The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

WI' A HUNDRED PIPERS. AKA and see "A Hundred Pipers."

                       

WICKED COOK, THE. English, Jig. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 195, pg. 45.

 

WICKED KERRYMAN, THE (An Ciarraigheacht Malluighthe).  Irish, Air (3/4 time). G Major. Standard tuning. AB. P.W. Joyce (Ancient Irish Music, 1873) notes: “I learned this beautiful and characteristic melody from my father. Of the Irish song I retain only a few fragments, which are not worth preserving. Perhaps the reader will be better pleased if I give instead a song of my brother’s, composed to suit the air.”

***

Far in the mountains with you, my Eveleen,

I would be loving and true, my Eveleen;

Then climb the mountains with me!

Long have I dwelt by the forest river side, 

Where the bright ripples flash and quiver wide,

There the fleet hours shall blissful ever glide

O’er us, Sweet Gragal Machree!

***

Joyce (Ancient Irish Music), 1873; No. 54, pgs. 54-55.

X:1

T:Wicked Kerryman, The

M:3/4

L:1/8

R:Air

S:Joyce – Ancient Irish Music (1873), No. 54

Z:AK/Fiddler’s Companion

K:G

G2F2({E/}D2)|F4G2|A4 (AG)|A2B2c2|d2d2d2|c2e2c2|

B4 AG|F2D2C2|D6|F4G2|A2B2A2|G6||A2F2G2|

A2B2c2|d4e2|f2e2d2|c4B2|c2d2c2|B4 (AG)|F2D2D2|

c4B2|c2d2c2|B4 (AG)|F2D2C2|D6|F4G2|A2B2A2|G6||

 

WICKED YEOMAN. AKA and see "The Old Vest and Cravat."

                       

WICKLOW. Irish?, Jig. B Flat Major. Standard tuning. AABB. Hardings All-Round Collection, 1905; No. 108, pg. 34.

X:1

T:Wicklow

M:6/8

L:1/8

R:Jig

B:Harding’s All-Round Collection, No. 108 (1905)

Z:AK/Fiddler’s Companion

K:B Flat

F|BcB Bcd cAF F2F|GBG FDB,|DCC C2F|BcB Bcd|

cAF f2e|dcB FBA|BBB B2::d/e/|fgf fdB|gag gab|

fgf fdB|dcc cde|fgf fdB|gag gab|fdB cBc|dBB B2:|

                       

WICKLOW HORNPIPE, THE (Crannciuil Ciu/Cill Mantain). AKA and see "Delahanty's Hornpipe," “Delahunty’s Hornpipe,” "The Home Brew," “The Iron Gate,” “John Quinn’s” [1], “A Kerry Hornpipe [1],” "The Road to Boyle,” "Sonny Murray's.” Irish, Hornpipe. D Major. Standard tuning. AABB. O’Neill (1913) claims the tune was first published in his Music of Ireland. Taylor's is a more modern version of the tune than the settings found in the original O'Neill's volume. Sources for notated versions: Chicago/County Mayo fiddler John McFadden derived the tune from one ‘Mr. White’, a flute player born at or near Tralee, County Kerry, who emigrated to Cleveland, Ohio [O’Neill], while in Irish Folk Music O’Neill credits the source of the tune to Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O’Neill]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border [Moylan]; fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 49, pg. 18. Moylan (Johnny O’Leary), 1994; No. 226, pg. 130. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 340, pg. 167. O'Neill (Krassen), 1976; pg. 169. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1579, pg. 293. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 828, pg. 143. Taylor (Through the Half-door), 1992; No. 65, pg. 47. Brenda Stubbert - “House Sessions” (1992). RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keefe” (appears as “John Quinn’s” [1]). Shanachie 97011, Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990. Learned from a recording by accordion player Tony McMahon). Topic 12T312, “Billy Clifford” (appears as “The Home Brew”). Gael-Linn Records, Tony MacMahon.

X:1

T:Wicklow Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 828

Z:AK/Fiddler’s Companion

K:D

FG|A>BAF DEFG|AGFD c2 (3ABc|defd cAGF|D>G {A}(3GFG D>GGz|

A>BAF DEFG|AGFD c2 (3ABc|defd c<AAG|F2 D2 D2:|

|:z2|f2 {g}fd cAGF|D2 g2g2 af|d3e fdec|Addc Addz|

efec ABcA|dcAB c2 (3ABc|defd c<AAG|F2 D2 D2:|

                       

WICKLOW LASSES.  Irish, Reel. G Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 196, pg. 45.

 

WICKLOW MOUNTAINS (Sléibhte Chill Mhantáin).  Irish, Jig. D Major. Standard tuning. ABC. Source for notated version: New York fiddler Larry Redican [Breathnach]. Breathnach (CRÉ V), 1999; No. 4, pg. 4.

 

WICKLOW (WALTZ), THE.  Irish, Waltz. A Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 198, pg. 54.

 

WICKLOW'S MARCH, THE. AKA and see "Paddy O'Flynn," "Nolan the Soldier," "The Lassie of Gowrie." Keller (Giles Gibbs Jr., His Book for the Fife...1777), 1974; pg. 13.

                       

WICKY SEARS. AKA and see “The Primrose Glen,” "Gleanntan na Samhaircini."

           

WIDDLE WADDLE. Scottish (?), Reel. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 197, pg. 46.

           

WIDE AWAKE REEL. AKA and see "Young Arthur Daly." Irish? American, Reel. A Major. Standard tuning. AABB. Al Smitley suggests the tune may possibly have been named for the clipper ship Wide Awake, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. Similar to "Evansville Reel," "Ratcatcher's Reel," "Clem Titus Jig" (Nathan), and "Peggy Whiffle."  Cole (1000 Fiddle Tunes), 1940; pg. 13. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 198, pg. 46.  Ryan’s Mammoth Collection, 1883; pg. 36.

X:1

T:Wide Awake Reel

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

A, | A,C/E/ A/c/e/c/ | d/f/e/c/ B/c/A/F/ | D/E/C/E/ A/c/e/c/ | d/f/e/c/ AE/D/ | EF/G/ A/c/e/c/ |

d/B/c/A/ B/c/A | D/E/C/E/ A/c/e/c/ | d/f/e/c/ A :: f/g/ | a/g/a/b/ a/e/c/a/ | e/c/a/c/ e/a/c/a/ |

a/g/a/b/ a/e/c/a/ | b/e/g/b/ e/g/b/e/ | a/g/a/e/ f/a/e/c/ | d/B/c/A/ B/c/A | D/E/C/E/ A/c/e/c/ | d/f/e/c/ A :|

                       

WIDEMAN'S QUICKSTEP. Old-Time, March. USA, Missouri. Rounder 0157, Art Galbraith (Springfield, Mo.) - "Simple Pleasures."

                       


WIDOW ARE YE WAKING. AKA and see "Widow Gin Thou Be Waking" (?). Scottish, Slow Strathspey. E Flat Major. Standard tuning. AABB. The melody appears (as "Widow art thou waking") in the Gillespie Manuscript of Perth, 1768. Carlin (The Gow Collection), 1986; No. 230. Gow (Complete Repository), Book 2, 1802; pg. 7.

X:1

T:Widow are ye waking

M:C

L:1/8
R:Slow Strathspey

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:E_

B,|E3F ~G>FGB|c2 F>G (GF) EC|E3F (GB) ~F>G|E4 B,4|~A3 B G>FGB|c2 F>G (GF)EC|

E2 e>c (B<G)~F>G|1 E4 B3:|2 E4 B,4||~e3f (ef)ge|(fe)fg {g}f2 ec|~B>c~ef (ef)gf|

{d}e4 B2 ef|(gfe)c (ecB)G|(AG)FE {G}F2 EC|~e>fec B<G~F>G|1 E4 B,4:|2 E4 B3||

                       

WIDOW BRADY, THE (An Baintreabac Ni Bradi/Bruaideada). Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 73. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 734, pg. 137. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 31, pg. 22.

X:1

T:Widow Brady, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 31

Z:AK/Fiddler’s Companion

K:D

d|AFD DFA|AFA B2d|AFD DFA|fdB B2d|AFD DFA|AFA B2d|def gfe|fdd d2:|

|:d|afd fed|ecA Ace|fed dcd|ecA A2 f/g/|aba gfe|fed cBA|Bcd efg|fdd d2:|

X:2

T:Widow Brady, The
R:jig
S:Celtic Fire
B:O'Neill's 734
D:John Whelan - Celtic Fire
Z:Michael Hogan
M:6/8
L:1/8
K:D
d | AFD DFA | AFA B2d | AFD DFA | fed B2d |
AFD DFA | AFA B2d | def {a}gfe | fdB B2 :|
f/g/ | afd fed | ecA Aef | gfe fed | ecA A2 f/g/ |
aba gfe | fed ecA | Bcd efg | fdc d2 :|

                       

WIDOW CANTWELL'S FANCY, THE (Roga {an} Baintreabaig Ni Cantuell/Catmaeil). AKA and see “The Killaloe Hornpipe,” “Tom Connor’s Hornpipe.” Irish, Hornpipe. G Major. Standard tuning. AABB. The melody was collected in the mid-19th century under the alternate title “Killaloe Hornpipe” by Church of Ireland cleric James Goodman (1828-1896). O'Neill (Krassen), 1976; pg. 205. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1732, pg. 322. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 912, pg. 156.

X:1

T:Widow Cantwell’s Fancy, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 912

Z:AK/Fiddler’s Companion

K:G

ge|dBGG GBdB|(3ABG (3FGE DcBA|GFGG GBdB|BAAA A2ge|

dBGG GBdB|(3ABG (3FGE DcBA|GBdg ecAF|G2G2G2:|

|:Bc|dg~g2 dg~g2|dg~g2 edcB|Aa{b}ag fedc|Bdef gfge|

dBGG GBdB|(3ABG (3FGE DcBA|GBdg ecAF|G2G2G2:|

                       

WIDOW DICKENS, THE. AKA – “Widow Dickson,” “Widow Dixon.” AKA and see  Washington’s Reel.” English (?), Air (2/4 time). G Major. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 144.

X:1

T:Widdow (sic) Dickens, The

M:2/4

L:1/8

R:Air

S:O’Farrell (Pocket Companion, vol. IV), c. 1810

Z:AK/Fiddler’s Companion

K:G

G | B2 dB | c2 ec | B/d/B/d/ A/F/E/D/ | g2 dB | g2 dB | cA FD | G2G2 :|

G2 BG | G2 BG | A2 cA | A2 cA | B2 dB | c2 ed | cB AG | FA FD | G2 BG |

G2 BG | A2cA | A2cA | B2 dB | c2 ec | BG AF | G2G ||

                       

WIDOW GIN THOU BE WAKING. Scottish. Tune appears in Henry Playford's 1700 collection of Scottish dance tunes.

                       

WIDOW MACHREE. Irish, Jig. D Major. Standard tuning. AABB. The air to a popular Mid-19th century song by Dublin-born Samuel Lover (1797-1868), a composer, novelist, painter and poet (not to mention that he was the grandfather of composer Victor Herbert). Lover is oft-quoted for one line in the song: “Sure the shovel and tongs, to each other belongs.” A 6/8 time variation of “(My) ain kind dearie (o)” (see Stanford/Petrie’s No. 641). See also “Sweet Innisfallen.” Cole (1000 Fiddle Tunes), 1940; pg. 59. Ryan’s Mammoth Collection, 1883; pg. 89.  White’s Unique Collection, 1896; No. 11, pg. 2.

X:1

T:Widow Machree

M:6/8

L:1/8

R:Jig

S:White’s Unique Collection (1896), No. 10

Z:AK/Fiddler’s Companion

K:E Minor

AAB {e}dcd | efd b2z | a3f3 | efd BdB | AAB {e}dcd | efd b2z |

a3f3 | edd d2z :: {a}gfg bag | fef agf | e^de gfe | fdB BdB |

AAB {e}dcd | efd b2z | a3f3 | edd d2z :|

                       

WIDOW MAGEE. Irish, Jig. A Major. Standard tuning. AABB. Not "Widow Machree." Kerr (Merry Melodies), vol. 1; No. 14, pg. 37.

X:1

T:Widow Magee

M:6/8

L:1/8

R:Jig

B:Kerr – Merry Melodies, vol. 1, pg. 37  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E|ABA a2f|ecA B2A|FBB Bcd|cBA F2E|ABA a2f|

ecA cde|fga ece|dcB A2::e|:f2f e2c|a2a g2e|aba g2e|

f3 e2e|f2f e2c|a2a g2e|a2a g2f|1 efc cde:|2 efc cdB||

                       

WIDOW ON THE TRAIN. AKA and see "Sweet Jenny Jones" (England). Old‑Time, Waltz. The melody is the morris dance tune "Sweet Jenny Jones." The title "Widow on the Train" comes from a broadside ballad written to the tune. Venerable Records, Andy Cahan ‑ "Hits From the Mountains."

                       

WIDOW SLOAN. Scottish, Jig. C Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 3; No. 282, pg. 31.

X:1

T:Widow Sloan

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 282  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:C

G2c cBc|G2c cBc|A2d dcd|Bag fdB|G2c cBc|G2c cBc|Bag fed|(c3 c2)z:||

g2e g2e|g2e ceg|a2f a2f|a2f def|g2e g2e|g2e cde|ded cBA|G^FG BAG||

                       

WIDOW WELL MARRIED, THE. AKA and see "Down With the Tithes [2]."

                          

WIDOWED BRIDE, THE (An Ceile Baintreabac). Irish, Air (4/4 time, "plaintively"). E Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 156, pg. 27.

X:1

T:Widowed Bride, The

M:C

L:1/8

R:Air

N:”Plaintively”

S:O’Neill – Music of Ireland (1903), No. 156

Z:AK/Fiddler’s Companion

K:E Minor

(G>F) | E2 (B>c) B2 AB | (cBAG) F2 (G>F) | E2 (e>f) g2 (f>e) | (^d>ef)d B2 (AB) |

(cBAG) F2 (G>A) | (BGFE) {e}^d ef | (ge)(f^d) (eB) (A/c/B/A/) | G2 “tr”F2 {E/G/F/}E2 ||

zB | e2 (e>f) g2 (f>e) | (b>a)(ga) {g}f2 e^d | eBef g2 fe | (b>a)(ga) {g}f2 AB |

(cBAG) F2 (G>A) | (BGF)E {e}^d2 ef | (ge)(f^d) (eB) (A/c/B/A/) | G2 “tr”F2 {E/G/F/}E2 ||

                          

WIDOW'S CURSE, THE. AKA and see "Nell Flaherty's Drake."

                       

WIDOW'S DAUGHTER [1], THE (Ingean Na M-Baintreabaig). Irish, Slow Air (4/4 time). E Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 76, pg. 13.

X:1

T:Widow’s Daughter, The [1]

M:C

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 76

Z:AK/Fiddler’s Companion

K:E Minor

(gf) || (edB).c (BAG).A | B2A2A2 (3Bcd | e3f (gf)(e^d) | e6 ||

(ef) | (gfg).a (bag).f | e6 (ga) | b2 (gb) (ag)(fg) | e6 g>f ||

 

WIDOW’S DAUGHTER [2], THE. AKA and see “McFadden’s”. Irish, Reel.

                       

WIDOW’S LAMENTATIONS, THE. AKA and see “Cywnvan y Wraid Weddw.”

                       

WIDOWS OF THE GULLY. AKA and see "Veuves de la Coulee."

                       

WIDOW’S WEDDING, THE. English, Reel. G Major. Standard tuning. AAB. Source for notated version: contained in the 19th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw]. The Joseph Kershaw Manuscript, 1993; No. 63.

           

WIFE AT USHERS WELL.  English, Air. D Major. Standard tuning. AA’. Northumbrian Pipers’ Second Tune Book, 1981; pg. 31.

X:1

T:Wife at Ushers Well

M:4/4

L:1/8

K:D

D>E|F2 d>A B2 Bd|e>d ef A2 A>B|d2 e>d B3A|F6 F>A|

B2 BA D2 EF|A2F2E2 F>A|B2 B>A F2E2|1 F6:|2 D6||

 

WIFE I NEVER MET, THE.  See “B(h)ean Chéile Nár Casadh Dhom.”

           

WIFE OF MY OWN, A. AKA - “I Have a Wife of My Own.” “I ha’e a wife o’ my ain.” AKA and see "Beauteous Fair Molly," "Bless My Soul, Why Shouldn't I?" “Boring with a/the gim(b)let,” "Jack Won't Sell His Fiddle," "Ragged Lady," "Spatter the Mud." Scottish, Country Dance Tune (9/8 time). E Minor. Standard tuning. AABBCC. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." O’Farrell (c. 1806), however, lists the tune as Irish. “A Wife of My Own” appears in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom unfortunately nothing is known. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 86.

X:1

T:Wife of My Own, A

M:9/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:Emin

EFE G2A B3 | EFE G2A BGE | EFE G2A B3 | DED FGA AFD :|

|: gfg agf e3 | E2E G2A BGE | gbg faf d3 | DED FAd AFD :|

|: B/d/BG A/c/AF G2E | EFE G2A BGE | B/d/BG A/d/AF G2E | DED FGA AFD :|

X:2

T:Wife of My Own, A

M:9/8

L:1/8

R:Jig

S:William Vickers’ music manuscript collection (Northumberland, 1770)

Z:AK/Fiddler’s Companion

K:E Dorian

EFE G2B G2B|EFE G2B AFD|EFE G2B G2B|AFD D2B AFD:|

|:BGG cBA dcB|BGE E2B AFD|BAG cBA dcB|AFD D2B AFD:|

|:gag G2B G2B|gag G2B AFD|gag G2B G2B|AFD D2B AFD:|

                       

WIFE SHE BREWED IT, THE. Scottish. D Major. Kerr (Kerr’s Caledonian Collection), pg. 13. Fife Strathspey and Reel Society – “The Fiddle Sounds of Fife” (1980).

                       

WIG, THE. English, Slip Jig. A Dorian. Standard. AAB. Raven (English Country Dance Tunes), 1984; pg. 130.


                       

WIGGINGTON WINDWILL. English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. Knowles (A Northern Lass), 1995; pg. 33.

                       

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

                       

WIGH'S FANCY. English, Jig. England, Northumberland. G Major. Standard tuning. AABBCC. Peacock (Peacock’s Tunes), c. 1805/1980; No. 30, pg. 12.

                       

WIGHT’S REEL. Canadian, Reel. Canada, Prince Edward Island. A Major. Standard tuning. AABB. Perlman (1996) notes that Mr. Wight’s tune is probably a hybrid, and that the ‘A’ part is quite similar to Maritime fiddler Don Messer’s processing of the American old-time tune “Billy in the Lowground.” Source for notated version: Elliot Wight (b. 1935, Flat River, South-East Queen’s County, Prince Edward Island; now resident of North River) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 107.

                       

WIGMORE'S GALLIARD. AKA – “Collin’s Conceit.” English, Country Dance Tune (3/2 time). G Dorian. Standard tuning. AB. This late sixteenth century air appears in William Ballet's Lute Book (c. 1610). Chappell (1859) finds reference to the tune in Middleton's Your Five Gallants where Jack says:

***

This will make my master leap out of bed for joy,

and dance 'Wigmore's Galliard' about his chamber!

