                       

WHEN THE TIDE COMES IN. AKA and see “Tide Come In [2].” English, Hornpipe. England, Northumberland. E Minor. Standard. AABB. Composition credited to Jack Davidson in the Charlton Memorial Tune Book. However, see note for “Tide Come In [2]” and related tunes for more. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 61.

                       

WHEN THE WAR IS ALL OVER. Irish, Air (2/4 time). G Minor. Standard. One part. Although the air sounds old, it perhaps had particular meaning since World War I was already two years old in Europe when O’Neill published his Irish Music in 1915. O'Neill (O’Neill’s Irish Music), 1915; No. 7, pg. 14.

X:1

T:When the War is All Over

M:2/4

L:1/8

R:Air

N:”Andante”

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G Minor

G | G2 G>A | BG G>F | DCDA | G>A G>A | B>A B>c | dc/=e/ f>d | c>A G>F | F3e |

d>c d>e | f>d B>d | c>A G>F | d3c | B>G A>^F | G>=F DC | D>^F GB/A/ | (G2G) ||

                       

WHEN THIS OLD CAP WAS NEW. AKA and see "Old Sir Simon/Symon the King."

           

WHEN WE WENT BOBBING AROUND. New England, Polka. C Major. Standard. AABB. Miller & Perron (101 Polkas), 1978; No. 60.

           

WHEN WE WERE GIRLS TOGETHER (Nuair Do Bimar Cailinide Le Ceile). Irish, Air (6/8 time, "cheerful"). C Major. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 573, pg. 101.

X:1

T:When We Were Girls Together

M:6/8

L:1/8

R:Air

N:”Cheerful”

S:O’Neill – Music of Ireland (1903), No. 573

Z:AK/Fiddler’s Companion

K:C

G|E>FG GA_B|AGF F2G|E>FG GAB|c>de d2 G/F/|E>FG GA_B|

AGF f2 e/f/|gfe fed|c3 e2||g|e>de c>de|fd_B def|gec cdc|efg g2g|

Gec ege|fd_B def|gfe fed|c3 c2||

           

WHEN WILLIAM AT EVE (Nuair Uilliam air Tratnona). Irish, Double Jig. C Major. Standard. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 944, pg. 175.

X:1

T:When William at Eve

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 944

Z:AK/Fiddler’s Companion

K:C

(G/F/) | EGc cBc | Bdf fed | ecG AdB | {d}cBA G2 (G/F/) |

EGc cBc | Bdf fed | {a}gec AdB | c3 c2 :: c | g^fg gag | gfe f2 e |

def afd | c>dc B2G | A>Bc fdc | B>cd e>fg | fdB GAB | c3 c2 :|

                       

WHEN YE COLD WINTER NIGHTS WERE FROZEN. AKA and see “Mary Scott [2],” “Sir John Fenwick’s (the) Flower Among Them All.

           


WHEN YOU AND I WERE YOUNG, MAGGIE. AKA and see “Maggie.” American, Irish, Scottish; Air (4/4 time). G Major. Standard tuning. ABCD. The music was composed by Chicago violinist, singer and music teacher J.A. Butterfield (1837‑1891) while the words were written by Canadian lyricist George Washington Johnson, in memory of "a beautiful and vivacious young woman" named Maggie Clark (b. 1841) of the town of Glanford, Ontario. "George Johnson came to the town to teach and he fell in love with Maggie. They were subsequently married and moved to Cleveland, Ohio, where George had obtained a post as a journalist. Tragically, Maggie contracted tuberculosis and died on May 12, 1865, when only 23 and less than 12 months after being married" (Neil, 1991). Interestingly, the tune was popular on both sides of the Atlantic, and the words and music were adopted by the Scottish burgh of Selkirk, "where they have been sung and played for over 100 years." In Ireland the tune is sometimes known as "Nora," from the adaption by Sean O'Casey for his play about the Easter Uprising, The Plough and the Stars. In one scene Nora says:

***

'You haven't sung me a song since our honeymoon. Sing me one now, do¼

Please, Jack!'

Clitheroe:  'What song? Since Maggie went away'?

Nora:  'Ah, no, Jack, not that, it's too sad. When you said you loved me.'

(Clearing his throat, Clitheroe thinks for a moment and then begins to

sing. Nora, putting an arm around him, nestles her head on his breast

and listens delightfully)

Clitheroe: (singing verses following to the air of 'When you and I were

young, Maggie.')  'Th' violets were scenting th' woods, Nora'

[Loesberg, Folksongs and Ballads Popular in Ireland, vol. 2, 1980].

***

See also the American fiddle variant “Maggie.” Neil (The Scots Fiddle), 1991; No. 41, pg. 53. De Dannan. RCA 5798-2-RC, "James Galway and the Chieftains" (1986).

                       

WHEN YOU ARE SICK IS IT TEA YOU WANT?  See "When You are Sick ‘tis Tea You Want."

                       

WHEN YOU ARE SICK ‘TIS TEA YOU WANT. Irish, Air ? (6/8 time). B Flat Major. Standard tuning. One part. Not the same tune as O’Neill’s “When Sick is it Tea You Want? [1]” Stanford/Petrie (Complete Collection), 1905; No. 654, pg. 164.

X:1

T:When you are sick ‘tis tea you want

M:6/8

L:1/8

S:Stanford/Petrie (1905), No. 654

Z:AK/Fiddler’s Companion

K:B_

B | BBAF A2B | c2B B2B | BAF A2B | c2B B2 d/e/ |

fff e2f | ddB c2B | BAF A2B c2B B2 ||

                       

WHEN YOU CENSURE THE AGE. AKA and see "How happy are we (who from thinking are free)."

                       

WHEN YOU GO HOME (An Uair Teid Tu a Baile). AKA and see "The Humours of Ayle House," "The Kilfinane Jig," "Come with me now," "Tolladh an Leathair," "Boring the Leather [2]," "The Shoemaker's Fancy," "The Connaughtman [2]," "Down the back Lane." Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 334, pg. 70.

X:1

T:When You Go Home

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 334

Z:AK/Fiddler’s Companion

K:D

G|FDE F2d|cAA BAG|FDE F2d|cAF G/B/AG|FDE F2d|cAB cde|fef d/f/ed|cAF G2:|

|:B|=cAA fed|cAG A2B|=cAA fed|cAF G2B|=cAA fed|cAB cde|fef d/f/ed|cAF G2:|

           

WHEN YOU GO TO A BATTLE. Irish, Air (6/8 time). B Flat Major. Standard tuning. One part. Source for notated version: “(The Irish collector) Mr. Joyce, from Joseph Martin” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 460, pg. 116.

X:1

T:When you go to a battle

M:6/8

L:1/8

R:Air

N:”Allegretto”

S:Stanford/Petrie (1905), No. 460

Z:AK/Fiddler’s Companion

K:Bb

F/E/ | DEF BAB | cde d2e | def ecB | ABc F2e | def gfe | dcd e2c |

def e>cB | ABc F2 F/E/ || DEF  B2c | d2d e>dc | Bdf gec |

cBB B2 F/E/ | DEF B2 B/c/ | d2d e>dc | Bdf gec | cBB B2 ||

           

WHEN YOU GO TO THE HILL TAKE YOUR GUN. AKA and see "The Lees of Luncarte."

           

WHEN YOU MEET A PRETTY GIRL (Nuair Casad Cailin Deas Leat). Irish, Air (4/4 time, "spirited"). G Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 146, pg. 26.