***

Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 250.

X:1

T:Wigmore’s Galliard

M:3/2

L:1/8

S:Chappell – Popular Music of the Olden Times

Z:AK/Fiddler’s Companion

K:G Dorian

B6c2B4 | A4B4c4 | d6 A2B2c2 | d12 | B6 c2 B4 | c4 B4 c2B2 | A6 G2^F2E2 | A12 ||

B6c2B4 | A4B4c4 | d6 c2d2e2 | f6 f2e4 | d6 d2c4 | B4A4c4 | =B6 c2=B2A2 | =B12 ||

                       

WIGS ON THE GREEN. AKA and see "Fisher's Hornpipe," "The Blacksmith's Hornpipe," "O'Dwyer's Hornpipe [2]," "Sailor's Hornpipe [2]," "The First of May [2]." Irish, Hornpipe. D Major. Standard tuning. AABB. Collector P.W. Joyce says that ‘Wigs on the Green’ referred to a fight, for the obvious reason that the object is to lay low one’s opponent(s); 'There will be wigs on the green in the fair to-day.'” Roche Collection, 1982, vol. 3; No. 181, pg. 63.

                       

WILBERT STUBBERT. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 109, pg. 38.

           

WILD ALF McCONNELL.  Canadian, Reel. D Major. Standard tuning. AB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). See also his other tune for Alf, “Alf’s Love for Carol McConnell.” McConnell promotes and sponsors Celtic music concerts in the Chicago area. Cranford (Jerry Holland: The Second Collection), 2000; No. 97, pg. 38. Jerry Holland – “Crystal Clear” (2000). 

           

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

                       

WILD BILL JONES. Old‑Time, Song and Breakdown. USA, Kentucky. D Major. Standard tuning. Known as a banjo piece, recorded earliest by Eva Davis, but also famously recorded by Burnett and Rutherford, Dock Boggs and by Frank Profitt, and even by bluegrass legends Doc Watson, and Ralph Stanley with the Stanley Brothers. Columbia 129‑D (78 RPM), 1924, Samantha Bumgarner and Eva Davis (Asheville, N.C.). County CD-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994). Rounder 0361, Bruce Molsky – “Lost Boy” (1996. Learned from the late Clyde Troxell, originally from near Rockybranch, Ky., who had the tune from Retta Spradlin of nearby Bell Farm).  Rounder CD 7018, Clyde Troxell - “The Marimac Anthology: Deep in Old-Time Music.” Up Records, The Bad Livers – “Lounge Ax Defense.” Vassar Clements – “Crossing the Catskills.”

                       

WILD COLONIAL BOY. English, Air. Recorded as part of a dance tune medley by Shipdham, Norfolk, multi-instrumentalist Walter Bulwer (1888-1972?) et al. Topic TSCD607, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1962).

                       


WILD COLT, THE ("An Searrac Fiadain" or "An Bromach Fiadhain"). Irish, Slip Jig or Air. G Major (O'Neill): B Flat Major (Bunting). Standard tuning. AABB. O'Sullivan (1983) thinks there is "little doubt" the English title is the correct one and the Irish title a translation, though there are no words extent for the tune. Source for notated version: the Irish collector Edward Bunting was given the piece by another collector, George Petrie, Dublin, in 1839. O'Neill (Krassen), 1976; pg. 81. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1135, pg. 214. O'Sullivan/Bunting, 1983; No. 140, pgs. 196-197.

X:1

T:Wild Cold, The

M:9/8

L:1/8

R:Air or Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1135

Z:AK/Fiddler’s Companion

K:G

c | BAG FDD DFG | ABc BAG A2c | BAG FDD DFG | (A/B/c)A BGG G2 :|

|: (G/A/) | Bcd efg fdc | BBB ABG A2 (d/c/) | BAG FDD DFG | (A/B/c)A BGG G2 :|

                       

WILD DUCK’S FLIGHT, THE (Eitilt na Lachan Fiáine). Irish, Double Jig. D Major. Standard tuning. AAB. Composed by County Fermanagh flute player James McMahon. Source for notated version: fiddler Liam Donnelly (born County Tyrone, d. 1992), who spent his life working in Belfast and who helped Breathnach in his collecting work [Breathnach]. Breathnach (CRÉ IV), 1996; No. 12, pg. 8.

                       

WILD FIDDLER'S RAG. Old‑Time, Country Rag. G Major ('A' and 'B' parts) & C Major ('C' part). Standard tuning. AA'BBCC. Composed by Howdy Forrester. The ‘C’ part is played in the 2nd position on the violin. Source for notated version: Howard Forrester [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 169. Rounder C‑11565, Mark O'Connor ‑ "Rounder Fiddle" (1990). Rounder 0137, Mark O'Connor ‑ "Soppin' Up the Gravy."

                       

WILD FIRE CHASE, THE. AKA and see "Ballyvaughan," “Corporal Casey [2],” “Corporal Casey’s Fancy,” "The Four-Hand Reel,” “The Five Mile Chase [1],” “Lady Gardner’s Reel,” “Parnell’s Reel,” “Yellow Haired Laddie [1].” Irish, Reel. A Major. Standard. AB. Roche Collection, 1982, vol. 1; No. 152, pg. 60.

                       

WILD GEESE [1], THE (Na Geadna Fiadaine). AKA and see "Gage Fane," "The Origin of the Harp," "Old Ireland, Rejoice," "Armstrong's Farewell," "The Old Head of Denis," "The Meeting of the Waters [1]," "Todlin Hame," "My Name is Dick Kelly," "An bacac buide," "An Cana Draigeann Eille," "Tis believed that this harp." Irish, Slow Air (3/4 time). A Major (O’Neill, O’Sullivan/Bunting): G Major (O Canainn). Standard. One part. This Irish air dates back to the mid‑17th century and has often been used as a song tune. Perhaps the first lyrics were written in 1670 by John Fitzgerald, son of the Knight of Glin. In the next century a version called in Irish "Na Geandna Fiadaine" had its title mangled into English as "Gage Fane" and appeared in several collections. The given title commemorates the thousands of Irish soldiers who fled to France and Spain after the Treaty of Limerick in 1691, preferring an honorable exile to remaining in their country when their cause was lost. These exiles sustained the national reputation afterwards under the name of the Irish Brigade in the wars on the Continent.

***

A legend has it that the air was sung by the women assembled on the shore at the time the troops embarked after the defeat of the Gaelic chiefs. O'Sullivan (1983) points out this is poetic license for the exodus was gradual, and not an embarkation along the lines of Dunkirk in this century, but (quoting MacGeoghan, who states in his History of Ireland {pg. 599}) "within the 50 years which followed the Treaty of Limerick 450,000 Irish soldiers died in the service of France." O'Sullivan also adds the title "Na Geadna Fiadhaine" is a translation of the English "The Wild Geese," and not vice versa, but that even the Gaelic-speaking majority at the time referred to these men as "Wild Geese," for they flocked before taking flight.

***

Source for notated version: Bunting noted the tune from Patrick Quin, the harper, in 1803. Holden (Collection), volume II, 1806 (appears as "Gage Fane"). Mulholland (Collection), 1810 (appears under the erroneous title "The Wild Swan"). Neale (Celebrated Irish Tunes), pg. 25. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 51, pgs. 46-47. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 170, pg. 30. O'Sullivan/Bunting, 1983; No. 113, pgs. 162-164. Thompson (Hibernian Muse), c. 1789 (appears as "Irish Air"). Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).

 

WILD GEESE [2]. AKA – “Wild Goose.” Old‑Time, Piece. An imitative tune by fiddler Ted Gossett, Muhlenburg County, western Ky., learned from a neighborhood fiddler named Charlie Jones. Gossett recorded in the 1920's and early 30's. This tune, distinctively played and the one Gossett is best known for, was recorded in Sept., 1930, and released on 78 RPM disks as Gnt 7308, Vrs 5090, and Ch 16116 as by the Ted Gossett Band, and on Spt 9738 as by Marvin’s String Band.

 

WILD GEESE [3]. Scottish, Air. The song was derived from a poem called Norland Wind” by Violet Jacob and was published in Jacob’s Songs of Angus (1915). The words are also in John Buchan's The Northern Muse (1924, pg. 379).

                       

WILD GOOSE A-FLYING. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

WILD GOOSE CHASE [1]. AKA and see "Flight of the Wild Geese [1]," “Geese Honking.” Old‑Time, Breakdown. USA; Virginia, Kentucky. B Flat Major (Phillips): G Major. Standard tuning. AABB (Kuntz): AABB'BB'. The tune was one of the few recorded by legendary Galax, Virginia, fiddler Emmett Lundy. It appears in a list of standard tunes in a square dance fiddler's repertoire, as given by A.B. Moore in his 1934 History of Alabama. Clyde Davenport, a fiddler from Monticello, Ky., learned a tune by this title from Dick Burnett (of the Ky. duo Burnett and Rutherford who recorded for Gennett and Columbia in the 1920's) ‑‑ see "Geese Honking." The tune (as “Wild Goose”) was mentioned by William Byrne who described a chance encounter with West Virginia fiddler ‘Old Sol’ Nelson during a fishing trip on the Elk River. The year was around 1880, and Sol, whom Byrne said was famous for his playing “throughout the Elk Valley from Clay Courthouse to Sutton as…the Fiddler of the Wilderness,” had brought out his fiddle after supper to entertain (Milnes, 1999). Andy Cahan has recorded the tune under an alternate title, "Flight of the Wild Geese." Source for notated version: Liz Slade (Yorktown, New York) [Kuntz]; Clyde Davenport (Monticello, Ky.) [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 257. County 786, "Traditional Music From the Cumberland Plateau, vol. 1."

See also listing at:

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

X:1

T:Wild Goose Chase

L:1/8

M:2/4

S:Liz Slade

Z:AK/Fiddler’s Companion

K:G

(B/c/|d)d dg/B/|d/B/d/A/ (B/A/)B|A>(B A>)(B A)G/A/|B/c/B/A/ AG|

dd dg/B/|d/B/d/A/ (B/A/)B|AG A/(c/B/A/)|(G/ B) (G/ B):|

|:B|(B/ d) (B/ d)g|b2 (B<g)|

M:3/4

B>B A/B/A/B/ AG/A/|

M:2/4           

(B/ d) (B/ dg|b2 (B<g)|

M:3/4

B>B AG A/c/B/A/|

M:2/4

(G/ B) (G/ B/)A/B:|

X:2

T:Wild Goose Chase

M:4/4

L:1/8

R:Reel

S:Clark Kessinger via Bruce Molsky

N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:G

(Bc|d2)B2d2(ge)|d(ge)d (BA)GE|(DE)G(B A)(GG)(A|B)GA(F G2)(Bc|

c2)B2d2(ge)|d(ge)d (BA)GE|(DE)G(B A)(GG)(A|B)GA(F|G2z2||

d4g3(a|b2) (a/b/a) (ga)g2|(GA)BG (AB)GA|B(GA)F G4|

{A/B/c/}d4 g3(a|b2) (a/b/a) (ga)g2|(GA)BG (AB)GA|B(GA)F G4||

                       

WILD GOOSE CHASE [2].  American, Reel. USA, New Hampshire. A Major. Standard tuning. AABB. Sources for notated versions: from the 1938 typewritten manuscript of New Hampshire fiddler John Taggart (1854-1943), entitled “Recollections of a Busy Life” (New Hampshire Historical Society, Concord, N.H.)—Taggart wrote in his ms. that the tunes “were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity”—Miller points out that Sharon is in “the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day” (pref. iv) [Miller]; from the playing of Forest Barrett (Peterboro, New Hampshire) [Page]. Miller (Fiddler’s Throne), 2004; No. 269, pg. 161. Page, Northern Junket, vol. 5, No. 9, February 1957; pg. 39. New Hampshire Fiddler’s Union, Miller & Peery – “The Music of John Taggart” (1989).

X:1

T:Wild Goose Chase [2]

M:2/4

L:1/8

R:Reel

S:Page – Northern Junket, vol. 5, No. 9, February 1957; pg. 39

Z:AK/Fiddler’s Companion

K:A

F|Ac c/B/A/c/|ecc (a/f/)|ecc B/A/|GB B(c/B/)|Ac c/B/A/B/|ceaa|

e/c/A/c/ B/A/G/B/|Ac A::c/B/|Ac e/c/e/c/|Ad f/d/f/d/|A[Ac] e/c/e/c/|

dB B(c/B/)|Ac e/c/e/c/|Ad f/d/f/d/|e/a/g/f/ e/d/c/B/|AE A:|

 

WILD GOOSE CHASE [3].  AKA and see “The Wrecker’s Daughter [1].” American, Reel. G Major. Standard tuning. AABB. R.P. Christeson, who collected the tune in his home town in Missouri, noted that the original title for the melody is unknown, but that it was the tune most often played for a popular square dance figure called ‘The Wild Goose Chase’. An ex-street player named Joe Johnson, remarks Christeson, of Lincoln Nebraska told Christeson in the 1950’s that the tune was called “Wrecker’s Daughter,” although it is unlike the tune of that name printed by Howe. R. P. Christeson (The Old Time Fiddler’s Repertory, vol. 1), 1973; No. 153, pg. 108.

X:1

T:Wild Goose Chase [3]

M:2/4

L:1/8
R:Reel

S:Christeson – Old Time Fiddler’s Repertory, vol. 1 (1973), No. 153

Z:AK/Fiddler’s Companion

K:G

g/a/|[Bb][B/b/][B/b/] [Bb][Ba]|[Bg][B/g/][B/g/] [Bg][Bf]|[Ae][A/e/][A/f/] ed|cB A/B/A|

[Aa][A/a/][A/a/] [Aa][Ag]|[Af][A/f/][A/g/] [Af][Ae]|d/d/d ef|[Bg][B/g/][B/a/] [Bg]:|

|:d/c/|[DB][D/B/][D/B/] [DB][D/B/][D/d/]|ed ^cd|d/c/|[DB][D/B/][D/B/] [DB][D/B/][D/d/]|ed ^cd|

[ce][c/e/][c/e/] [ce][c/e/][c/e/]|ag fe|d/d/d/d/ ef|[Bg][B/g/][B/a/] [Bg]:|

 

WILD GOOSE CROSSING THE OCEAN. AKA and see "Lost Goose," "Wild Goose on the Ocean." Old-Time. G Major. Standard tuning. AA'BCC'. A 'novelty' tune which includes goose-call-like harmonics. Source for notated version: Alexander Robertson [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 170.

                       


WILD GOOSE ON THE OCEAN. AKA and see "Wild Goose Crossing the Ocean."

                       

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

                       

WILD HILLS OF WANNIE'S, THE. English, Waltz. A Dorian. Standard tuning. One part (Raven): AB (Kennedy). See also “The Rollicking Boys of Tandaragee” and “The Hills of Glenorchy [1]” for cognate tunes, as well as “The Old Grey Cat” and “Smuggler’s Reel.” Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 76, pg. 37. Raven (English Country Dance Tunes), 1984; pg. 137.

X:1

T:Wild Hills of Wannie’s, The

L:1/8

M:3/4

R:Waltz

K:A Dorian

gf|e3A A2|A3B A2|(3efe d2e2|g4 fe|d3B G2|(3GAG D2G2|(3BcB G2B|

d4 gf|e3A A2|A3B A2|(3efe d2e2|a4 gf|g3f e2|(3ded B2d2|e2A2A2|A4 fg|

a3^ga2|e3f g2|(3aba ^g2a2|e4 ef|g3f e2|(3ded B2d2|e2A2A2|A4 fg|

a3^ga2|e3f g2|(3aba ^g2a2|e4 ef|g3f g2|d3e f2|(3gag f2g2|d4||

                       

WILD HOG IN THE CANE BREAK. AKA ‑ "Hog in the Cane-Brake." Old‑Time, Breakdown. USA, Ga. Mentioned in a newspaper account of a 1913 Atlanta, Ga. fiddlers' contest as having been played by Bob Young (Newton, Ga.).

                       

WILD HOG IN THE RED BRUSH. Old-Time, Breakdown. C Major. Standard tuning. AABBCCDD. Influential eastern Ky./W.Va. blind fiddler Ed Hayley played a tune by this name. A tune by this title was  played by Sherman Lawson on a Frank Hutchinson 78RPM recording released under the title “Miss McCloud’s Reel (Uncle Joe).” Rounder 0392, John Hartford - “Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard)” {1996. Learned from a recording by Amyx Stamper, Harold Stamper’s father}.

X:1

T:Wild Hog in the Red Brush

M:2/4

L:1/8

S:Amyx Stamper, via John Hartford

K:C

D/G/G D/G/G/G/|A/=F/F/F/ A/F/c/A/|D/G/G/G D/G/G|A/G/=F/G/ DC/B,/|

D/=F/G Gd|A/=F/F A/F/c|D/=F/G/A/ _B/c/d/e/|=f/e/d/c/ A/G/G:|

|:_BG B/d/c/B/|A/c/=F/c/ A/c/F/c/|_B/A/G/F/ D/F/G/A/|B/d/c/B/ G2|

BG B/d/c/B/|A/c/=F/c/ A/c/F/c/|B/A/G/=F/ D/F/G/A/|_B/d/c/B/ G G>A:|

|:gg b/g/a/g/|de =f/a/g/f/|gg b/g/a/g/|=fd/c/ _BG|gg b/g/a/g/|dd/e/ =f/a/g/f/|

gg b/g/a/g/|=fd/c/ _BG:|

|:_B>c d/c/d/e/|=ff/a/ f/e/c|_BB/c/ dd/=f/|g/=f/g/a/ g2|

g/a/_b/g/ =f>a|g/=f/d/c/ _B>d|c/B/G/=F/ DG|B/d/c/B/ G:|

                       

WILD HOG IN THE WOODS [1]. AKA and see “Bangum,” "Old Bangum." Old‑Time, Breakdown. USA, southwestern Va., Kentucky. A Dorian (Phillips): D Dorian (Fuzzy Mtn. String Band). AEae or GDgd (Taylor Kimble) tunings. One part. Alan Jabbour says (regarding some instrumental versions) the tune is "almost certainly" an instrumental adaptation of the tune used in the Appalachians for the ballad "Bangum and the Boar" (Child 18) or "Old Bangum." There are words collected by Henry Galssie in 1962 from Mrs. Ruby Bowman Plemmons (Washington, D.C.), who learned them from her mother who lived in Laurel Fork, southwestern Va.  Another version was recorded for the Library of Congress from Dan Tate. Most modern ‘revival’ versions, however, seem to be based on the playing of Taylor Kimble (1892-1979), or Laurel Fork, Virginia. Guthrie Meade (1980) points out the tune's high part is the same as the tune "Fun's All Over."

***

There is a wild hog in yonders woods

(diddle on down, diddle on day)

There is a wild hog in yonders woods

(diddleon down the day)

There is a wild hog in these woods,

That eats men and seeks their blood.

(Cut him down, cut him down, catch/kill him if you can).

***

There comes a wild hog through yonders mash (marsh?)

Splitting his way through oaks and ash.

***

We followed that wild hog to his den,

Found the bones of a thousand men.

***

We followed that wild hog day and night,

Swore we’d make that wild hog fight.

***

We killed that hog with sticks and knife,

Swore we’d take that wild hog’s life.

***

Source for notated version: Taylor Kimble (Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 171. Flying Fish FF‑275, "The Blue Flame Stringband" (1982. Learned from Pete Sutherland). Heritage XXXIII, Kimble Family (Va.) ‑ "Visits" (1981). Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986. Learned from Brad Leftwich). Marimac 9036, the Kimble Family – “Carroll County Pioneers.” Rounder 0010, The Fuzzy Mountain String Band (1972. Learned from southwestern Va. fiddler Taylor Kimble). 5 String Productions 5SP05002, The Hoover Uprights – “Known by their Reputation” (2005).

See also listing at:

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

 

WILD HOG IN THE WOODS [2]. Old-Time, Breakdown. USA, Kentucky. F Major. Standard tuning. AABB. The tune was also recorded by Charlie Wilson and His Hayloft Boys on a Gennett 78 RPM disc. Source for notated version: Lonesome Luke and His Farmhands (Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 257. Champion 16229 & Gennett Records (78 RPM), Lonesome Luke and His Farm Hands {Ky} (1931. Backed with “Dogs in the Ashcan”). Morning Star 45004, Lonesome Luke & His Farmhands - "Wish I Had My Time Again."  Marimac 9047, Mac Benford – “1st ½ C.”

X:1

T:Wild Hog in the Woods

L:1/8

M:4/4

S:Pete Sutherland

K:F

ACDE FGAc | dAcd AF3 | G4 G4 | GFEF EDC2 |

ACDE FGAc | dAcd AF3 | A3c AFG2 | F8 :|

|: f4 f4 | fedc Ac3 | f4 f4 | fdcd f2d2

f4 f4 | fedc Ac3 | E2d2 cAG2 | F8 :|

                       


WILD HORSE. AKA and see "Buck Creek Gal,” “Cripple Creek Girls,” “Goin’ Up Chaney” (Bill Monroe’s Uncle Pen), "Hop Along, Sally," “Hop Skip Squirrel” (Gene Goforth), “Hop Squirrel,” “Kelton’s Reel,” “N____r in the Woodpile [3],” “Off with Your Jacket,” "Old Dad" (Va. title), "Old Mother Goodwin" (Pa.), "Pigtown (Fling)," “Preacher in the Woodpile,’ "Ston(e)y Point [1]," "Stoney Point Reel" (Pa. title, 1866), “Wake Up Jacob,” "Wild Horse(s) at/on Stoney Point," “White Horse [3].” Old‑Time, Breakdown. USA; N.C., Ky., Central West Virginia, southwestern Pa.  G Major (Krassen, Phillips, Titon): F Major (Ford). Standard tuning. AB: AAAB (Phillips/1989): AA'B (Phillips/1994): ABCD (Silberberg). The tune is wide-spread in the upland South and (under other titles) in the northern United States. Sometimes a third part is added (see Phillips' {1994}) to the first two. The melody was printed in the Howe publications, White’s Collection and Ryan’s Mammoth Collection in the 19th century under the title “Kelton’s Reel.” See also the related tunes "Rich Mountain" and "Rock, Jenny Rock." Though an unusual key for the tune, Kentucky fiddler Clyde Davenport played the tune in F Major. “Wild Horse’s” pedigree, at least locally, was remembered by Braxton County, West Virginia, old-time guitar and banjo player Brooks Hardway, who attributed it to a fiddler named John McCune whose hey-day was in the early 20th century. Hardway maintained Old Noah Cotrell had it from McCune and Ward Jarvis learned it in turn from Cotrell (Milnes, 1999, pgs. 11-12). “Wild Horse” was in the repertoire of West Virginia fiddler Edden Hammons. Jeff Titon identifies althernate titles “Old Dad” as particular to Virginia, and “Buck Creek Girls” to Kentucky. Sources for notated versions: French Carpenter (Clay County, West Virginia) [Krassen]; Levi Hall (Fayette County, Pa., 1944) [Bayard]; John Rector [Phillips/1994]; Leland Hall [Phillips/1994]; John M. Salyer (Salyersville, Magoffin County, Ky., 1941-42) [Titon]; Warren Argo [Silberberg]. Bayard (Dance to the Fiddle), 1981; No. 166E, pgs. 112‑113. Ford (Traditional Music in America), 1940; pg. 35. Krassen, 1983; pg. 60‑61. Phillips (Fiddlecase Tunebook), 1986; pg. 46. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pgs. 257-258. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 171. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 168, pg. 194. Augusta Heritage Records 003, Ernie Carpenter (W.Va.) ‑ "Elk River Blues: Traditional Tunes From Braxton County, W.Va." {Carpenter learned the tune from Wallace Pritchard}. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1941-42” (1993). Columbia 15279‑D (78 RPM), 1926, Charlie Poole and the North Carolina Ramblers. County 509, "Charlie Poole and the North Carolina Ramblers, vol. 2" (Posey Rorer, fiddler). Document DOCD 8042, “Doc Roberts in Chronological Order, vol. 1” (1999). Document 8041, The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 3.” Flying Cloud FC-023, Kirk Sutphin - "Fiddlin' Around." Folk Legacy FSI-74, Howard Bursen - "Cider in the Kitchen" (1980. Learned from the banjo frailing of Walt Koken). Gennett 5613 (78 RPM), The Tweedy Brothers (1924. West Virginia string band). Rounder 0004, “Clark Kessinger” (1985). Rounder 1037, Jilson Setters (under the pseudonym Blind Bill Day; b. 1860, Rowan County, Ky.) {reissue of his 1928 Victor side}. Rounder 1133/1134, Ed Haley – “Grey Eagle/Forked Deer” (1997). Victor 40025 (78 RPM), Jilson Setters, 1928. Edden Hammons Collection II, Disc 1. Flatt & Scruggs – “Carnegie Hall.”

See also listing at:

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

                                      

WILD HORSE AND THE RED TRACE. Old-Time, Breakdown. Learned by itinerant West Virginia fiddler John Johnson (1916-1996), originally from Clay County, from “Old man Lee Triplett.”

                                      

WILD HORSES. See “Wild Horse,” "Stoney Point."

                                      

WILD HORSES AT STONY POINT. AKA and see "Ston(e)y Point [1]," "Wild Horse," "Pigtown Fling" and other tunes listed in the family. G Major. Standard tuning. AABBCC. Spandaro (10 Cents a Dance), 1980; pg. 31. Victor 40025 {78 RPM}, Jilson Setters.

See also listing at:

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

X:1

T:Wild Horses at Stony Point

M:4/4

L:1/8

K:G

G2ge d2ed | B2ge dBA2 |  G2ge d2ed |1 BGAG EFG2 :|2 BGAG G4 ||

|: GBe2 efg2 | fgg2 gfed | B2 e2 efg2 | fga2 g4 :|

|: gfga bged | fefg agfd | gdga bgfe | fgA2 G4 :|

                       

WILD INDIAN. AKA and see "Flying Indian [1]." The title Babe and Tump Spangler (Patrick County, southwest Va.) knew the tune by.

                       

WILD IRISH. American, Reel. B Flat Major. Standard tuning. AABB. Composed by G.L. Tracy. George Lowell Tracy (1855-1921) was a young man who later composed light opera and composition books, according to musicologist Charles Wolfe. Not either of the "Wild Irishman" versions. Cole (1000 Fiddle Tunes), 1940; pg. 36. Ryan’s Mammoth Collection, 1883; pg. 61.

X:1

T:Wild Irish

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

(3f/g/a/ | b(f/e/) d/B/A/B/ | c/d/e/f/ d/B/A/B/ | b(f/e/) d/B/A/B/ | c/B/A/c/ .B(3f/g/a/ |

b(f/e/) d/B/A/B/ | c/d/e/f/ d/B/A/B/ | c/g/^f/g/ a/g/f/g/ | f/e/c/A/ B :: d/c/ |

B/G/^F/G/ D/G/^F/G/ | =F/G/A/B/ c/A/d/c/ | B/G/^F/G/ D/G/^F/G/ | =F/G/A/B/ .c(d/^f/) |

g/^f/g/a/ b/a/g/f/ | g/a/g/=f/ d/c/B/c/ | d/g/^f/g/ b/g/f/g/ | =f/e/d/c/ B :|

                       

WILD IRISH BOY [1]. AKA and see "Dear Irish Boy." Irish, Slow Air (3/4 time). E Minor. Standard tuning. AAB. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 68, pg. 42.

X:1

T:Wild Irish Boy, The [1]

M:3/4
L:1/8

R:Air

S:O’Neill’s Irish Music (1915), No.

Z:AK/Fiddler’s Companion

K:Emin

EF | G2G2G2 | F2B2^D2 | E2G2 FE | E2=D2 EF | G2G2G2 F2B2^D2 | EF G2F2 | E4 :|

e2e2e2 | ^d2e4 | eB B3A | GF E2e2 | e2f2e2 | d2B2A2 | B2e2^d2 | e4 ef | g2f2e2 |

^d2e2B2 | AB cB AG | G2F2 EF | G2A2 B2 | e4BA | G2E2 FE | E4 ||

 

WILD IRISH BOY [2] (An Buacaill Fiadain Ua Eirinn). Irish, Air (6/8 time, "with feeling"). G Major. Standard tuning. One part. Source for notated version: Mrs. Fitzgerald [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 353, pg. 61.

X:1

T:Wild Irish Boy [2]

M:6/8

L:1/8

R:Air

N:”With feeling”
S:O’Neill – Music of Ireland (1903), No. 353

Z:AK/Fiddler’s Companion

K:G

DE/F/|GBD E/G2E/|DA,B, G2 A,/B,/|CEC B,<DG/A/|BcB A2 DE/F/|

GBD E/G2E/|DB,G, A,2 A,/B,/|CEC B,<DG/A/|BcB G2||

                       

WILD IRISHMAN [1], THE. Old‑Time, Breakdown. USA, Virginia. A Major. Standard tuning. AABB. Source for notated version: Cy Kines (Fauquier County, Virginia) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; No. 5, pg. 6.

X:1

T:Wild Irishman [1]

M:2/4

L:1/8

S:Christeson – Old Time Fiddler’s Repertory, vol. 2; No. 5

K:A

C/B,/|A,/C/E/G/ AA/A/|c/A/B/A/ F/D/E/C/|A,/C/E/G/ AA/A/|f/a/e/c/ A/F/E/C/|

A,/C/E/G/ AA/A/|c/A/B/A/ c/B/A/c/|ee/e/ f/a/e/d/|c/A/B/G/ A:|

|:c|A/c/e/g/ aa/a/|f/a/e/c/ d/c/B/G/|A/c/e/g/ ag/f/|e/f/g/a/ bb/g/|

e/g/a/b/ aa/a/|f/a/e/c/ B/c/A/c/|ee/e/ f/a/e/d/|c/A/B/G/ A:|

 

WILD IRISHMAN [2], THE. AKA and see "Anderson's Reel [1]," “Don’t be Foolish,” “Flowers of Redhill [1],” “The Hod Carrier,” “Jilly Neary’s Favourite,” “Maids of Palestine,” “Paddy Taylor’s (Reel) [4],” "The Queen of the May." Irish, Reel. A Mixolydian ('A' part) & D Major ('B' part). Standard tuning. One part (Allans): AA’B (Feldman & O’Doherty). Unrelated to version #1. See also the closely related "Old Wild Irishman." Caoimhin Mac Aoidh (1994) believes the setting in Allan’s to be a County Donegal version of the melody, remarking in 1997: “This is the old Donegal setting which until about 10 years ago was unknown outside the county.” Mac Aoidh has subsequently further delineated Donegal settings of this tune, and has called the version printed in Allan’s Irish Fiddler a "bones" version which was known from the area of Dungloe in the north of the county (recorded by the Folklore Commission by Donegal fiddler Neillidh Boyle) down to around Ballyshannon. He further states: “It is well known to the Campbell's in the Croaghs and as such derived the alternative title The Glenties Reel from associations with them. A more melodically elaborate version exists in the southwest of the county and is strongly associated with The Deargs and James Byrne.” The famous Donegal fiddler Con Cassidy disliked the tune and avoided playing it, according to Mac Aoidh. Source for notated version: fiddler Simon Doherty (County Donegal) [Feldman & O’Doherty]. Allan's Irish Fiddler, No. 52, pg. 13. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 106. Gael-Linn CEF060, “Paddy Glackin.”

X:1

T:Wild Irishman [2]

M:C|

L:1/8

K:D

f|:edcB A2 (cA)|eAcA (e2 e)f|edcB A2 (de)|fage dcdf|edcB A2 (cA)|eAcA (e2 e)f|

edcB A2 (de)|fage dAFA|d2 (fd) Adfd|A2 (3cBA eAcA|d2(fd) Adfg|(3agf (ge) dAFA|

d2 (fd) Adfd|A2 (3cBA eAcA|d2 (fd) Adfg|1 (3agf (ge)dcdf:|2 agfe d2||

 

WILD IRISHMAN [3]. AKA and see "The Daisy Field(s)," "The Field of Daisies," “The Irish Girl [5].” Irish, Reel. D Major. Standard tuning. AB (Cranitch, Flaherty, Miller & Perron): AABB (Huntington): AABB' (Sullivan). A version of the tune is a popular reel in County Donegal. An Uilleann piper by the name of Turlogh McSweeney, known as ‘The Donegal Piper’, made a reputation for himself as one of the best pipers of the latter 19th century. Though known as a taciturn and reserved individual, he relaxed enough on a visit to Chicago (to perform at the World’s Columbian Exposition in Chicago in 1893) to tell two musician friends of Francis O’Neill the story of how he came by his talent. McSweeney put forth that he was not much of a player in his younger days, but that he was anxious to improve. Despairing of other means of attaining his goal, he thought to appeal to the fairies who lived at a hill-top rath nearby. On a moonlight night, he summoned his courage, buckled on his pipes and made his way to the fort. O’Neill (1913) quotes him:

***

Well, as I was saying, when I got to the center of the Plasog,

as near as I could tell, you may be sure I wasn’t any too

comfortable. Anyhow, I addressed myself to the king of

the fairies saying: ‘I’m Turlogh McSweeney, the piper of

Gwedore, and I hope you will pardon my boldness for coming

to ask your majesty to play a ‘chune’ on the pipes for me, and

I’ll return the compliment and play for you.’ Yerra man, like

a shot out of a gun, the words were hardly out of my mouth

when the grandest music of many pipers, let alone one, playing

all together, filled my ears; and that wasn’t all for lo and behold

you, what should I see but scores of little fairies or luricauns,

wearing red caps, neatly footing it, as if for a wager. Believe

me, I was so overcome with fright at such a strange and

unexpected sight that I ran for the bare life, my pipes

hanging to me and dropping off piece and joint along

the way; and by the time I reached home, the dickens

a bit of my whole set of pipes was left to me but the

bellows and bag, and they couldn’t let go, as they were

strapped round my waist. Picture to yourselves the kind

of a night I spent after what happened. Anyway, by sun-up

in the morning I ventured out and started to try and pick up

the disjointed sections of my pipes, as I knew well enough

the route I ran. My luck relieved my misgivings when I found

the last missing part, which had dropped off at the very entrance

to the rath or fort when I ran away. I lost no time in putting the

now complete instrument in order, and to keep my word and fulfil

my promise made to the king of the fairies the night before, I struck

up “The Wild Irishman,” my favorite reel. Words can’t express my

astonishment and delight when I found I could play as well as the

best of them. And that, gentlemen, is how I came to be the best

Union piper of my day in that part of the country.

***

Sources for notated versions: fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon) [Flaherty]; Bronx-born fiddler Andy McGann (1928-2004) [Miller & Perron]. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 36. Cranitch (Irish Fiddle Book), 1996; No. 64, pg. 150. Flaherty (Trip to Sligo), 1990; pg. 90. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 49. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 109. Sullivan (Session Tunes), vol. 2; No. 6, pg. 3. Intrepid Records, Michael Coleman. Philo 1051, Boys of the Lough ‑ "Good Friends, Good Music" (1976). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995). Shanachie Shan‑79017, John & Phil Cunningham ‑ "Against the Storm" (1980). Shaskeen Records OS‑360, Andy McGann, Felix Dolan, Joe Burke ‑ "A Tribute to Michael Coleman" (c. 1965).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Wild Irishman, The [3]

M:C|

L:1/8

R:Single Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:D

DE | F2 AF DEFD | E~A,3 E~A,3 | FGAF DEFA | (3Bcd ec dBAG |

FGAF DEFD | E~A,3 E~A,3 | FGAF DEFA | (3Bcd ec d2 || de |

fd{e}dc dfaf | edcd efge | fd{e}dc dfag | (3fga eg fdde |

fd{e}dc dfaf | edcd efge | dfaf g2 ag | (3fgf ec dBAG ||

“variations”

DE | F2 AF DEFD | E~A,3 EA,CE | ~F3E DEFA |

 


WILD IRISHMAN [4]. AKA and see "Cailleach an Tuirne," "Cailin A' Tuirna," "Garrett Barry{'s Jig}," "Gearoid de Barra," "Is Maith Le Nora Ciste" (Nora Likes Cake), "The Jockey [2]," "Kiss Me, darling," "The Ladies' Fancy [3]," "The Maid at the Spinning Wheel," "Maire an Phortair," “Norah with the Purse,” “Noran Kista,” “Nora’s Purse,” "Norickystie," "Port an Achreidh,” "The Road to Lurgan," “Sergeant Early's Jig," “The Spinning Wheel [4],”"Tune the Fiddle,” "Wreathe the Bowl.”  English, Scottish; Jig. D Major. Standard tuning. AABB (most versions): AABBCCDD (Kennedy). A jig setting which apparently predates the reel version played in Ireland, however, all versions appear to have stemmed from the melody printed by Playford in 1688 as “Fourpence Ha’Penny Farthing.” Boorish British officers called for dancing after a concert in Boston on January 25, 1769, which had featured a group led by musician Stephen Deblois. The "Wild Irishman" was one of the tunes (along with "Yankee Doodle") derisively demanded, according to a newspaper account of the time, and when Deblois was not forthcoming, the Redcoats rioted. From this Camus assumes the tune to have been in common currency at that time. English printings predate Scottish ones (according to information from the EASMES site), beginning with Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773), Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), and Longman and Broderip’s Compleat Collection of Two Hundred Country Dances (London, 1781). McGlashan printed the melody in his Scots Measures (pg. 36), c. 1778 & 1781. The “Norickystie” title appears in James Aird’s vol. 1 of his Selection of Scotch, English, Irish and Foreign Airs (Glasgow, 1782), with an alternate title of “The Wild Irishman.”

***

EASMES finds the jig in a number of North American musicians’ manuscripts from the late 18th and early 19th century. Fifer William Morris of the First Regiment, Hunterdon County, N.J. entered it into his copybook in 1776, as did fifer Henry Blake of Hopkinton, N.H., in his manuscript the same year. Flute player John Hoff of Lancaster County, Pa., had it in his copybook dating from 1797, and flute player Ensign Thomas Molyneaux of Shelburne, Nova Scotia. Elizabeth Sanders Van Rennselaer, a New York keyboard player entered it into her copybook of 1782, and ships fiddler William Litten had it in his music collection (and although Litten himself may have been British, his ms. ended up on Martha’s Vineyard, Mass., brought home by a shipmate). Clement Weeks of Greenland, N.H., had dance instructions for the tune in his commonplace book of 1783.