X:1

T:When You Meet a Pretty Girl

M:C

L:1/8

R:Air

N:”Spirited”

S:O’Neill – Music of Ireland (1903), No. 146

Z:AK/Fiddler’s Companion

K:Gmin

A | B3A G2d2 | (cd)(Bc) (BA)(GF) | B{c/B/}ABc d2g2 | dcBA G3 || g |

f2d2 d2 cB | (ABcd) (BA)(GF) | f2d2 d3f | (gf)df g2 (bg) | f2d2 (ed)(cB) |

(AB)(cd) (BAGF) | B{c/B/}ABc d2g2 | dcBA G3 || 

 

WHEN YOUNG AT THE BAR YOU FIRST TAUGHT ME TO SCORE. AKA and see "If love's a sweet passion, how can it torment."

 


WHEN YOU’VE HOOKED HIM, HOLD HIM FAST. Scottish (originally), Canadian; Strathspey. Canada, Cape Breton. A Mixolydian. Standard tuning. AABB. Composed by Joseph Lowe, who published a set of collections in Scotland in the 1840's. Cranford (Jerry Holland’s), 1995; No. 18, pg. 6.

                       

WHERE ARE YOU GOING LOVE? [1] (Ca Racaid Tu A Grad?).  Irish, Air (3/4 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 484, pg. 85.

X:1

T:Where are you going love? [1]

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 484

Z:AK/Fiddler’s Companion

K:G

d gf|g2 ag f{a}g/e/|d>B GD G/A/B/d/|c>A F>A GG|G3 d gf|g2 ag f{a}g/e/|

d>B GA B/d/f/e/|d>c A>F GG|G3||A/B/ cB|A>B cd e/f/g/b/|a>f dd e/f/g/e/|

a2 bg fe|d3 e/f/ gf|g2 ag f{a}g/e/|d>B GA B/d/f/e/|d>c A>F GG|G3||

 

WHERE ARE YOU GOING LOVE? [2] (Ca Racaid Tu A Grad). Irish, Air (6/8 time, "with spirit"). G Major/Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 529, pg. 92.

X:1

T:Where are You Going Love? [2]

M:6/8

L:1/8

R:Air

N:”With Spirit”

S:O’Neill – Music of Ireland (1903), No. 529

Z:AK/Fiddler’s Companion

K:G

(G/F/) | (DG).G (GAB) | (cAG) (FGA) | {B}(BAB) cAF | (AG).G G2F |

(DG).G (GAB) | {d}(cAG) (FGA) | (d/e/=f).d cA^F | (AG).G G2 || d |

def (.g3.g) | (=fed) cA^F | .G(gf) (ga).g | (=fd).d d2e | (^f/g/a).g =fed |

(cd_B) (A=Bc) | (d/e/=f).d cA^F | (AG).G G2 ||

                       

WHERE ARE YOU GOING MY PRETTY MAID? Irish, Air (2/4 time). Ireland, County Cork. A Minor. Standard. One part. A tune by this name is cognate with “The Prince of Wales’s Reel.” See also an untitled reel in Breatnach’s Ceol Rince na hÉireann IV (No. 157). Source for notated version: “From P. MacDowell Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 774, pg. 193.

X:1

T:Where are you going my pretty maid?

M:2/4

L:1/8

N:”Moderato”

N:”County of Cork.”

S:Stanford/Petrie (1905), No. 774

Z:AK/Fiddler’s Companion

K:Amin

c/d/ | (eA) AA | EA AB/c/ | (dB) GB | (d2e) e/d/ | cB/A/ BA | (GA) A(B/c/) | (dB) GB |

(d2e) e/d/ | cB/A/ BA | (GA) A(B/c/) | (dB) GB | (d2e) c/d/ | e/d/e/^f/ gf/g/ | a^f gf/g/ |

ec BA | e^f gc | BA A2 | B/c/d/B/ GA/B/ | cd ec | “tr”B2 A ||

                       

WHERE ARE YOU GOING SWEET ROBIN?  AKA and see "The Humours of Glasgow Fair."

                       

WHERE ARE YOUR GODS AND MIGHTY HOPES? (Cia iad na Dée 'sna duile treun). Scottish, Slow Air. A Minor. Standard tuning. AABB. "The editor took down the music of this air from the same Roman Catholic clergyman, who sung verses to it composed by the famous Gaelic poet, Alexander Macdonell, but bearing no allusion to the pompous name, which a very imperfect set of it has obtained, in the collection of the late Reverend Patrick Macdonald. The editor has, however, adopted the name, which seems to relate to a period more remote than that in which Alexander Macdonell flourished. It seems the original on which John of Badenyond is built" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 200, pg. 83.