***

Source for notated version: copied from The Hibernian Muse (1787) [O’Neill]. Camus (Military Music of the American Revolution), 1976; Example 1, pg. 47. Huntington (William Litten's), 1977; pg. 21. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 197, pg. 46.  McGlashan (Collection of Scots Measures), c. 1780-81. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 94. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 114.

X:1

T:Wild Irish Man, The [4]

M:6/8

L:1/8

R:Jig

S:McGlashan – Collection of Scots Measures  (c. 1780-81)

Z:AK/Fiddler’s Companion

K:D

A|d2e f2d|g2e f2d|d2e fed|c3 e3|d2e f2d|g2e f2d|f2a gfe|d3 d3:|

|:g|fed cBA|ABA cBA|ABA cBA|e3 g3|fed cBA|ABA cBA|dfa gec|d3 d3:|

X:2

T:Wild Irishman, The  [4]

M:6/8

L:1/8

R:Jig

S:The Hibernian Muse 1787

Z:Paul Kinder

K:D

A|d2 e f2 d|g2 e f2 d|d2 e fed|c2 d e3|

d2 e f2 d|g2 e f2 d|fga gec|d3 d2:|

|:g|fed c2 A|ABA c2 A|fed c2 A|c3 e3|

fed c2 A|ABA c2 A|fga gec|d3 d2:||

X:3

T:Wild Irishman, The  [4]

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:E

e2f g2e|a2f g2e|e2f gfe|d3 f3|e2f g2e|a2f g2d|egb afd|e3 E3:|
|:bge c3|Bdf fdB|Bdf fdB|f2g a3|bge c3|Bdf fdB|egb afd|e3 E3:||

 

WILD IRISHMAN [5]. AKA and see "The Tarbolton Reel," "Cooleen Bridge." Irish, Reel.

 

WILD IRISHMAN [6]. AKA and see “Anderson’s [3],"Don’t be Foolish,” “Flowers of Redhill [1],” “The Hod Carrier,” “Jilly Neary’s Favourite.” Irish, Reel. A Mixolydian. Standard tuning. AB. Source for notated version: set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 7.

                       

WILD IRISHMAN [7].  AKA and see “O’Rourke’s,” "The Sligo Chorus.” Irish, Reel. A Mixolydian. The tune was mistakenly labelled “O’Rourke’s” on a Michael Coleman 78 RPM recording, leading generations of fiddlers to learn it under that title. The real name apparently is “Wild Irishman.” Capelhouse Records, James Kelly – “Traditional Irish Music” (1996).

 

WILD IRISHMAN [8].  AKA and see “Boil the Breakfast Early,” "Court Her Along the Road," “Peadar’s Reel.”

 

WILD JOHN. Old-Time, Breakdown. USA, Texas. C Major. Standard tuning. AA'BB'CC. See the related tunes "Rocky Pallet" and "Rattlesnake Bit the Baby." Source for notated version: Gary Lee Moore & Benny Thomasson (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 258.

                       

WILD MAN IN THE FOREST. Old-Time. DDad tuning. From West Virginia fiddler Burl Hammons. Similar to “Queen of the Earth, Child of the Skies.

                       

WILD MORRIS, THE. AKA – “Ye Wild Morris.” English, Country Dance Tune (2/2 time). G Major. Standard tuning. AABB. First published in Moffat and Kidson's Dances of the Olden Time. The tune was played as a "Morris Off" by Charles Baldwin, formerly musician for Cliffords Mense, Gloucestershire. Raven (English Country Dance Tunes), 1984; pg. 153. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

                       

WILD OATS. Irish; Jig. England, Northumberland. D Major. Standard tuning. AABB. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. O’Farrell (c. 1805) lists the tune as “Irish.” The title may have derived from musical material attached to Dublin actor and playwright John O’Keefe’s (1747-1833) play “Wild Oats.” Published in 1792, the work was one of his most famous, and it was performed several times on the same bill at Covent Garden with Oscar and Malvina, the play that piper O’Farrell performed in for so many years. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 198, pg. 46. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 79. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).

X:1

T:Wild Oats

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:D

AFD DFD | DED G2A | BGE EGE | EGE G2B | AFA BGB | AFA B2A |

B/c/dB AFd | AFD D2 :: c/d/ | efe ecA | ABA A2d | fag fdB | BcB Bcd |

ece fdf | gfe d2A | B/c/dB AFd | AFD D2 :|

                       

WILD ROSE, THE. English, Morris Dance Tune (4/4 time). D Major. Standard tuning. AB. From the area of Lichfield, England. Raven (English Country Dance Tunes), 1984; pg. 86.

                       


WILD ROSE OF THE MOUNTAIN [1]. Old‑Time, Breakdown (irregular measures in both parts). USA, Kentucky. A Major/Mixolydian. Standard tuning. AA’B (Silberberg): AABB (Brody, Phillips): AA'BB' (Reiner & Anick). The story attached to the tune, according to Reiner & Anick, says it was "written for a beautiful girl who strayed from one man to the next at local (Ky.) dances," although their source for this tale is unknown. There is some discrepancy about whether the G note in the next to last measure of the ‘B’ part should be sharped or natural. Similarities with Henry Reed’s “Kitchen Girl” are inescapable. Sources for notated versions: learned from June Rice and from fiddling blacksmith Bun Oney (who used to fiddle occasionally for the American Folk Song Festival) by J.P. Fraley, when the latter was in his late 20’s (Rush, Kentucky) [Phillips, Reiner & Anick, Silberberg]; Jay Ungar (New York) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 292. Phillips (Traditional American Fiddle Tunes), vol, 2, 1995; pg. 171. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 99. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 169. CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999). Flying Fish FF247, "Fiddle Fever" (1981. Appears as part of "Daybreak in the Mountains"). Greenhays GR 710, John McCutcheon ‑ "Fine Times at Our House" (1982. Learned from J.P. Fraley). June Appal 014, John McCutcheon‑ "The Wind That Shakes the Barley" (1977. Learned from J.P. Fraley). Philo 1023, Jay Ungar and Lyn Hardy‑ "Songs, Ballads, and Fiddle Tunes" (1975). Rounder 0037, J.P. and Annadeene Fraley‑ "Wild Rose of the Mountain" (1974). Rounder C‑11565, J.P. Fraley ‑ "Rounder Fiddle" (1990). Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977).

X:1

T:Wild Rose of the Mountain

C:J P Fraley

S:As played by J P Fraley

Z:Nigel Gatherer

L:1/8

M:4/4

K:A

(3efg|a z a2 =gagf|efed c>e- (3efg|a2 ae =gagf|

M:2/4

ed c2|

M:4/4

e4- e4-|e6

 

WILD ROSE OF THE MOUNTAIN [2]. Old-Time, Breakdown. USA, West Virginia. AEae tuning. A distinct, ‘crooked’ version of “Wild Rose of the Mountain” [1], that may be related to “Yew Piney Mountain [1].

 

WILD ROSE OF THE MOUNTAIN [3] (Ros Fhiadhaich nam Beann). Scottish, Irish; Air (3/4 time). G Major. Standard tuning. AAB. A mid-20th century composition by John Mason, a lawyer, fiddler, conductor and native of the Orkney Islands. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 16. Green Linnet SIF‑1084, Eugene O'Donnell ‑ "The Foggy Dew" (1988. Learned from the whistling of Eamonn Timoney, Derry and New York).

X:1
T:Wild Rose of the Mountain [3]
N:Ros fhiadhaich nam Beann
N:Slow Air/Waltz
C:John Mason
Z:Steve Wyrick
L:1/4
M:3/4
K:G
D|G2D|A2D|B3/2c/2d|e3/2f/2g|d3/2e/2d|B2G|A3-|A2D|!
G2D|A2D|B3/2c/2d|e3/2f/2g|d3/2B/2G|A2B|G3-|G2:|!
d|d/2B3/2d|d/2c3/2d|f2{gf}e/2f/2|g2d|e3/2f/2g|d2B|A3-|A2d|!
d/2B3/2d|d/2c3/2d|f2{gf}e/2f/2|g2f/2e/2|d3/2B/2G|A2B|G3-|G2d|!
d/2B3/2d|d/2c3/2d|f2e/2f/2|g2f/2e/2|d2e|d2B|A3-|A2G/2F/2|!
E3/2F/2G|F3/2G/2A|B3/2c/2d|efg|d3/2B/2G|A2B|G3-|G2||

                       

WILD ROSES. Scottish, Strathspey. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 117, pg. 14.

X:1

T:Wild Roses

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 117  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d<d B>G E>F G2|D>GE>G D>GE>G|d<d B>G E>F G>A|B>e g/f/e/^d/ (e2 e)g:|

|:d>eg>a b>ag>d|e<g d>g e<g d>B|d>eg>a b>ag>d|e>g f/g/a/f/ g2 gd:|

           

WILD ROVER.  English, Waltz. Topic 12TS283, Ned Pearson. Topic TSCD 669, Bob Forrester & Alf Adamson’s  Border Square Dance Band (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Harmonica player Forrester was from Carlisle, Cumberland).

           

WILD SALAMANCA, THE. AKA and see "Salamanca (Reel) [1]," "The Maigue's Tide," "The Coronation Reel," "The Salamander," "The Tartan Plaid."

                       

WILD SHOAT, THE. Old‑Time, Breakdown. USA, Alabama. G Major. Standard tuning. AB. The 'B' part is irregular. Source for notated version: James Bryan [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 259. Rounder 0175, James Bryan ‑ "Lookout Blues" (1983. Learned from fiddler Mack Blalock, Mentone, Alabama).

                       

WILD SWANS AT COOLE, THE. Irish, Reel. D Major/Mixolydian/Dorian. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). The tune commemorates a poem by Yeats, a favorite of Reavy’s. Reavy (The Collected Compositions of Ed Reavy), No. 29, pg. 31.

X:1

T:The Wild Swans at Coole

M:2/2

L:1/8

C:Ed Reavy

R:reel

N:Ed wanted one of his tunes to commemorate

N:this favorite poem of his. He didn't know much Yeats, but what he knew

N:he appreciated-particularly the last verse of "the Swans"

N:But now they drift on the still water,

N:Mysterious, beautiful;

N:Among what rushes will they build,

N:By what lake's edge or pool,

N:Delight men's eyes when I awake someday,

N:To find they have flown away.

Z:Joe Reavy

K:D

dc ||: Ad (3edc d2 AB | cBcG E=FGE | DA, (3A,G,A, =CA, (3A,G,A, |

=FEDB, =CA,G,_B, | A,2 =FE FED=C | A,B,=CD =FGAB | =cd^fg agfa |1

ge^ce d3 c :|2 ge^ce d2 Ac || d2 Ad fgaf|e=c cBc efge | d2 Ad fgaf|gfag eddc |

defg abag | e=c (3cBc efge | a^ga=g (3efg ed |1 =cAGE D3 c :|2 =cAGE D3 E ||

                       

WILD WAGONER. AKA and see "Wagoner" and variants. Old-Time, Breakdown. USA; Kentucky, West Virginia. C Major. Standard. Harry Smith (Folkways FA2951, 1952) writes regarding Jilson Setters’ recording: “The use of the guitar became widespread in this country about 1900; probably as a result of cultural exchange during the Spanish-American War. It is noticeable in this recording (and most performances of violin and guitar) that more extreme variations in the accenting and rhythm of the original theme occur than take place in violin-banjo combinations or unaccompanied violin performances. ‘Wagoner’ can be located in any standard volume of American country dance tunes. The biography of Jilson Setters, a blind Kentuckian who, his sight restored, went to England and played for George the Fifth, is found in The Singin’ Fiddler of Lost Hope Hollow by Jean Thoms (Dutton, 1938).” Folkways FA 2952, Jilson Setters ‑ "American Folk Music." Victor 21353 (78 RPM), Jilson Setters (as Blind Bill Day, b. 1860, Rowan County, Ky.), 1928. Edden Hammons Collection, Disc 2.

                       

WILDBOAR’S MAGGOT.  English, Country Dance Tune (whole time). B Flat Major. Standard tuning. AABB. The melody was also printed in John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). A maggot was a musical name akin to ‘fancy’ or ‘whim’, from the Italian maggioletta—a plaything, trifle, or small thing of little consequence. The dance was reproduced for the 1994 production of Pride and Prejudice, starring Colin Firth. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 163.

X:163

T:Wildboar’s Maggot

M:C

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

FE|DF (B2 B)dfd|”tr”c>B”tr”c>d c2 de|f3 g “tr”fd”tr”cB|ABcd c2 FE|DF (B2 “tr”B)dfd|

=efga b2 ag|af=eg c2 (f=e)|f2 F4::cB|ABcd e2 dc|gecf {B}A2 d^f|

“tr”g3 a bg^fa|”tr”d2 ga b2 ag|”tr”f2 ed gecf|dBGc {B}A2 ga|bfce|G2 BA|B2 B,4:||

 

WILDCAT RAG. Old-Time, Country Rag. USA, north Georgia. F Major. Standard tuning. AB. Source for notated version: Bert Layne with the Georgia Wildcats (GA) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 168.

                       

WILDCAT REEL. Canadian, Reel. Similar to "MacLaine of Loch Buie's Reel." Rounder CD 11661-7033-2Natalie MacMaster – “My Roots are Showing” (2000. Learned from a home recording of Winston Fitzgerald).

                       

WILDWOOD FLOWER. Old‑Time, Song Tune. A song tune popularized by the Carter Family, which made its way into instrumental tradition. June Appal 014, John McCutcheon ‑ "The Wind that Shakes the Barley" (1977. Learned from the Carter Family). Recorded Anthology of American Music, 1978, Alva Greene (Easter, Ky.) ‑ "Traditional Southern Instrumental Styles."

                       

WILDWOOD WALTZ, THE. American, Waltz. G Major. Standard tuning. AB. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 328.

                       


WILE HIM AWAY. AKA and see "Wylam Away," "To Wylam Away," "Ginleing Geord(i)e."

                       

WILEY LAWES. Old-Time, Breakdown. D Minor. In the repertoire of North Carolina fiddler Manco Sneed.

           

WILFRED A. PITT’S REEL.  Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AAB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 138, pg. 52.

           

WILFRED AND JANET BURKE. Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AAB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 15, pg. 6. Brenda Stubbert - “Tamerack ‘er Down” (1985).

                       

WILFRED BURKE’S. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by Wilfred Burke. Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 122, pg. 42. Brenda Stubbert - “House Sessions” (1992).

                       

WILFRED GILLIS. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by fiddler and composer Dan R. MacDonald (1911-1976, Inverness, Cape Breton). Cameron (Trip to Windsor), 1994; pg. 41.

                       

WILFRED GUILLETTE’S FAVORITE REEL.  See “Cobbler’s Reel [2].”

 

WILFRED HIGH IN HIS BUNK. Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 184, pg. 52.

                       

WILFRED’S FIDDLE. Canadian, Jig. Canada; Cape Breton, Prince Edward Island. E Dorian. Standard tuning. AABB’. Composed (in honor of Wilfred Gillis?) by fiddler and composer Dan R. MacDonald (1911-1976, Inverness, Cape Breton). Source for notated version: Allan MacDonald (b. c. 1950, Bangor, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 144.

                       

WILHEMINE’S ROSE. Canadian, Waltz. Canada, Ontario. Composed by fiddler and Ontario Provincial Police Officer Don Pettigrew, who used to compete in the Perth, Ontario, fiddle contest. It is often locally paired with another of Pettigrew’s waltzes, “The Sheguiandah Bay.”

 

WILKE’S FANCY.  English, Country Dance Tune (cut time). D Major. Standard tuning. AABB. The melody was originally published in Charles and Samuel Thompson’s Compleat Collection, vol. 3, (London, 1773). It was also included in the 1770 music manuscript collection of Northumbrian musician William Vickers (as “Wilk’s Fancy”), and the 1788 copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). The latter had numerous tunes from the Thompson’s 1773 collection in their manuscript. It was also entered into the 1781 copybook of Nathaniel Brown, a Fife Major with the Fourth Continental Regiment, while stationed at Verplank’s Point (on the Hudson River in Westchester County) and Durham, Conn. Country dance directions to Wilkes Fancy can be found in several dance publications on both sides of the Atlantic. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 96.

X:1

T:Wilke’s Fancy

M:C|

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

d2 fd e2 ge|f2 af ecBA|d2 fd e2 ge|faAc d2D2:|
|:D2 FD AFdB|AFED CD[CA][A,c]|D2 FD AFdB|AGFE D2D2:||

                       

WILKES RELEASE. AKA “Quick March 48th Regiment.” English, March (2/4 time). D Major. Standard tuning. AABB. The title may refer to John Wilkes (1725-1797) a radical politician in Georgian England who made a career of defying the king and parliament. Wilkes was an MP when, in 1763, he angered the king with a critical article with the result that he was prosecuted for libel. Due to his status, however, the court ruled he could not be prosecuted and the charges were dropped, and Wilkes left the court as a champion for liberty. His fortunes turned later that year, however, when he was provoked into a duel with a supporter of the king, and was shot and wounded. A week later Parliament voted that a members privilege from arrest did not extend to the writing and publishing of seditious libels, and Wilkes was forced to flee to Paris.

***

John Wilkes (1725-1797)

***
After five years in exile Wilkes returned to England, and again entered politics, managing to get himself elected and once again arrested. On May 10th, 1768, a crowd of some 15,000 arrived outside the prison and rallied in support of him, until crown troops opened fire, killing seven people in what was known as the Massacre of St. George’s Fields. Wilkes was sentenced to 22 months imprisonment and a fine for libel. Support only grew for him, however, and upon his release he was once again elected to the House of Commons, and after that he became the Lord Mayor of London. Although he grew less radical over the years, Wilkes is remembered for his stands for parliamentary reform, as an opponent of the harsh criminal code, as a critic of the British policy toward America during the Revolutionary period, and for his campaign for religious tolerance.
Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 145, pg. 53.

X:1

T:Wilkes Release

M:2/4

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:D

A |: d>fe>g | fa a/g/f/e/ | f/a/f/d/ e/g/e/c/ | dA FD | d>fe>g | fa a/g/f/e/ |

f/a/f/d/ e/g/e/c/ | d2 d :: a | a>g f/a/a/b/ | a/d’/a/f/ | g>f e/f/g/a/ | gbge |

(f2 f/)d/e/f/ | (g2 g/)e/f/g/ | ab/a/ gf | e/d/c/B/ A/B/c/A/ :|

                       

WILKE'S WRIGLE. AKA and see "The Quaker's Wife," "Merrily Danced the Quaker('s Wife)." Scottish. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. 1, 1782, No. 145.

                       

WILKINSON’S HORNPIPE.  English, Hornpipe. England, Northumbria. G Major. Standard tuning. AABB. Composed by Robert Whinham (1814-1893), a teacher, musician, composer, dancing master and fiddler originally from Morpeth. Gramham Dixon (1995) notes that there was a fiddler named Wilkinson in the Haltwhistle area of Northumberland, a contemporary of Whinham’s, who may be associated with this tune. Source for notated version: T. Carruther’s 20th century manuscript at the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 25.

 

WILKS FANCY. See “Wilke’s Fancy.”

                       

WILKS NO. 45. Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

           

WILL ATKINSON’S SCHOTTISCHE.  English, Schottische. G Major. Standard tuning. AABBCC. Source for notated version: harmonica player Will Atkinson (Northumberland) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 90.

           

WILL DAVENPORT’S TUNE. Old-Time. F Major. Learned by Clyde Davenport (who played it on banjo) from the playing of his father, Will Davenport. Rounder 0369, “Young Fogies, vol. II.”

                       

WILL MY LOVE BE TRUE?  (A M-Beid Mo Gaolac Fior?). Irish, Air (6/8 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 361, pg. 62.

X:1

T:Will My Love be True?

M:6/8

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 361

Z:AK/Fiddler’s Companion

K:G

G/E/|DEG GAB/G/|(c3 c2) B/c/|dBG GAB/G/|(A3 A2) B/c/|dBG EGE|

(D3 D2) D/E/|GAB/G/ AGG|(G3 G2)||B|cdc BGE|(D3 D2) D/E/|G2G GBd|

(A3 A2) B/c/|dc/B/A/G/ EGE|(D3 D2) D/E/|G>AB/G/ AGG|(G3 G2)||

                       

WILL O’ THE WISP.  English, Country Dance Tune (cut time). G Major. Standard tuning. AABB. The tune appears in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 5 (London, 1750), The London Magazine, or Gentleman’s Monthly Intelligencer (1751, pg. 469), and in Walsh’s Compleat Country Dancing Master, vol. the 5th (London, 1754). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 132 (appears as “Trip to Richmond,” the name of a country dance set to the tune).

 

WILL RARIE OLD MARCH [1]. AKA and see "Dow Everly [1]." American, March (4/4 time). USA, southwestern Pa. G Major. Standard tuning. AABB. A march tune named for an old Greene County, Pennsylvania, fifer. Source for notated version: Hoge MS. No. 23 (Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 152A, pg. 87.

 


WILL RARIE OLD MARCH [2]. AKA and see "Harrison's Grand March." American, March (4/4 time). USA, southwestern Pa. G Major. Standard tuning. ABC. Source for notated version: Walter Neal (fiddler from Armstrong County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 255, pg. 217.

                       

WILL SHARPLESS. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

                       

WILL THERE BE ANY STARS. Old-Time, Air (4/4 time). F Major (Hammons): G Major (Silberberg). Standard tuning. ABC. In the repertoire of West Virginia fiddler Edden Hammons. Source for notated version: Melvin Wine (W.Va.) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 170 (appears as “Will There be Stars in My Crown”). Edden Hammons Collection, Disc 2.

                       

WILL THEY EVER RETURN? (A Filleadar Go Deo?). Irish, Air (4/4 time, "Slow and mournfull"). D Major. Standard tuning. AAB. One supposes the title refers to the tide of Irish emigration to America in the 19th century. Perhaps this piece was meant to be played at “American wakes,” the farewell sendoffs for those departing for the passage. 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. 66, pg. 12.

X:1

T:Will They Ever Return?

M:4/4

L:1/8

R:Air

N:”Slow and mournfull”

S:O’Neill – Music of Ireland (1903), No. 66

Z:AK/Fiddler’s Companion

K:D

A>F | (GFD).C D2 (3ABc | (dcA).G A2 (3ABc | (dcAF) (G2 EG) | F2 D2D2 :|

|| A2 | (d3e) (f2 ec) | (dcAF) (GFDE) | (FGAB) (c2 Bc) | A6 (3ABc |

.d.c.A.G A2 (FA) | .G.F.D.B, C2 (DE) | F3E D2D2 | (D4 .D2) ||

                       

WILL THIS PLEASE YOU?  AKA – “Will this please ye?” English, Jig. B Flat Major. Standard tuning. AABB. The melody first appears in London publisher Charles and Samuel Thompson’s 1765 country dance volume, obviously the source for Northumbrian musician William Vickers who copied it into his 1770 manuscript collection. Seattle (William Vickers), 1987, Part 2; No. 358. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 71.

X:71

T:Will this please ye

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

B3 (A/B/c)A|BFD BFD|B3 (A/B/c)A|(B/c/d)B cAF|B3 (A/B/c)A|BFD BFD|EFG FED|[C2c2]c cdc:|

|:B2f fgf|fbf fdB|d2f fbf|cdB AGF|B2f fgf|fbf fdB|ece dBd|cdB AGF:||

                       

WILL WIMBEL'S RANT. English, Reel or Rant. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 344.

                                   

WILL YE MARRY KITTY. AKA and see "The Infare." Scottish. Dance instructions for the tune, but no music, can be found in the Menzies Manuscript, 1749, contained in the Atholl Collection of the Sandeman Library, Perth.

                       

WILL YE NO' COME BACK AGAIN? AKA and see "Bonnie Charlie's Gone/Noo Awa'." Scottish, Air (4/4 time). F Major (Neil): A Major (Sweet). Standard tuning. AB (Neil): AA'B (Sweet). The song by Lady (Baroness) Nairne (1766-1845), born Carolina Oliphant, to the tune by Neil Gow Junior (1795-1823), the famous Scots fiddler Niel Gow's namesake and grandson, refers to the exiled Bonnie Prince Charlie and reflects her Jacobite upbringing and "is considered to be among the last of the earnest and spontaneous Jacobite songs" (Neil, 1991). The tune is the same as that of the song “Mo Gile Mear.

***       

Bonnie Charlie's now awa'

Safely owre the friendly main;

Mony a heart will break in twa,

Should he ne'er come back again

Will ye no' come back again?

Will ye no' come back again?

Better lo'ed ye canna be

Will ye no' come back again?

***

Cazden (et al, 1982) finds a derivation of the tune in use in the Catskill Mountains (New York) for a folk hymn tune called "My Lord Knows the Way." Neil (The Scots Fiddle), 1991; No. 115, pg. 153. Sweet (Fifer’s Delight), 1965/1981; pg. 74.

X:1

T:Will ye no' come back again?

M:3/4

L:1/4

O:Scotland

K:G

P:A

G2 B|A2 G|E2 G|D3|d2 e|d2 B|BAG|A3|\

B2 B|A2 G|E>G E|D3|e e e|d2 B|cBA|G3|

P:B

B2 d|d2 e|B2 d|d3|g2 f|e2 d|e d B|A3|\

B2 B|A2 G|E2 G|D3|e e e|d2 B|cBA|G3|

                       

WILL YE RUN AWA' WI' ME. See "Will You Run Awa' Wi' Me."

                       


WILL YOU COME DOWN TO LIMERICK?  [1] (A Tiocfad Tu Sios Go Luimnaig?).  AKA and see “Follow Me Down to Limerick,” "Munster Gimlet," “Plumkum.” Irish, Slip Jig. G Major/Mixolydian. Standard tuning. AABB (Mitchell): AA'BC (O’Neill): AA’BCDEE’F (Mitchell). See also the related “Whack at the Whigs.” Sources for notated versions: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O’Neill]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; accordion maker and musician Martin Connolly (Ennis) [Treoir]. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 62. Mitchell (Dance Music of Willie Clancy), 1993; No. 46, pg. 56 & No. 58, pg. 63 (two versions). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 216, pg. 115. O'Neill (Krassen), 1976; pg. 80. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1121, pg. 212. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 415, pg. 82. Treoir, vol. 37, No. 4, 2005; pg. 25. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy, Vol. 1” (1980).

X:1

T:Will You Come Down To Limerick? [1]

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 415

Z:AK/Fiddler’s Companion

K:G

d|cAG GDG G2d|cAG GFG Add|cAG GDG G2A|1 FGA =fed cAd:|2 FGA =fed cAG||

def gaf g2f|def gbg afd|cde =fge f2d|cde =fed cA^F|

def gaf g2f|def gbg afd|bag agf g2d|cde =fed cAG||

BGB AFA G2A|BAB GbdcBA|BGB AFA G2A|FGA =fed cAG|

BGB AFA G2A|BAB GBd cBA|fdf ece d2A|FGA =fed cAG||

 

WILL YOU COME DOWN TO LIMERICK? [2] (A Tiocfad Tu Sios Go Luimnaig?). Irish, Slip Jig. G Major. Standard tuning. AA'BBC. O'Neill (Music of Ireland: 1850 Selections), 1903/1979; No. 1122, pg. 212.

X:1

T:Will You Come Down To Limerick? [2]

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1122

Z:AK/Fiddler’s Companion

K:G

[B3G3] AGF G2A | BAB GBd cBA | [B3G3] AGF G2A |1 cde fed cAF :|2 cde fed cAd ||

cAG G2 D G3 | cAG GFG Add | cAG G2 D G3 | cde fed cAd :| d>gg gaf g2g | (d<g)g a2g fed |

cde fed f2d | cde fed cAF | d>gg gaf g2g | (d<g)g a2g fga | bgb afa g2d | cde fed cAF ||

                       

WILL YOU COME TO THE BOWER. English, Air (2/4 time). C Major (Howe): G Major (Sumner). Standard tuning. One part (Howe): AABB (Sumner). A song by Irish poet Thomas Moore (1779-1852). According to tradition this tune was played by a fifer and drummer from the rag-tag army of Sam Houston at the battle of San Jacinto in 1836. However, according to Davis family lore there were no fifers or drummers in Houston’s forces at the time, only two fiddlers, a father and son named Daniel and George Washington Davis. Houston’s plan was to draw near the Mexican forces under Santa Anna by parading his men, as if on drill, before sounding a final charge. He hoped such a non-aggressive appearing maneuver would allay the Mexican alertness and allow him an element of surprise. To that end (and not having a fife or drum), he had the Davis men play something the Texans would know, but not particularly martial in nature. Not knowing any marches, the fiddlers over and over played “Will You Come to the Bower,” a love song popular on the frontier, and it was to the strains of the song on stringed instruments that the Texans marched in their crude fashion. Houston’s trick worked and he carried they day (see “They Weren’t Merely Fiddling Around,” Elmo Schwab Jr., Houston Post/Sun, April 21, 1985, http://www.tamu.edu/ccbn/dewitt/miscmemoirs2.htm).

***

The lyrics, which to some carry slightly bawdy connotations, begin:

***

Will you come to the bower o’er the free boundless ocean,

Where the stupendous waves roll in thundering motion;

Where the mermaids are seen and the fierce tempest gathers,

To loved Erin the green, the dear land of our fathers.

Will you come, will you, will you, will you come to the bower?

***

Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Howe (Complete Preceptor for the Accordeon), 1843; pg. 32. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 95.

X:1

T:Will You Come to the Bower

M:2/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:C

EF | G2 GG | G2 GG | GcBA | A2zG | (GF)FF | (FE)EE | GFED C2z2 |

CEEE | CEEE | GFDF | FE D2 | CEEE | CE GB | GEFD | C2 :|

                       

WILL YOU COME HOME WITH ME? [1] (“An Tiocfaid tú a Baile Liom?” or “Tiocfaidh tú Abhaile Liom”). AKA and see “Oh, Hag You Have Killed Me,” “Old Hag You Have Killed Me.” AKA – “Won’t You Come Home with Me?” Irish, Double Jig. G Major (Harker/Rafferty, Mitchell, O’Neill): D Mixolydian/G Major (Breathnach). Standard tuning. AABB (Harker/Rafferty, O’Neill): AA’BB (Mitchell): AA'BCD (Breathnach). P.W. Joyce (Ancient Irish Music, 1873) says: “This jig is universally known in Munster. In some places it is called ‘O, chailleach, do mharbhais me!’—‘O, hag, you have killed me!’” There is considerable variation among the versions listed (see abc’s below), although the basic tune seems to follow two main variations (as, for example, represented by O’Neill; most variations seem to have elements of both). Petrie has one version of this tune (Stanford/Petrie, No. 1487) by this title from the famous piper Paddy Conneely “and other pipers”, and Breathnach (1976) thinks perhaps the version he prints in CRE II derives from this strain.  Breathnach (1976) finds another setting in Stanford/Petrie (112), untitled, of the first two parts, with the wrong key signature given. This same version is reprinted by Joyce (1909, No. 833, who obtained it from the Pigot Manuscripts), who gives the correct key.  Breathnach finds the tune related to “Oh hag you have killed me,” and that his fourth part is related to the second part of “Ask My Father.” Sources for notated versions: fiddler James McEnery, 1965 (Castlemahon, Co. Limerick, Ireland) [Breathnach]; piper Willie Clancy (1918-1993, Miltown Malbay, west Clare) [Mitchell]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1976; No. 8, pg. 6. Harker (300 Tunes from Mike Rafferty), 2005; No. 214, pg. 66. Joyce (Ancient Irish Music), 1873; No. 56, pg. 57. Mitchell (Dance Music of Willie Clancy), 1993; No. 21, pg. 41. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 842, pg. 157. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 104, pg. 33. Tara 3005, Planxty - “The Woman I Loved So Well” (1980.Learned from Willie Clancy via Pat Mitchell).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Will You Come Home with Me

M:6/8

L:1/8

R:Jig

K:G

dge fdc|B2d cAF|~G2G ABA|GFG ABc|\

dge fdc|B2d cAF|GFG ABA|GAG G3:|\

d2B c2A|B2d cAF|GFG ABA|GFG ABc|\

d2B c2A|B2d cAF|GFG ABA|GAG G3:|\

X:2

T:Will you come home with me?

M:6/8

L:1/8

R:Jig

S:Joyce – Ancient Irish Music (1873)

Z:AK/Fiddler’s Companion

K:G

d2g fdc|B2d cAG|GBA ABG|GBA ABc|d2g fdc|B2d cAF|

GAG GAF|GAG G>AB/c/::d2e c2d|B2d cAG|GBA ABG|

GBA ABc|d2e cdc|BdB cAF|GAG GAF|1 GAG G>AB/c/:|2 GAG G3||

X:3

T:Will You Come Home with Me

M:6/8

L:1/8

R:Jig

K:G

FGA AFD|BAG AFD|ABA ABG|ABA ABG|

FGA AFD|BAG AFD|DGG GAF|DGG GAF:|

~B3 cBc|ded cAG|ABA ABG|ABA ABG|

~B3 cBc|ded cAF|DGG GAF|DGG G3:|

 

WILL YOU COME HOME WITH ME? [2] (An Tiocfaid Tu a Baile Liom?). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 843, pg. 157.

X:1

T:Will You Come Home With Me? [2]

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 843

Z:AK/Fiddler’s Companion

K:G

(G/A/) | BAB cBc | ded cAG | ABA (A<B).G | ABA (A<B).G | BAB cBc |

ded cAF | GAG A2F | GAG G2 :: (d/e/) | fef def | gag fdc | ABA (A<B).G |

ABA (A<B).G | fef def | gag fdB | GAG A2F | GAG G2 :|

                       

WILL YOU COME IN?  (A Tiocfad Tu Asteac?).  Irish, Slip Jig. D Major. Standard tuning. AA'B. Source for notated version: Chicago fiddler John McFadden, originally from County Mayo [O’Neill]. O'Neill (Krassen), 1976; pg. 81. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1133, pg. 214.

X:1

T:Will You Come In?

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1133

Z:AK/Fiddler’s Companion

K:D

A2F {G}F2E D2F | B2B B2A Bcd | A2F F3 ~G2A |1 ABA A2F AdB :|2

ABA A2F ABc || d3 f2d c2A | BcB B2A Bcd | d2d f2d c2B | ABA A2F ABc |

d2d a2d c2A | BcB B2A B2c | d2b a2f d2B | ABA A2F AdB ||

                       

WILL YOU COME PLANK, COME PLANK. AKA and see "Leather the Wig" (Plancam Peirbig), "The Bunter's Delight" (Eng.), "Leir‑ruatar Whiggiona." Irish. This air was published in Dublin by B. Cooke in 1795.

                          

WILL YOU COME TO THE BOWER.  English, Air (2/4 time). G Major. Standard tuning. AABB. Source for notated version: the 1823-26 music ms. of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; No. 181, pg. 95

                          

WILL YOU GO AND MARRY KETTLE/KETTIE/KATIE. AKA and see "Mulchard's Dream." Scottish, Strathspey. G Major. Standard tuning. AA’BB’. John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 22). The melody was used by an unknown author for the song "Wha wadna fecht for Charlie." McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 20.

X:1

T:Will you go and Marry Ketty

M:C|

L:1/8

R:Strathspey

S:McGlashan – Strathspey Reels  (c. 1780-81)

Z:AK/Fiddler’s Companion

K:G

G/G/G G>A B>ABg|G/G/G G>A B/c/d/B/ A2|G/G/G G>A B>ABd|1

e>gd>g B>gAg:|2 e>gd>g B>g A2|: B/c/d d>e g>de>d|B/c/d d>e g>B A2|

B/c/d d>e g>de>d|1 (3cdc (3BcB g>B A2:|2 (3cdc (3BcB g>Bag ||

                       


WILL YOU GO TO FLANDERS?  AKA and see "The harp that once through Tara's halls," "Gramachree," "Gradh no chroidhe," "Molly Asthore," "Little Molly O!" Scottish, Reel. G Major. Standard. AABBCCDDEE. Johnson (1984) says this tune was an army song (with drawing room accompaniment, as set by Bremner) perhaps dating from the Flanders campaign of the 1740's, though other writers believe it refers to the Duke of Marlborough's 1708 Flanders campaign. O'Sullivan (1983) finds the earliest printed form of the melody in William McGibbon's Scots Tunes, book II (1746), reprinted in Moffat's Minstrelsy of Ireland (pg. 351). The tune also appears in the William Trotter Manuscript, a fiddle book of 1780. These words appear in David Herd's Ancient and Modern Scottish Songs (1776), volume II:

***

Will you go to Flanders, my Mally O?

Will you go to Flanders, my Mally O?

There we'll get wine and brandy,

And sack and sugar candy;

Will you go to Flanders, my Mally O?

***

The tune and song were adapted, with additional words, by Billy Ross of the group Ossian who recorded it on their album “Dove Across The Water.”

***

Highland army in Flanders, 1743.

***

Source for notated version: Bremner's Curious Collection of Scots Tunes, 1759; pg. 20 (set by Robert Bremner, c. 1713‑1789) [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 23, pgs. 56‑60. McGibbon (Scots Tunes, Book II), c. 1746; pg. 30. Kicking Mule KM‑327, "Scartaglen" (1984. Song version).