X:1

T:Where are your Gods and mighty hopes

T:Cia iad na Dée ‘sna duile treun

M:C

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:C

E | A>BA^G A>=GEG | E>^DE^G A2 A>c | AGGB c>Bcd | e>dc>d e2 e>g |

f>de>c d>c e2 | G<E D>E G2 z2|GEDC c>d e z/c/ | d>c Ad/B/ c2 :|

|: E | A>B c>A c>GEG | E>^DE^G A2 A>c | AGGB c>Bcd | e>deg a2 z2 |

c’>ag>e d>c e2 | GEDE G2 z2 | GEDC c>d e z/c/ | d>c AB [E3c3] :|

                       

WHERE CAN SHE BE OFF TO? Irish, Fling. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 18, pg. 9.

X:1

T: Where Can She Be Off To?

C: © B.Black

Q: 350

R: hornpipe

M: 4/4

L: 1/8

K: G

DGGA Bdce | dBAG A=FCF| DGGA Bdce | dedB A2 G2 :|

g2 dg bagf | =f2 cf agfe | g2 dg bagf | ecdB A2 G2 :|

                       

WHERE DID YOU COME FROM.  American, Reel. D Major. Standard tuning. AABB. The melody was published in George P. Knauff’s Virginia Reels, vol. 3 (Baltimore, 1839).

X:1

T:Where Did You Come From

M:2/4

L:1/8

R:reel

B:George P. Knauff’s Virginia Reels, vol. 3 (Baltimore, 1839)

Z:AK/Fiddler’s Companion

K:D

d/e/4f/4|g/f/e/d/ BA|A/e/e/f/ e d/e/4f/4|g/f/e/d/ BA|A/d/d/e/ d:|

|:d|d/e/f/g/ aa|{c’}b/a/b/c’/ d’d’|d/e/f/g/ aa|b/a/4f/4 b/a/4f/4 ee|

d d/4e/4f/4/g/4 aa|{c’}b/a/b/c’/ d’d’|d d/4e/4f/4g/4 aa|b/a/g/f/ a/g/f/e/|

g/f/e/d/ BA|A/e/e/f/ e de/4f/4|g/f/e/d/ BA|A/d/d/e/ d:||

 

WHERE DID YOU FIND HER? [1] (Ca b-Fuar Tu I?).  Irish, Hornpipe. D Major. Standard tuning. AABB. McGuire & Keegan (Irish Tunes by the 100, Vol. 1), 1975; No. 87, pg. 24. O'Neill (Krassen), 1976; pg. 211. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1758, pg. 327. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 930, pg. 159. Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano).

X:1

T:Where Did You Find Her? [1]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 930

Z:AK/Fiddler’s Companion

K:D

{g}fe|dAFA DAFA|dAFA DAFA|(3Bcd ef gefd|edcB Agfe|

dAFA DAFA|dAFA D2 FA|B>ged cABc|d2g2d2:|

|:fg|dedB c2 Bc|dgfa g2 ga|bgag fdde|fdcA GBAF|

DGGF GABG|AFDE F2 (3ABc|dfeg fdcA|GBAF G2:|

 

WHERE DID YOU FIND HER? [2]. AKA and see “Bashful Bachelor [2],” “Obelisk Hornpipe,” “Shaw’s Reel,” "The Wily Old Bachelor." Irish, Hornpipe. G Major. Standard tuning. AB. The melody is related only in the second strain to the alternate titles “Bashful Bachelor,” “Obelisk Hornpipe,” “Shaw’s Reel,” and the “Wily Old Bachelor.” Mulvihill (1st Collection), 1986; No. 7, pg. 89.