X:1

T:Will you go to Flanders

M:C|

L:1/8

N:”Lively”

S:McGibbon – Scots Tunes, Book 2 (c. 1746) 

Z:AK/Fiddler’s Companion

K:G

d3ed2B2 | e4 (ef)g2 | ({e}d2) (cB) “tr”A3G | G6(d/e/f) | g2G2g(bag) | “tr”f4e2d2 |

(e2fg) “tr”e3d | d6 ef | g2d2b2(ag) | f2d2a2(gf) | e2B2g2B2 | d6 ef | g2g2(gfed) |
”tr”e4(efg2) | d2(cB)”tr”A3G | G8 :: d(GBd) (edB)d | edef g2(fe) | d2(cB) (cB)(AB) |

G6ba | g2(g/a/b)a2g2 | f2(f/g/a)g2f2 | e2(e/f/g) “tr”e3d | d6 (ef) | g2G2 g(bag) | f2F2f(agf) |

edef “tr”(gfg)B | d6ef | g2(ba) (gf)(ed) | (ede)f g2(fe) | d2(cB) cBAB | G8 :|

|: GABc d2 “tr”(cB) | cdef g2fe | d(gfe) (dc)(BA) | G6ef | gdga g(bag) | fdfg f(agf) |

edef (gf)”tr”(e>d) | d6 ef | gdbd gdbd | fdad fdad | eBgB eBgB | d6 ef | g(bag) “tr”f2(ed) |

“tr”(ede)f g2 “tr”(fe) | d(gfe) (dcBA) | G8 :: dBGB dBGB | ecGc ecGc | dBGc (B2”tr”A2) |

G6 ef | gdBd gdBd | afdf afdf | (ba)(gf) “tr”e3d | d6(bc’) | d’2(c’b) c’2(ba) | ({c’}b2)(ag) ({b}a2)(gf) |

({a}g2) (fe) (de)dB | d6 (bc’) | (d’c’)(ba) (gf)(ed) | “tr”(ede)f g(edc) | B4 “tr”(A4{G/A/}) | G8 :|

                       

WILL YOU GO TO SHER(R)IFF MOOR. Scottish, Reel. G Major. Standard. AAB. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection (pg. 49), though it earlier appeared in the 1768 GIllespie Manuscript of Perth. The song also appears in James Oswald's Caledonian Pocket Companion of the 1750's in which the melody is derivative of "The Stewart's March" also known as "London Bridges Falling Down." Bremner (Scots Reels), c. 1757; pg. 49.

X:1

T:Will you go to Sheriff Moor

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:G

D>EGB A/A/A A2 | D>EGA c/c/cc2 | B/B/B Bg A/A/A AB | G(c”tr”BA) G2D2 :|

g>age agab | gage g(dd)e | g>age agab | gaef g2 dg |

edgB A/A/A A2 | D>EGA c/c/c c2 |B/B/B Bg A/A/A AB | G(c”tr”BA) G2 G,2 ||

                       

WILL YOU GO TO THE EWE BOUGHTS MARION. Scottish. See note for "Sligo Tune."

                       

WILL YOU LISTEN TO ME, MY BROWN-HAIRED MAID?  AKA and see "An Cluinn Thu Mi Mo Nighean Donn."

                       

WILL YOU RUN AWA' WI' ME?  (An dean thu ruith air falbh leam). Scottish, Pipe Reel. A Minor. Standard tuning. AB (Fraser): AAB (Kerr): AABB (Athole). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 137, pg. 55. Kerr (Merry Melodies), vol. 1; Set 29, No. 6, pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 49.

X:1

T:Will Ye Run Awa’ Wi’ Me

M:C|

L:1/8

R:Pipe Reel

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

Z:AK/Fiddler’s Companion

K:A Minor

e | c<c c<c e2dc | BGdG BcdB | c<c c<c e2 dc | BGdB cAA :|

|: g | ecgc aceg | BGdG eGBd | ecgc aceg | ecdB cAA :|

                       

WILL YOU TAKE A WIFE, LITTLE DONALD?  See "An Gabh Thu Bean a Dhoi'll Bhig?," "Little Donald's Wife."

                       

WILL YOUR MULE CARRY DOUBLE. Old‑Time. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph, from the playing of Ozark Mountain fiddlers in the early 1940's.

                       


WILLAFJORD. AKA - “Wullafjord.” Shetland, Shetland Reel. D Major. Standard tuning. One part (Cooke): AB (Flett & Flett): AABB (Anderson & Swing, Hardie, Lerwick, Martin & Hughes, Sweet). “Willafjord,” or “Wullafjord,” is known by fiddlers throughout the Shetland Islands. The tune originally came from Greenland, imported to Shetland at the end of the 19th century and disseminated in the age of arctic whaling expeditions. It is sometimes described as having originated as a ‘whaling reel’. Source for notated version: the late fiddler, teacher and composer Tom Anderson (Lerwick, Shetland) [Hardie]; Bobbie Peterson (Breiwick, Tingwall, Shetland) [Cooke, Flett & Flett]. Anderson & Swing (Haand me doon da Fiddle), 1979. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 51, pg. 110 (appears as “Wullafjord”). Flett & Flett (Traditional Dancing in Scotland), 1964; pg. 220. Hardie (Caledonian Companion), 1992; pg. 35. Lerwick (Kilted Fiddler), 1985; pg. 14. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 33. Sweet (Fifer’s Delight), 1965/1981; pg. 77.

X:1

T:Willafjord

M:4/4

L:1/8

R:Reel

Q:1/4=200

C:Trad Shetland

O:Shetland

K:D

B2|"D"A2 DA- ADFA|"G"B2 GB- BDGB|"D"A2 DA- ADFA|"Em"EFGA "A7"GFED|!

"D"A2 DA- ADFA|"G"B2 GB- BDGB|"A7"ABcd efge|"D"f2 d2 d2:|!

|:e2|"D"f2 df- fAdf|"Em"geaf "G"gfed|"D"f2 df- fAdf|"Em"edcB "A7"ABce|!

"D"f2 df- fAdf|"Em"geaf "G"gfed|"A7"ABcd efge|"D"f2 d2 d2:|!

                       

WILLENHALL CLOG DANCE. English, Clog Dance (4/4 time). G Major. Standard tuning. AB. Raven (English Country Dance Tunes), 1984; pg. 155.

X:1

T:Willenhall Clog Dance

M:4/4

L:1/8

K:G

GBdB gdBG|c2e2c2e2|GBdB gdBG|A2d2A2d2|GBdB gdBG|

c2e2c2e2|dgfe dcBA|G22G4||G2Bd G2Bd|c2e2c2e2|G2 Bd G2Bd|

A2d2A2d2|G2Bd G2Bd|c2e2c2e2|dgfe dcBA|G2B2G4||

                       

WILLET'S HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB. Source for notated version: Gilbert Ross [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 233.

                       

WILLIAM ADEY'S TUNE. English, Dance tune. G Major. Standard tuning. One part. One of the tunes used for the Abbots Bromley horn dance, c. 1870. "Born in 1862, William Adey was a bricklayer and a dancer. M.A. Rice collected this tune form him in 1924. Adey remembered it as the horn dance tune used in the 1870's and 1880's" (Bullen). Andrew Bullen, Country Dance and Song, May 1987, vol. 17, pg. 11.

                       

WILLIAM AND DORIS STUBBERT. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 93, pg. 34. Brenda Stubbert - “House Sessions” (1992).

                       

WILLIAM AND NANCY. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AABB, AABB, AACC, AACC, AA. From the Bledington area of England's Cotswolds. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 2, pg. 8. Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976/1992).

                       

WILLIAM BROWN. English, Morris Dance Tune (2/4 time). G Major. Standard tuning. AAB. Tune used for a polka step in the North‑West (England) morris dance tradition. Wade (Mally’s North West Morris Book), 1988; pg. 27.

                       

WILLIAM CLARKE.  See note for “Dolly Varden [1].”

 

WILLIAM CLARK'S FAVORITE. AKA and see "The Three Captains."

                       

WILLIAM CRAWFORD’S REEL. Canadian, Reel. Canada, Cape Breton. E Minor. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 30.

                       

WILLIAM DUGUID--FYVIE. Scottish, Strathspey. A Major. Standard tuning. AA'B. Composed by William Martin (1836‑1908), a teacher, fiddler, composer and poet, who wrote the lyrics to J. Scott Skinner's most famous tune, the "Bonny Lass of Bon Accord." William Duguid (1866‑1905) of Fyvie was a disciple of J. Scott Skinner, and teacher of the great 20th century Scottish fiddle stylist James F. Dickie. Hardie (Caledonian Companion), 1992; pg. 80. Henderson (Flowers of Scottish Melody), 1935.

                                   


WILLIAM DURETTE'S CLOG. AKA and see "Champagne Clog." French‑Canadian, Clog or Hornpipe. B Flat Major. Standard tuning. AABB. From French-Canadian melodeon player Alfred Mommarquette, who recorded in the 1920's. French-Canadian accordion player Philippe Bruneau plays the tune under the title "Champagne Clog." Carlin (Master Collection), 1984; No. 104, pg. 65. Old Hat Music OH!02, "The Old Hat Dance Band" (1992).

                                   

WILLIAM ECCLES. Irish, Planxty (6/8 time). C Major. Standard. AB. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1985; No. 44, pg. 47‑48.

                       

WILLIAM GIBSON CRAIG, M.P. Scottish, Strathspey. E Flat Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). William Gibson Craig was a Member of Parliament for Midlothian from 1837-1841 and for Edinburgh, 1841-1852. Since the dates of his election to Parliament are after Marshall’s death, it may be that the “M.P.” initials were added by the publisher of his posthumous 1845 collection, Alexander Robertson of Edinburgh, who purchased Marshall’s copyright. See also the related title “Miss Gibson Craig.” Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 31.

X:1

T:William Gibson Craig, M.P.

M:C

L:1/8

R:Strathspey

S:Marshall – 1845 Collection

K:E_

G/F/|EG,B,G, B,EGE|B>G A/G/F/E/ F2 FG/F/|EG,B,G, GE ec|B>G B/A/G/F/ E2E:|

c/d/|eEGB e/f/g/a/ be|cffe (ed)(cd)|eEcE GBeG|(F/E/)D/C/ (B,/C/)D/B,/ E2 Ec/d/|

eEGB e/f/g/a/ be|cffe (ed)(cd)|e>f f/e/d/c/ B/A/G/F/ EB,|CA,B,D E2E||

                       

WILLIAM GORDON CUMMING. Scottish, Reel. G Major. Standard tuning. AAB. Composed by Duncan McIntyre. Carlin (The Gow Collection), 1986; No. 318.

                       

WILLIAM IRWIN’S QUICKSTEP. English, March. Attributed to the Cumbrian musician William Irwin. The melody attained some popularity after it was recorded on the Cock and Bull Band’s 1981 release “All Buttoned Up.”

                       

WILLIAM J. HARDIE. Scottish, Reel. A Major. Standard tuning. AB. Composed in 1930 by J. Murdoch Henderson {1902-1972} (an M.A. of Aberdeen University and a teacher of maths and science in that city) in honor of Aberdeen fiddler Bill Hardie {b. 1916}, appearing in print first in Henderson's Flowers of Scottish Melody (1935). Hardie (Caledonian Companion), 1986; pg. 31. Henderson (Flowers of Scottish Melody), 1935.

                       

WILLIAM KIMBER'S SCHOTTISCHE. English, Schottische (4/4 time). G Major. Standard tuning. AB. Kimber was an Oxforshireman from whom Cecil Sharpe collected many tunes; he was reputed to have known thousands. Sharpe said he was "a bricklayer by trade, a dancer by profession." Kimber died in 1961, aged 90 (Williamson, 1976). Raven (English Country Dance Tunes), 1984; pg. 156.

X:1

T:William Kimber’s Schottische

M:4/4

L:1/8

K:G

BA | GFGA Bc (3dcB | cBcd ef (3gfe | de (3dcB cd (3cBA | BAGA (3ABc d2 |

GFGA Bc (3dcB | cBcd ef (3gfe | de (3dcB cd (3cBA | G2B2G2 || BA |

(3GBd (3gdB (3GBd gf | e>f (3gfe dc B2 | cd (3efe dBGB | A2e2 fe d2 |

(3GBd (3gdB (3GBd gf | ef (3ge dc B2 | cd (3efe dB (3GAB | A2F2G2 ||

                       

WILLIAM LITTEN COUNTRY DANCE. English, Country Dance (cut time). G Minor. Standard tuning. AAB. William Litten was a fiddler on a square-rigged English sailing ship, who compiled a book of tunes he played on his voyages. Editor Huntington remarks on its resemblance to "Scotts Reel." Huntington (William Litten's), 1977; pg. 35.

                       

WILLIAM MACHARDY’S STRATHSPEY.  Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 100.

X:1

T:Wm. MacHardy’s Strathspey

M:C

L:1/8

R:Strathspey

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

A<c E>c A/B/c/d/ e>A | d>Bc>A B>A G<B | A<c E>A F>A D>f | (3edc (3dcB c<AA z :| g ||

a>g({g}f>)e (3fdf (3eca | (3dBd (3cAc B>A (G<e) | a>g({g}f>)e (3fdf (3eca | d<Be>d c<AA>g |

a>g({g}f>)e (3fdf (3ece | (3dBd (3cAc ({B/c/}B)>A G<B | A<c E>c .A/.B/.c/.d/ e<a | (3edc (3dcB c<A A2 ||

 

WILLIAM MACPHERSON. Scottish, Slow Hornpipe. E Flat Major ('A' part) & B Flat Major ('B' part). Standard tuning. AB. Composed by Shetland fiddler Arthur S. Robertson in honor of fiddler William Macpherson (1919‑1974), born in Elgin, Morayshire, and who made a career playing and teaching Scots fiddle. Neil (The Scots Fiddle), 1991; No. 78, pg. 103.

                       

WILLIAM MARSHALL'S COMPLIMENTS TO NIEL GOW. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by William Marshall. Carlin (The Gow Collection), 1986; No. 231.

                       

WILLIAM PITT.  See “Billy Pit.”

 


WILLIAM SHEPHERD'S LAMENTATION FOR THE DEATH OF SIR RALPH ABERCROMBY. Scottish, Slow Air. The melody was composed and published by William Shepherd, a musician of Edinburgh who was a business partner of Nathaniel Gow for many years. Shepherd's collection appeared sometime between 1801 and 1806. John Glen (1895) says of his work, "It must be admitted that in some of his tunes there is a want of originality, while others show considerable evidence and taste in their composition."

                       

WILLIAM WARD. Irish, Planxty (6/8 time). G Dorian. Standard tuning. AABB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 167, pg. 113.

                       

WILLIAM WHITE'S REEL ("Seisd Uilliam Bain" or "Cor Uilliam Faoiteac"). Irish, Reel. C Major. Standard tuning. AAB. O'Neill (Krassen), 1976; pg. 155. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1521, pg. 281. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 740, pg. 129.

X:1

T:William White’s Reel

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 740

Z:AK/Fiddler’s Companion

K:C

G2 EG cGEF | GBAG ED D2 | GFEG cBcG | ABcd ec c2 :|

(3cdc ce g2 gg | AGGE GBdB | c2 ce {a}g2 gf | eaag ec c2 |

{d}cBce gfgG | AGGE GBdB | cdef geag | (3efg df ec c2 ||

                       

WILLIAM'S AND SULLIVAN'S. American, Dance Tune (cut time). G Major. Standard tuning. AABB. The melody is labelled a 'jig' in Ryan’s Mammoth Collection, referring not to the familiar 6/8 Irish jig, but rather a type of syncopated, duple-time, old-time banjo tune. Cole (1000 Fiddle Tunes), 1940; pg. 85. Ryan’s Mammoth Collection, 1883; pg. 118.

X:1

T:William’s and Sullivan’s

M:C|

L:1/8

R:”Straight” Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(ba) | (ge)zf (e4 | e>).b(a>.g) a2 (ba) | (ge) z f (e3 | e>).b(a>.g) a2 (ba) | (ge) z f (e4 |

e>)ba>g a2 bc’ | d’>c’b>a b>ag>e | d2 [A2f2][B2g2] :: (3DEF | G2 (3BAG (d>.B)(G>.B) |

A2 (3cBA e>cA>G | F>GA>B c>de>f | (3gfg (3age d2 B>A | G2 (3BAG d>BG>B |

A2 (3cBA e>cB>A | F>GA>B c>de>f | (3gfg a>f g2 :|

                       

WILLIAM’S DELIGHT. English, Country Dance Tune (2/4 time). G Major (‘A’ part) & G Minor (‘B’ part). Standard tuning. AB. The melody is unique to London publisher Charles and Samual Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 87.

X:1

T:William’s Delight

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G|(B/c/d) (g/a/b)|g2 d>g|d>BA>G|A2 G>G|(B/c/d) (g/a/b)|g2 d>g|d>BA>d|{c}(B2 B)||

g|d>Bd>B|g>Bd>B|e>dc>B|A2 G>g|d>Bd>B|A>GA>B|G>gG>G|G2 G||

K:Gmin

(B/c/)|d>Bd>B|B/c/(d d>)B|c>Ac>A|A/B/(c c>)A|B>Gd>B|g>ba>g|{g}^f2 =F>F|(F2 F)B/c/|

d>Bd>B|B/c/(d d>B)|c>Ac>A|A/B/(c c>)A|B>Ge>c|d>Bc>A|G2 D>D|[G,2G2] [G,G]||

 

WILLIAM'S HORNPIPE. AKA and see “The Quarrelsome Piper.” Irish, Hornpipe. G Major. Standard tuning. AABB. Allan's Irish Fiddler, No. 97, pg. 25.

                       

WILLIAMSBURG REEL. See "Bull Run Picnic."

                       

WILLIAMSON'S HORNPIPE. American, Hornpipe. A Major. Standard tuning. AA'AA'BB'BB' (Phillips). Source for notated version: Stuart Williams [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 233.

                       

WILLIE/WILLY ALLAN'S FAVOURITE. AKA and see "Dorrington Lads."

                       

WILLY AND CUDDY. English, Ballad Tune (cut time). G Major. Standard tuning. ABC. The air appears in Forbes' Songs and Fancies (1666), a MS of 1639 in the Advocates Library, Edinburgh, and a MS in the British Museum. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 158.

                       

WILLY AND EVIL. See note for “Christmas Eve [4]."

                       

WILLIE BOY. AKA ‑ "The Stop March." American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AB. Bayard (1981) identifies this march air as a version of Stephen C. Foster's "O Willie We Have Missed You," though the strains have diverged. Source for notated version: Charles Ganiear (Greene County, Pa., 1960), Frank St. Clair (elderly fifer from Greene County, Pa., 1960), Marion Yoders (fifer and fiddler from Greene County, Pa., 1961) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 196A‑C, pgs. 152‑153.

                       

WILLY BREWED A PECK OF MALT. English (?), Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 199, pg. 46.

                       


WILLIE CLANCY’S. AKA and see “Bliven’s Favorite,” "Bobbing for Eels," "The Bottle of Punch," "The Butchers of Bristol [1]," "By your leave, Larry Grogan," "Coppers and Brass [2]," “The County Limerick Buckhunt," "Finerty's Frolic," "Fishing for Eels," “Green Sleeves [3],” "Groom," "Hartigan's Fancy," “The Humors of Ennistymon [1],” "The Humours of Milltown [2],” "Ioc an Reicneail,” "Jackson's Bottle/Jug of Punch/Brandy," “The Jug of Punch,” "Larry Grogan," "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "The Old Man's Jig," "Pay the Reckoning," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore.