X:1

T:Where did you find her? [2]

M:C|

L:1/8

R:Hornpipe

S:Mulvihill – 1st Collection, No. 7, pg. 89  (1986)

K:G

D/C/|B,DGA BGDB,|CEAB cAFD|B,DGA BdcB|(3ABA (3GFE (3FED (3CB,A,|

B,DGA BGDB,|CEAB cAFD|B,DGB ADFG|G2 {A}GF G2||g/a/|

bgeg dgBg|dgBg dgBg|bg (3efg dgBd|eaag a2 d’/a/|

bg (3efg dgBd|c2 cB cdef|gdBG FG dc|(3cde AF G2||

                       


WHERE DID YOU LAVE YOUR BRITCHISHEEN, JACK?  AKA and see "Indeed! Then You Shan't/Won't, " "No You Don't." Irish, Air (6/8 time). F Major. Standard tuning. AB. Bayard (1981) says the tune was in traditional currency in the 1st quarter of the 19th century. The words to the first half go:

***

Where did you lave your britchisheen, britchisheen?

Where did you lave your britchisheen, Jack?

Where did you lave your britchisheen, britchisheen?

Under the stairway minding the pot.

***

Source for notated version: Mrs. Anastasia Corkery (Co. Cork, Ireland) [Bayard]. Bayard (Dance to the Fiddle), 1981; Appendix No. 39, pg. 589.

           

WHERE GADIE RINS.  AKA and see “The Hessians’ March.” Scottish, March (4/4 time). D Major. Standard tuning. AABBCC. The “March Past of the Gordon’s,” notes Skinner, referring to the Gordon Highlanders regiment of the British army. Skinner (Harp and Claymore Collection), 1904; pg. 26.

X:1

T:Where Gadie Rins

T:Hessians’ March, The

M:C

L:1/8

R:March

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

.d/.B/ | AA/B/ dd/e/ ff fe/d/ | ff fe/d/ e/d/e/f/ ed/B/ | AA/B/ dd/e/ ff fe/d/ | aA AB/c/ d2 d :|

|: B | A<FF>A G<EE>G | FDFA d/c/d/f/ e/c/d/B/ | AF F>A GE EA/G/ | F.D.F.A d2d :|

|: d/B/ | A/F/A/B/ d/c/d/e/ f/e/f/a/ g/f/.e/d/ | f/e/f/a/ g/f/e/d/ e/d/e/f/ f/e/d/B/ |

A/F/A/B/ d/c/d/e/ f/e/f/a/ g/f/e/d/ | f/e/d/B/ A/F/A/B/ (d2 d) :|

           

WHERE HAST THOU BEEN, MY CANNY HINNY?  AKA and see "Maw Canny Hinny." English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

                       

WHERE IS MY OTHER FOOT?  AKA and see "Oh My Foot,” "The Peeler's Jacket [3],” “Rocky Road to Denver,” "The Temperance Reel,” "The Teetotaler('s Reel).” Old‑Time, Breakdown. USA, Missouri. G Major. Standard tuning. AABB. The tune, a variant of the Irish “Temperence Reel,” was recorded under this title by Ted Sharp, Hinman & Sharp (1933). Missouri fiddler Gene Goforth (1921-2002) played it as “Rocky Road to Denver,” learned from his source Roy Wooliver. Source for notated version: Lonnie Robertson (Ozark County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 76.

                       

WHERE IS MY PANTS AT?  Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

WHERE IS THE CAT? AKA and see “Taidhgin an Asail’s Jig.” Irish, Slide. G Major. Standard tuning. AABB. Black (Music’s the Very Best Thing), 1996; No. 245.

T: Where is the Cat?

Q: 375

R: slide

Z: transcribed by B.Black

M: 12/8

L: 1/8

K: G

DED G2 D E2 D G3 | DED G2 B ABA E2 D |

DED G2 D E2 D G2 d | BdB c2 B ABG E2 D :|

BAB d2 B AGE c2 c | BAB d2 B ABG E2 D |

BAB d2 B AGE c2 c | ege d2 B ABG E2 D :|

                       

WHERE LILIES BLOOM. Irish, Polka. Green Linnet GLCD 1184, Patrick Street – “Made in Cork” (1997).

X: 1

T: Where the Lilies Grow

S: T. Cuffe via J. O'Sullivan

M: 2/4

L: 1/8

R: polka

K: D

FD FA | d2 dc | B>A Bc | BA FE |

FD FA | d2 dc | B>A Bc | ed d2 :|

f2 e2 | d2 dc | B>A Bc | BA FA |

f2 e2 | d2 dc | B>A Bc | ed d2 |

f2 e2 | d2 dc | B>A Bc | BA FA |

FD FA | d2 dc | B>A Bc | ed d2 ||

           

WHERE THE AUGBERG FLOWS. Irish, Air (3/4 time). G Major. Standard tuning. AAB. Roche Collection, 1982, vol. 3; No. 15, pg. 4.

           

WHERE THE CHICKEN GOT THE AX. Old‑Time, Breakdown. USA, Oklahoma. C Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AAB. A different tune than Henry Reed’s “Somebody Else is Getting It Where the Chicken Got the A-X-E.” Source for notated version: Ben Turner (Harper County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 125.

                       

WHERE THE LILIES GROW. See “Where Lilies Bloom.”

                       

WHERE THE SHANNON RISES. Irish, Reel. D Major. Standard tuning. AA’B. Composed by Philadelphia, Pa./County Cavan fiddler Ed Reavy (1898-1988). Reavy’s son Joseph notes that Ed was “proud to recall that the majestic Shannon rose in his county.” Reavy (The Collected Compositions of Ed Reavy), No. 1, pg. 1.

X:1

T:Where The Shannon Rises

M:C

L:1/8

C:Ed Reavy

S:The Collected Compositions of Ed Reavy

R:Reel

N:Ed was proud to recall that the majestic

N:Shannon rose in his county. For this reason he called his first book

N:of tunes, "Where the Shannon Rises".

Z:Joseph Reavy

K:D

d||:DEFA defe| (3dcB (3cBA BFFG|AGFE DEFA|dBAF EDCE|DEFA defe|

(3dcB (3cBA BFFG|AGFE DEFA|1 (3Bcd eg fddF:|2

(3Bcd eg fdde||fgaf dcdf|eBfB gBfe|defg agfa|gfeg fedc|defg

 afdf|edcd efge|(3f^ga ec dcdA|(3Bcd AF EDCE||

           

WHERE THERE'S A WILL THERE'S A WAY. English, Jig. England, Dorset. G Major. Standard tuning. One part. Trim says it is "undoubtedly a song tune" as the notes are detached in the original MS. Trim (Thomas Hardy), 1990; No. 40.

           

WHERE/WHAR WAD OUR GUDMAN/BONNIE ANNIE LYE/LAYE?  AKA and see "Red House." Scottish, English. The same tune ("Red House") is the ancestor to "John Peel." Aird (Selections), vol. 1, 1778, No. 95. Gow (Vocal Melodies of Scotland), 1822; pg. 34. Johnson (The Scots Musical Museum), vol. VI, 1787‑1803, No. 324. Oswald (Caledonian Pocket Companion), vol. 2, 1780?, pg. 22. Smith (Scottish Minstrel), vol. VI, 1820‑24, pg. 48.