                       

WILLIE COLEMAN'S JIG (Port Liam Uí Cholmáin). AKA and see “Mice in the Cupboard,” "The Moate Hunt." Irish, Jig (6/8 or 12/8 time). Ireland, County Sligo. G Major. Standard tuning. AABB (Cranitch, Flaherty, Mallinson, Miller & Perron, Mulvihill): AABCC (Breathnach). Willie Coleman was a fiddler from Kilavil, County Sligo, called Coleman Country as it was also the birthplace of the famous fiddler Michael Coleman. Willie was a member of the Glenview Ceili Band with local musicians Peter Horan, Fred Finn and Dick Brennan, among others. A story is told that at Coleman’s funeral fiddler Martin Wynne was in attendance, standing next to Sligo musician Sonny McDonagh when they unveiled Coleman’s headstone with “Willie Coleman’s Jig” on it. Wynne leaned over to Sonny and whispered, “I actually wrote that tune.” Sources for notated versions: flutist Matt Molloy (Ireland) [Breathnach]; flute player Harry McGowan (b. 1937, Carrowmore, County Sligo) [Flaherty]; Tony Smith (County Cavan & Dublin) [Mulvihill]; a recording of Sligo fiddler Andrew Davey (1928-2005) [Miller & Perron]. Breathnach (CRÉ III), 1985; No. 11, pg. 6. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 59, pg. 22. Cranitch (Irish Fiddle Book), 1996; No. 20, pg. 132. Cranitch (Irish Session Tunes: Red Book), 2000; 20. Flaherty (Trip to Sligo), 1990; pg. 160. Mallinson (Enduring), 1995; No. 32, pg. 13. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 54. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 43. Mulvihill (1st Collection), 1986; No. 30, pg. 71. Mulligan Records LUN 004, "Matt Molloy" (1976).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Mice in the Cupboard

T:Willie Coleman’s

R:jig

Z:id:hn-jig-26

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

M:6/8

L:1/8

K:G

~B3 AGE|GED GBd|edB dgb|age dBA|BAG AGE|GED GBd|edB dBA|BGG G3:|

|:~g3 edB|dgb age|~g3 edB|GBd e2d|gfg edB|dgb age|~d3 gdB|AGE G3:|

                       

WILLIE COLEMAN’S (REEL) [1]. AKA and see “Martin Wynne’s No. 3.

 

WILLIE COLEMAN’S (REEL) [2]. Irish, Reel. G Major. Standard tuning. AA’BB’. Willie Coleman was a fiddler from Kilavil, County Sligo, called Coleman Country as it was also the birthplace of the famous fiddler Michael Coleman. Willie was a member of the Glenview Ceili Band with local musicians Peter Horan, Fred Finn and Dick Brennan, among others. Source for notated version: fiddler Willie Coleman (County Sligo) [Breathnach]. Breathnach (CRÉ II), 1976; No. 143, pgs. 76-77 (appears as “Gan anim/Untitled”).

                       

WILLIE COOK. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc.(Nigel Gatherer).  Kerr (Merry Melodies), vol. 2; No. 13, pg. 5.

X:1

T:Willie Cook

M:C

L:1/8

R:Strathspey

C:Carl Volti

S:Kerr – Merry Melodies, vol. 2, No. 13

Z:AK/Fiddler’s Companion

K:A

c<e(e>g a>)ec>A | F<B B>A G>B e2 | c<e(e>g a>)ec>A | F<B G>e c<(A A2 :|

E>CA,>C (E<A) A2 | F>DF>B (G<B) B2 | E>CA,>C (E<A) (A>G) | F>B G<e c<(A A2 |

E>CA,>C (E<A) A2 | F>DF>B (G<B) (B>d) | (3cBA (3dcB (3edc (3fed | e>ag>b a<(A A2 ||

                       

WILLIE COOK'S APPLE TREE. Scottish, Reel. A Major. Standard tuning. AA'BB'. Composed by Carl Volti. Kerr (Merry Melodies), vol. 2; No. 14, pg. 5 (appears as "The Apple Tree").

X:1

T:Apple Tree, The

M:C

L:1/8

R:Reel

C:Carl Volti

S:Kerr – Merry Melodies, vol. 2, No. 14

Z:AK/Fiddler’s Companion

K:A

A2a2 fedc | Aaga fedc |1 Bcde fBBc | Bcde fefa :|2 Bcde fBBa | gefg a2e2 ||

|: (EA)AB (cB)AF | (EA)AB (cB)AG | (FB)Bc (dc)BA |1 GA(Bc) defe :|2 GEFG A2e2 ||

                       

WILLIE CUMMINGS. Scottish, Pipe Tune. Plant Life Records PLR‑017, "The Tannahill Weavers" (1979).

                       

WILLIE DAVIE. Scottish, Reel or Country Dance Tune (cut time). A Major. Standard tuning. AABBCC (Athole): AABCCD (Kerr). Kerr (Merry Melodies), vol. 1; No. 7, pg. 24. Stewart-Robertson (The Athole Collection), 1884; pg. 143.

X:1

T:Willie Davie

M:C|

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:A

c|e2 ef edcd|e2 ef eaga|e2 df deca|B/B/B ce f2e:|

|:f|a2 ea fedc|a2 ea f2 ef|agae fedc|Bcde f2e:|

|:d|ceea ceea|ceea fedc|ceea ceea|B/B/B ce f2e:|

                       

WILLIE DOHERTY’S. AKA and see “Bridgie Con Matt’s Favourite,” “Johnny Leary’s Polka” [4].

                       

WILLIE DONALDSON'S HORNPIPE. Scottish, Hornpipe. G Major. Standard tuning. AABB. Composed by Hugh Dunlop. Kerr (Merry Melodies), vol. 3; No. 348, pg. 38.

X:1

T:Willie Donaldson’s Hornpipe

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, No. 348 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(BA) | BABG DGBG | FGAB c2 (BA) | Bcde gfge | dcBc A2 (dc) | BABG DGBG |

FGAB c2 (BA) | Bdef gdec | B2G2G2 :: d2 | gfga gdBd | gbag fedB | AFDF ABcA |

BGDG BcdB | gfga gdBd | gbag fedc | cBcd efaf | g2g2g2 :|

                       

WILLIE DUNCAN. Scottish, Air or Strathspey. C Major. Standard tuning. AAB (Carlin, Gatherer): AABB (Kerr): AABB' (Athole). Composition claimed by Nathaniel Gow (1763-1831), bandleader, composer, fiddler, publisher and son of the famous Scots fiddler Niel Gow. Carlin (The Gow Collection), 1986; No. 397. Gatherer (Gatherer’s Musical Museum), 1987; pg. 34. Gow (Complete Repository), Part 3, 1806; pg. 20. Kerr (Merry Melodies), vol. 2; No. 90, pg. 12. Stewart-Robertson (The Athole Collection), 1884; pg. 72.

X:1

T:Willie Duncan

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

E|:C<C C>G E<C ~E2|D<d d>c A<d d>f|e>cd>B c<A G2|A/B/c GE G<cc<e:|

|:c<c ~c>a g<c e2|d<d a>d f>d f<a|1 g>ae>f d<B c2|A/B/c G>E G<cc<e:|2

g>ae>f d>ec>e|A/B/c G>E G<cc||

                       

WILLIE FRASER. Canadian, Strathspey. Canada, Cape Breton. Composed by Mabou, Cape Breton, fiddler Donald Angus Beaton. The tune was recorded by fiddler Dan Joe MacInnis in the mid-1960’s, according to Paul Cranford. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots Are Showing” (2000).

                       


WILLIE IS A BONNIE LAD. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 15. Raven (English Country Dance Tunes), 1984; pg. 186. Escalibur BUR801, Brian McNeill – “Monksgate” (1978).

X:1

T:Willie is a Bonny Lad

M:C|

L:1/8

R:Reel

K:D

g|fdfd ceeg|fdfd g2 bg|fdfd ceeg|afge d2 d:|

|:d|A2 AF GEEB|A2 AF d2 cB|A2 AF GEEg|afge d2d:|

                       

WILLIE JOE’S JIG. Canadian, Jig. Canada, Cape Breton. G Dorian. Standard tuning. AABB’. Composed by the late fiddler and composer Jerry Holland (1955-2009, Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 275, pg. 79.

 

WILLIE KENNEDY’S JIG.  Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009) in honor of elderly Cape Breton fiddler Willie Kennedy (Mabou, Cape Breton), who plays in the “old-style,” having learned his repertoire and style prior to modern influences. Cranford (Jerry Holland: The Second Collection), 2000; No. 256, pg. 93.

                       

WILLIE KENNEDY’S STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. D Major. Standard tuning. AAB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 47, pg. 17. Atlantica Music 02 77657 50222 26, Brenda Stubbert - “Atlantic Fiddles” (1994). Stubbert Music 1, Brenda Stubbert - “House Sessions” (1992).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

                       

WILLIE LAWRIE JUNIOR. Scottish, March (6/8 time). D Major. Standard tuning. AABB'CCDD'. Composed by Iain Lawrie. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 18.

                       

WILLIE LEONARD. AKA and see "The Lake of Coolfinn." Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. The song appears in Joyce’s “Ancient Irish Music” (1875). O Canainn (1978) singles out Joyce’s note to the tune as a prime example of Joyce’s maltreatment of several Irish songs. It is unfortunate that Joyce thought that:

***

The ballad, as I received it, is a singular mixture of vigour

and imbecility; in some parts vivid and true to nature, in

others vulgar, feeble and prosy. I have curtailed the tedious

matter-of-fact narrative at the end and retrenched other parts

also; added something of my own; changed many of the

lines; and restored the rhythm where it was necessary. But

I have retained as much of the old ballad as possible.

***

Source for notated version: “Set from J. Martin. Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 746, pg. 187.

X:1

T:Willie Leonard

M:3/4

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 746

Z:AK/Fiddler’s Companion

K:E_

GA | B2E2 ed | c2A2 G/A/F | F2E2E2 | E4 de | f2B2 e>d |

c2B2 AG | A2 BG E>G | {G}F4 de | f2B2 ed | c2 B3A |

A2 BG EG | {G}F4 GA | B2e2 de | c2A2 G>A | F2E2E2 | E4 ||

                       

WILLIE MACLENNAN. Scottish, Marching Air (4/4 time). A Mixolydian. Standard tuning. AABBCCDD. Composed by the great Scots fiddler-composer, J. Scott Skinner (1843-1927), first printed in his Harp and Claymore collection. Skinner (The Scottish Violinist), pg. 30.

X:1

T:Willie MacLennan

M:C

L:1/8

R:Marching Air

B:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:A Mixolydian

e/c/ | A/<{G}A/A/B/ c/B/c/d/ (ef) (ec/A/) | (ef) (ec/A/) (de) (dB/G/) |

A/<{G}A/A/B/ c/B/c/d/ (ef) (ec/A/) | (a/e/c/A/) (e/c/d/B/) c(AA) :|

|: (e/f/g/) | (ac/A/) (ec/A/) (a/A/c/A/) (ec/A/) | (gB/G/) (dB/G/) (g/G/B/G/) (dB/G/) |

(ac/A/) (ec/A/) (a/f/d/f/) (ec/A/) | (a/e/c/A/) (e/c/d/B/) c(AA) :|

|: e/c/ | A/<{G}A/A/B/ c/B/c/d/ (e/a/g/f/) (e/A/c/A/) | (e/a/g/f/ e/A/c/A/) d/g/f/e/ d/G/B/G/ |

A/<{G}A/A/B/ c/B/c/d/ e/a/g/f/ e/A/c/A/ | (a/e/c/A/) (e/d/e/B/) {B}c(AA) :: (3e/f/g/ | (a/e/c/A/ e/A/c/A/) (a/e/c/A/ e/A/c/A/) |

(g/d/B/G/ d/G/B/G/) (g/d/B/G/ d/G/B/g/) | (a/e/c/A/ e/A/c/A/) (a/f/d/f/ e/A/c/A/) | (a/e/c/A/ e/c/d/B/) {B}c(AA) :|

                       


WILLY McKENZIE’S. AKA and see “Greetings to the Beatons of Mabou,” “Highlander’s Rant,” “Mabou Reel [2],” “MacLaine of Loch Buie,” “Wildcat Reel.” Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard tuning. AAB. A popular pipe reel among Cape Breton fiddlers. Barry Shears finds that “Willy McKenzie,” as played by Donald Angus Beaton, is a mixture of two pipe reels: “Willy McKenzie’s Reel” from Robert MacKinnon’s Collection of Pipe Music (c. 1890's) and “MacLaine of Loch Buie’s Reel” from Ross’s Collection of Pipe Music (1885). Source for notated version: Donald Angus Beaton (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 52. Celtic SCX 57, Donald and Theresa MacLellan (Appears as “Wildcat Reel/MacLaine of Lochbuie’s”). DAB4-1985, Donald Angus Beaton - “A Musical Legacy” (1985. Appears as “Mabou Reel”). Rounder 7003, John Campbell - (Appears as “Traditional Reel” on side two). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). RLP 107, Joe MacLean - “And his Old Time Scottish Fiddle” (c. 1967. Appears as 1st reel after “Ca’ the Stirks”). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). STEPH 1-94, Stephanie Wills - “Tradition Continued” (1994. Appears as “MacLean of Lochbouie” but is Donald Angus Beaton’s setting of “Willy McKenzie”).

                       

WILLIE MORRISON OF THRUMSTER. Scottish, March (2/4 time). A Major. Standard tuning. AABB’CCDD’. Composed by K.C. Mackay. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 41.

                       

WILLY NILLY. Swedish, Waltz. A Major. Standard tuning. AA'B. Composed in 1983 by Bengt Wickman, who "gave it to my friend, Jim Orr, who is from Newcastle and moved to Dalarna (Sweden). He said that the song went 'willy nilly' like a broken wheel." Source for notated version: Bengt Wickman (Borlange, Sweden) via Ruthie Dornfeld (Mass.) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 79.

                       

WILLY OF THE DALE.  English, Air or Jig. G Major. Standard tuning. One part. “Willy of the Dale” is an English song composed in the late 18th century (attributed to a “Mr. Hook” on an American song-sheet). The melody is somewhat irregular, having a total of 20 measures rather than the usual sixteen. It appears in various songsters and single-sheet publications in both Britain and America. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 72.

 

WILLIE POTTINGER'S REEL. AKA and see "Pottinger's Reel."

                       

WILLY PRETHE/PRITHEE GOE/GO TO BED. AKA and see "Trenchmore." English, Air (6/8 time). D Mixolydian/G Major. Standard tuning. One part. The song appears twice in "Deuteromelia" (1609) set to the tune of "Trenchmore," a popular air. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 94.

                       

WILLIE REIDY’S [1]. Irish, Polka. G Major. Standard. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 224, pg. 129.

 

WILLIE REIDY’S [2]. Irish, Polka. A Major. Standard. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Breathnach (CRÉ II), 1976; No. 114 (appears as untitled polka). Moylan (Johnny O’Leary), 1994; No. 245, pg. 141.

                       

WILLIE REIDY’S FAVOURITE. Irish, Slide (12/8 time). G Major. Standard. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 336, pg. 190.

                       


WILLIE REILLY. Irish, Air (4/4 time). D Major. Standard. One part. "The event commemorated in this ballad occurred towards the end of the eighteenth century, and the scene is near Bundoran, beside the boundaries of the three counties, Donwgal, Fermanagh, and Sligo, where the ruined house of the great Squire Folliard is still to be seen. The proper family‑name is Ffolliott, but the people always pronounce it Folliard. The whole story is still vividly remembered in the district; and Carleton has founded on it his novel of 'Willie Reilly.' The penal laws were then in force, and it was very dangerous for a young Catholic Irishman to run away with the daughter of a powerful Protestant local Squire. The song, with its pretty air, was known and sung all over Ireland, so that it has clung to my memory from my earliest days. I well remember on one occasion singing it with unbounded applause for a number of workmen at their dinner in our kitchen when I was about ten years of age (Limerick, c. 1840, Ed.). The words have been often printed, both in books and on ballad‑sheets of which I have several copies. They will be found in Duffy's 'Ballad Poetry of Ireland', as he got them from Carleton. The copy I give here differs from this in some words and phrases. I give the air chiefly from memory: but Forde has several settings in his great MS. collection" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 420, pg. 231.

                       

WILLIE RILEY [1]. Irish, Air (3/4 time). G Major. Standard tuning. One part. "To be distinguished from the air of the well‑known song, 'Come, rise up, Willie Reilly' ('Willie Reilly')" {Joyce}. Source for notated version: "Mr. Patrick O'Leary of Graignamanagh, Co. Kilkenny, a good amateur musician with a great knowledge of the popular airs of that part of Ireland" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 288, pgs. 136‑137.

 

WILLIE/WILLY R(E)ILLY [2] (Uillimin Ua Ragallaig). Irish, Air (2/4 time). A Major/Mixolydian (O’Neill/1850): A Dorian (O’Neill/1913). Standard tuning. AB. O’Neill (1913) classifies this air as belonging to that group in which the third strain varies from the second (while the first and last are the same). Other melodies in this class are “The Banks of Claudy,” “The Boys of Wexford,” “Holland is a Fine Place,” “The Lovely Sweet Banks of the Suir,” and “The Lowlands of Holland.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 150, pg. 26. O’Neill (1913), pg. 115.

X:1

T:Willy Reilly [2]

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland  (1903), No. 150

Z:AK/Fiddler’s Companion

K:A

(3EFG | A>G AB | cd ec | dc AF | =G2 (3EF^G | A>G AB | cd ec | dc A>A | A3 ||

(d/e/) | f>e fa | =gf ec | dc AF | =G2 (3DE^G | A>G AB | cd ec | dc A>A | A2 ||

                       

WILLIE ROY’S LOOMHOUSE. AKA and see “Maggie Cameron,” “The Old Men at the Loom.

                                   

WILLIE SHAW. Scottish, Strathspey or Schottische. D Major. Standard tuning. AAB. Composed by William Shaw. Kerr (Collection of Merry Melodies for the Piano), pg. 5 (schottishe version). Kerr (Merry Melodies), vol. 1; Set 1, No.1, pg. 3 (strathspey).

                       

WILLIE SMITH. Scottish. One of the 30 or so surviving compositions of Peter Milne(1824-1908), one of J. Scott Skinner’s teachers and, later, fiddling partner. Milne managed to make a living playing theater venues all over Scotland, but became addicted to opium in the drug laudanum, which he originally took as a pain-killer.  Milne ended his life in reduced circumstances, busking on the ferry that crossed the Firth of Forth.

                       

WILLIE TAYLOR [1]. Irish, Air (4/4 time). E Minor. Standard. AB. The song is sometimes sung to the tune of "Finnegan's Wake [1]." Source for notated version: "Air and words from old James Keane of Kilkee: 1876" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 424, pg. 235.

 

WILLIE TAYLOR [2]. Irish, Air (2/4 time). A Minor. Standard. ABB. Stanford/Petrie (Complete Collection), 1905; No. 745, pg. 186.