           


WHERE WERE YOU ALL THE DAY, MY OWN PRETTY BOY?  Irish, Air (3/4 time). G Major (Joyce): G Dorian (Stanford/Petrie). Standard tuning. One part. "This ballad, in various forms, and sung to different airs, is found all over Europe. In all cases the subject of the ballad is a victim to poison. In England it is "King Henry, My Son", who comes home to his mother to die of poisoned food given him by his sweetheart.) Ballad recently published by Miss Lucy Broadwood in English Traditional Songs and Carols.) In Scotland it is 'Lord Ronald' (for which see 'Woods Songs of Scotland'). In Germany it is 'Grandmother Adder‑Cook'; and there are versions in Italian, Swedish, Dutch, magyar, and Wendish. We have it in Ireland also, and in two distinct versions; one in the Irish language, the other in English. The Irish ballad, as recently taken down in the Co. Roscommon by the Rev. Father John MacDermott from an old man named Rogers, has been published with an interesting notice by Dr. Douglas Hyde, in 'Eriu', II. 77. As to the English version:‑‑I took down both words and music about the year 1848 from Peggy Cudmore, a little peasant girl of twelve or thirteen years of age, endowed with extraordinary musical taste and talent. I gave both to Dr. Petrie; and a version of the air will be found with my name in the Stanford‑Petrie collection (No. 330). My copies are still among the Petrie paters, which are inaccessible to me; but I remember the following four verses and the whole of the air, which I give here, and which differs somewhat from the setting in Stanford‑Petrie. Dr. Hyde informs us that a version of the English‑Irish ballad was taken down in 1881 from a woman named Ellen Healy, who learned it from a Kerry girl in 1969: and I find the three verses he gives (in 'Eriu') are almost identical with Peggy Cudmore's version. This air was first rescued and written down by me, and words and air are now brought together for the first time. I should remark that I find, by a brief reference on a stray leaf of the Pigot collection, that Mr. Pigot had a copy of the air in one of his books; but I have not seen it" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 812, pgs. 394‑395. Stanford/Petrie (Complete Collection), 1905; No. 330, pg. 83.

 

WHERE WILL SHE REST TONIGHT? (Cait an caidil an ribhinn an nochd). Scottish, Slow Air (6/8 time). A Major. Standard tuning. One part. Martin (Ceol na Fidhle),  vol. 2, 1988; pg. 13. 

 

WHERE'D YOU GET YOUR WHISKEY? [1]. Old Time, Breakdown. USA; Mississippi. Probably a version of the tune "Rockingham Cindy" or "Way Down in Rockingham" from the verse:

***

Where'd you get your whiskey, where'd you get your dram?

I got it from a little girl, way down in Rockingham.

***

Recorded for the Library of Congress in 1939 by Herbert Halpert from the playing of the Simpson County, Mississippi, Enos Canoy Band.

 

WHERE'D YOU GET YOUR WHISKEY? [2]. Old Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AB. Jeff Titon (2001) identifies this tune as a variant of “Big Liza Jane,” related to the folk song “Cindy.” Source for notated version: Lella Todd (Spout Springs, Estill County, Ky., mid-1970’s) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 167, pg. 193.

 

WHERE'S MY OTHER FOOT. See "Where is My Other Foot."

                       


WHERE’S THE CAT? Irish, Slide (12/8 time). G Major. Standard tuning. AABB. See also “Huish the Cat” and “Taidhgin an Asail’s Jig.’ Black (Music’s the Very Best Thing), 1996; No. 245, pg. 131.

                       

WHERE'S THE PIPER. English, Reel. D Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 206.

                       

WHERE'S THE SLAVE SO LOWLY (Ca b-Buil an Traill Com Taire). Irish, Air (4/4 time, "with feeling"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 522, pg. 91.

X:1

T:Where’s the Slave so Lowly

M:4/4

L:1/8

R:Air

N:”With feeling”

S:O’Neill – Music of Ireland (1903), No. 522

Z:AK/Fiddler’s Companion

K:G

d2 | g3a gaba | (g4 d2) zd | e3d e>fg>f | (e4 d2) zB | g3a gaba | (edcB) c2 (Bd) |

e2 (ge) (edcB) | (B3A G2) z2 ||  B3A B2c2 | d2 (e^c) d2 (g>f) | edBd e>fg>f |

(e4d2) (ef) | g2g2 B3d | (edcB) A2 B>c | d2 (ge) (edcB) | (B3A G2) ||

                       

WHETTING STONE, THE. English(?), Polka. G Major. The tune begins on an E.

 

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