X:1

T:Willy Taylor [2]

M:2/4

L:1/8

S:Stanford/Petrie (1905), No. 745

Z:AK/Fiddler’s Companion

K:Amin

c>d ee | e/>d/d/e/ d/B/G | A/B/c/d/ ee | e/d/d/c/ cB | e>c dB | A/c/B/A/ A/G/E |

GG/A/ G/B/d/B/ | AA/B/ A2 |: B/A/B/G/ EE/F/ | GG/A/ B/c/d/c/ |

B/A/B/G/ EE/G/ | AB/G/ A2 :|

                       

WILLIE TAYLOR'S POLKA. English, Polka. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Miller & Perron (101 Polkas), 1978; No. 82. Topic TSCD 669, Willy Taylor (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Taylor {b. 1916} was a shepherd, and a fiddler and melodeon player from Wooler, Northumberland).

                       

WILLIE THE TAILOR. Scottish, Jig. The first part resembles the second of Bayard's Prince Edward Island collected "Let the Ladies Ride Outside." Pipe Major W. Ross's Collection of Highland Bagpipe Music, 1925‑1950, Book 2, pg. 19.

           

WILLIE WAGTAIL.  English, Jig. G Major. Standard tuning. AABB. A modern composition (1980) by English concertina player and dance musician John Stapledon. A Willie Wagtail is an Autralian passerine bird, named after the long black tail which fans out and ‘wags’ from side to side when the bird hunts. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 7.

           


WILLY WALSH'S JIG (Port Uilliamin Uí Breatnaig). Irish, Double Jig. D Major. Standard tuning. AABB. The ‘A’ part is shared with “The Wandering Minstrel,” “The Dandy Scholar,” and “The Merry Maiden [1].” O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 88, pg. 30. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 823, pg. 153.

X:1

T:Willy Walsh’s Jig

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 88

Z:AK/Fiddlers’ Companion

K:D

B|ADD BAF|ABd edB|ADD BAF|AFE E2F|ADD BAF|ABd edB|AdB AFA|Bdd d2:|

|:B|AFA d2e|fdf ecA|BAB d2e|faf gfg|AFA d2e|fdf ecA|AdB AFA|Bdd d2:|

                       

WILLIE WAS A WANTON WAG. AKA and see “Clare(s) Dragoons,” “Constitution March.” Scottish, American; Polka or Scots Measure. USA, New England. D Major. Standard. AABB (McGlashan, Miller & Perron, Kerr): AABBCCDDEEFFGGHH (McGibbon). The tune appears in the McLean Collection published by James Johnson in Edinburgh in 1772 (pg. 24‑25), the McFarlane Manuscript of 1740 (where it is ascribed to William Forbes of Disblair), and Robert Riddel's 1794 Scotch, Galwegian, and Border Tunes (set by James Clark). The first publication however (according to A. Fleischmann), was in Daniel Wright’s Aria Di Camera: A Choice Collection of Scotch, Irish, and Welsh Airs (London, 1727). It was the original tune for the American campaign song “Jefferson and Liberty” penned by ornithologist-painter Alexander Wilson. In early American collections it can be found as “Constitution March,” while in Ireland it is a polka called “The Clare Dragoons.” Kerr (Merry Melodies), vol. 3; No. 378, pg. 42. McGlashan (Collection of Scots Measures), 177?; pg. 6. McGibbon (Scots Tunes, Book 1) c. 1746; pg. 12 (includes variation sets). Miller & Perron (101 Polkas), 1978; No. 19.

X:1

T:Willie was a wanton wag

M:C|

L:1/8

R:Scots Measure

B:McGlashan – Collection of Scots Measures  (177?)

Z:AK/Fiddler’s Companion

K:D

A2|F2A2A2 Bc|d3e d2A2|F2A2A2f2|e2d2B4|F2A4 Bc|dcde d2A2|F2A2A2d2| B2cd A2:|

|:g2|f2a2e2f2|d3e f2d2|fga2 e2f2|gfed B2g2|fagf egfe|d2e2 fefg|a2A2A2f2|gfefd2:|

X:2

T:Willie was a wanton wag

M:C|

L:1/8

N:”Brisk”

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

Z:AK/Fiddler’s Companion

K:D

A2 | F2(A2A2)(Bc) | d3ed2A2 | F2A2A2f2 | “tr”e3d B4 | F2(A2A2)(Bc) | (dcde) d2A2 |

F2A2A2f2 | “tr”e3dd2 :: g2 | f2a2e2f2 | d3ef2d2 | (fga2)e2f2 | “tr”e3dB4 | f2a2e2f2 |

d3ef2g2| a2A2A2f2 | “tr”e3dd2 :: A2| D2A2F2A2 | d3e(dc)(BA) | (FGA2)D2f2 |

(gfed) “tr”B4 | (FG)A2D2Bc | d3e fedc | (Bc)d2A2a2 | (fe)(dc) d2 :: g2 | (fga2)e2f2 | d2f2A2d2 |

F2A2D2a2 | bagf “tr”e2fg | a2e2 fedc | d2f2A2GF | G2d2F2d2 | E2”tr”c2d2 :: A2 |

(F/G/A) DA dAFA | (dcd)e dAFA | (Gd)(Gd) (Fd)(Fd) | (BA)(GF) E2A2 | (F/G/A) DA dAFA |

fdAd fdAd | (fga)f bagf | (gf)(ef) d2 :: fg | a2(.d.a) b2db) | a2(.d.a) b2(db) | (ad)(bd) (ad)(bd) |

bagf “tr”e2 fg | a2 (f/e/d/)c/ d2 (B/A/G/F/) | G2 (B/A/G/F/) E2 (A/G/F/E/) | D2 (f/g/a) (g/a/b) (e/f/g) |

fedc d2 :: A2 | (3F2A2A2 (3D2A2A2 | (3d3ed2 (3d2A2A2 | (3F2A2A2 (3d2e2f2 | e3dB3A |

(3F2A2A2 (3d2A2A2 | (3e2A2A2 (3f2A2A2 | (3a2d2b2 (3a2g2f2 | (3e2d2c2 d2 :|

|: fg | (3a2A2A2 (3g2A2A2 | (3f2A2A2 (3e2A2A2 | (3d2a2a2 (3d2b2b2 | “tr”e3d B2fg |

(3a2g2f2 (3g2f2e2 | (32f2e2d2 | (3A2G2F2 | (3G2d2G2 (3F2d2F2 | 3E2d2c2 d2 :|

                       

WILLY WAS SO BLITHE A LAD. English, Air (6/8 time). A Major. Standard. AB. The song appears in Playford's Choice Ayres (where it appears as "A Northern Song"), and Youth's Delight on the Flagelet of 1697 (where it appears as "Billy was as blyth a lad").

***

O Willy was so blithe a lad,

Ne’an like was in the town;

At Wake and Wassail Willy had

For dancing chief renown.

He pitch’d the bar, and hurl’d the stean,

Ne’a man could him outgang,

And if he strave with any man,

He gar’d him lig a lang.

***

Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 68.

X:1

T:Willy was so blithe a lad

L:1/8

M:6/8

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

Z:AK/Fiddler’s Companion

K:A

E|E2E A2B|c2B F2E|F2E F2G|(A3 A2)E|E2E A2B|c2B F2E|F2E F2G|A2z||

e3|c2A A2F|FGA B2d|F2E E2C|(E3 E2)E|F2G AGF|B2A G2d|FGA A2G|(A3A2)||

                       

WILLY WILKY.  AKA and see "Cobbler's Hornpipe [2],Willie Wink’s (Testament).”

 

WILLIE WILL YOU E'ER RETURN?  (Uilleachan, an tig thu chaoidh). Scottish, Slow Strathspey. F Major. Standard tuning. AAB. "This is also and ancient air, usually sung as a rant, but the editor's progenitor sang it slow and accented, and he is informed Neil Gow performed it in that style, although he never published it" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 210, pg. 86.

X:1

T:Willy will you e’er return

T:Uilleachan, an tig thu chaoidh

L:1/8

M:C

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:F

f|:c>A F<d F<F c>A|c<A F>G A<c d2|c>A F<d c<F c>B|A>GF>G A<c d2:|

c<A f>d c>A B<G|A<f e<d ^c>A d2|c<A f>d c<A B<G|A>GF>G A<c d2|

c<A f>d c>A B<G|A>GF>G A<c d2|c<A f>d c>A B<G|A<fe<a ^c>A d2|

c<A a>g f>dc>B|A>GF>G Ac d2||

                       

WILLIE WINKIE [1]. Irish, Air (2/4 time). G Major. Standard tuning. AABBC. The 'A' parts of many of these versions are very similar to each other, however the other parts diverge. Other versions only show distant relation. Joyce (Old Irish Folk Music and Songs), 1909; No. 714, pg. 356‑357.

 

WILLIE WINK(IE)'S TESTAMENT [2]. AKA – “Willie Winks,” “Willie Winkie”.” AKA and see "Cobbler's Hornpipe [2]," "Connolly's Reel," “Craig’s Pipes,” "The Edenderry Reel," "The Fiddler is Drunk," "The Foxhunters (Reel) [1]," “Greg’s Pipe Tune,” “Gregg’s Pipes,” “Gun Do Dhuit Am Bodach Fodar Dhomh” (The Old Man Wouldn’t Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," “The Limber Elbow,” “The Manchester,” "Píopaí Greig,” "Willy Wilky." Scottish, Strathspey; English, Hornpipe. England, Northumberland. F Major. Standard tuning. AB (Surenne): AABB (most versions). A version of the melody appears in the 1770 music manuscript collection of Northumbrian musician William Vickers (about whom, unfortunately, nothing is known). Vickers title is “Willy Wilky, or, Cobler’s [sic] Hornpipe.” The tune is usually set as a strathspey, although hornpipe-like versions have been found in England. Bremner (Scots Reels), c. 1757; pg. 61. Carlin (Gow Collection), 1986; No. 498. Gow (Complete Repository), Part 2, 1802; pg. 29. Howe (1000 Jigs and Reels), c. 1867; pg. 147 (appears as “Willie Winkie”). Kerr (Merry Melodies), vol. 2; No. 189, pg. 22. Seattle (William Vickers), 1987, Part 2; No. 305 (appears as "Willy Wilky"). Surenne (Dance Music of Scotland), 1852; pgs. 66-67.

See also listings at:

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

X:1

T:Willie Winkie’s Testament [2]

L:1/8

M:C|

S:Gow – 2nd Repository

Z:AK/Fiddler’s Companion

R:Strathspey

K:F

f|cF A/B/c/A/ cFFf|cF A/B/c/A/ G>DDf|cF A/B/c/A/ cFAF|GG A>G FDD:|

|:e|f2 (a/g/f/e/) fFFc|f2 (f/g/a) gGGe|(f/e/f) (g/f/g) (a/g/f) (g/f/e)|(d/e/f) c>A GDD:|

X:2

T:Willie Winks

M:C

L:1/8

R:Strathspey

S:Bremner – Scots Reels (c. 1757) 

Z:AK/Fiddler’s Companion

K:F

f | c>F (d/c/B/A/) c>FFf | c>F (A/B/c/)A/ “tr”G>FDf | c>F (d/c/B/A/) cFAF |

G/G/G A>F “tr”G>FD :: e | f>c (d/c/B/A/) f>cce | fcfa gdde | fcce f>g (f/4g/4a/)g |

fd”tr”c>A G(DD) :: f | F<F A>F c>FA>F | F/F/F AF “tr”G>FDf | F/F/F AF c>FA>c |

B>GA>F “tr”G>FD :: a/g/ | f>cf>g a>fg>e | f>cf>g a>fga | f>cfg afge |

fd”tr”c>A “tr”G>FD :: e | f2g2 F/F/F A2 | G/G/G AF “tr”G>FDe | f>gag f>c (f/4g/4a/)g |

fd”tr”c>A “tr”G>FD :: e | (f/g/a) ga f(FF)A | B>GA>F “tr”G>Fde | f>gaf gefc | (d/e/f) cA “tr”G>FD :|

X:3

T:Willy Wilky, or Cobler’s [sic] Hornpipe

M:C|

L:1/8

S:William Vickers music manuscript (Northumberland, 1770)

K:F

d|cF A/B/c/A/ cFFd|cF A/B/c/A/ GCCd|cF A/B/c/A/ A/B/c/A/|GGA>G FDD:|

|:c|f>ggg aFFc|f>gg>g aGGe|fe/f/ gf/g/ ab/a/ g2 fe|df/d/ c/d/c/A/ FDD:|

 


WILLIE WINK'S TESTAMENT [3]. Scottish, Strathspey. A Mixolydian (Johnson). AEac# tuning. AABBCCDD (Johnson). The Scottish version is a strathspey setting of the reel "Grieg's Pipes." Johnson finds the tune in the Brown Manuscript of c. 1714. Source for notated version: Brown MS [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 46, pg. 112.

 

WILLIE WINK'S TESTAMENT [4]. Scottish. McFarlane MS, vol. iii, No. 60.

 

WILLIE WINK'S TESTAMENT [5]. Scottish. The tune also appears in O’Farrell’s Pocket Companion for the Union Pipes, vol. 1, pg. 23. Oswald (Caledonian Pocket Companion), 1733, vol. vi, pg. 5. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).

                       

WILLIE'S AULD TREWS (Seann triubhais Uilleachain). AKA – “Willie’s Auld Breeks.” Scottish, Reel. D Minor. Standard tuning. AABB'CCDD. 'Willie's Old Trousers'. This tune "is the modelling of Mr. Campbell of Budyet, and the other Nairnshire Gentlemen, formerly mentioned; the air is of considerable antiquity, but formed by them into this standard" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 187, pgs. 76‑77. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

X:1

T:Willie’s auld Trews

T:Seann triubhais Uilleachain

M:C|

L:1/8

R:Reel

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:D Minor

D|A,DDF E2 A,E|F2 ED ECCE | A,DDF E2 A,E | F2 E>D CA,A,B, | A,DDF E2 A,E |

F2 ED ECCE| A,DDF E2 A,A | GFED CA,A, :|

|: c | AcAF GcGE | F2 E>D ECCc|1 AcAF GcGE|F2 ED CA,A,:|2 Ac=Bc GcEc | DFED CA, A,2 ||

|: Addf e2 Aa | gfed ecce | Addf e2 Aa | (gf)ed cAA :|

|: c|AFcF GEcE | FDGF ECCc | AFcF GEcE | F2 ED CA,A,c|AFcF GEcE|

FDGF ECCc | Ac=Bc GcEe | DFED CA, A,:|

                                   

WILLIE'S AWA. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Carlin (The Gow Collection), 1986; No. 429. Gow (Complete Repository), Part 3, 1806; pg. 31.

X:1

T:Willie’s Awa’

M:C|

L:1/8

R:Strathspey

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:B_

d|B>F (D/F/)(D/F/) BFD<d|B>F (G/F/)E/D/ {D}C2 C>d|B>F (D/F/)(D/F) BG~F>D|

EGF>A, B,2B,:|

F|B2 df (ecAe)|d<B e>d c2 c>d|B2 df e(cAB)|F>B {Bc}d>c {c}B2 B>F|

B2 df ecAc|d<B e>d {d}c2 c>a|(b>g)fd efg>b|f>ed>c B2B||

                       

WILLIE'S BROGUES. Scottish, Hornpipe. D Major. Standard tuning. AABB’. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 7.

           

WILLY’S FANCY. English, Jig. D Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 199, pg. 46.

           

WILLIE'S RARE AND WILLIE'S FAIR. Scottish, Air (3/4 time). D Major. Standard tuning. One part. The melody appears in the "Caledonian Museum" (c. 1810), and refers to the Border ballad "Willie's Drowned in Yarrow," regarding the tragic drowning of a young husband, which begins:

***

Willie's rare and Willie's fair

And Willie's wondrous bonnie,

And Willie heght' to marry me

Gin e'er he marry'd ony,

Oh, gin e'er he marry'd ony.

***

Neil (The Scots Fiddle), 1991; No. 32, pg. 41.

                       

WILLIE’S SINGLE. Irish, Single Jig (12/8 time). D Major. Standard tuning. AA’B. The title denotes simply that it was a single jig from piper Willie Clancy. Henrik Norbeck points out that an untitled jig in Levey’s Dance Music of Ireland, 2nd Collection (1873), appears to be the source tune from which it was derived. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 75, pg. 72. Sean Keane – “Jig it in Style.”

X:1
T:unknown
M:6/8
L:1/8
R:Jig

N:Ancestor tune to “Willie’s Single.”
S:Levey - Dance Music of Ireland, 2nd Collection (1873)
Z:AK/Fiddler's Companion
K:E
G2E E2E | (G2A BAG) | A2F F2F | (A2B cBA) | G2E E2E | (G2A BGB) |

(cde fed) | e2c B2A | G2E E2E | (G2A BAG) | A2F F2F | A2B cBA |
G2E E2E | G2A BGB | cde fed | e3e2 || a | g2e e2e | e2g bge | fdB BdB |
fdB BdB | g2e e2e | g2b bag | fdB Bcd | e3 e2a | g2e e2e | egb bge |
fdB BdB | BdB BdB | (gag) (gag) | (aba) (aba) | (gag) (fed) | e3 e3 ||

                       

WILLOTT'S HORNPIPE [1]. American, Hornpipe. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 91. Ryan’s Mammoth Collection, 1883; pg. 125. X:1

T:Willott’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E/D/ | C/E/A/c/ e/f/e/c/ | d/e/f/d/ .B(e/d/) | c/d/e/c/ A/c/B/A/ | G/A/B/G/ .E(E/D/) | C/E/A/c/ e/f/e/c/ |

d/e/f/d/ .B(e/d/) | c/e/A/c/ B/d/G/B/ | AcA :: c/d/ | e/c/a/e/ c’/a/e/a/ | f/e/f/g/ b/a/g/f/ |

f/e/d/c/ d/c/B/A/ | G/A/B/c/ .B(c/d/) | e/c/a/e/ c’/a/e/a/ | f/e/f/g/ b/a/g/f/ | e/a/g/f/ e/c/d/B/ | AcA :||

 

WILLOTT’S HORNPIPE [2].  Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AABB. No relation to “Willott’s Hornpipe [1]” in Ryan’s/Cole’s. Drew Beisswenger (2008) notes a general similarity to “Dubuque,” while the 2nd strain of this tune closely resembles that of “Lantern in a Ditch” and “Goodbye My Honey, I’m Gone.” Mark Wilson notes a connection with “Johnson Boys.” Source for notated version: Lee Stoneking (1907-1989, originally from Henry County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 145. Big K Studio, Lee Stoneking – “Echoes of the Ozarks” (c. 1970’s). Rounder 0436, Bill Mustain  – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain” (2000).

                       

WILLOUGHBY WHIM, THE. AKA and see "O Jenny, O Jenny, Where Hast Thou Been," "Golden Slumbers Kiss Your Eyes," "May Fair," "Oh Polly, you might have toyed and kissed."

                       

WILLOW. American, Waltz. G Major. Standard tuning. AA'B. A modern composition by Michigan fiddler Les Raber. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 13.

                       

WILLOW CREEK. Old‑Time. Traditional. D Major. Rounder C‑11565, James Bryan ‑ "Rounder Fiddle" (1990). Rounder 0215, James Bryan ‑ "The First of May."

                       

WILLOW SONG, THE. See "Willow, Willow."

           

WILLOW SPRINGS.  Western Swing (U.S.), Breakdown. D Major & G Major. Standard tuning. Composed by fiddler Howdy Forrester. It was recorded by Spade Cooley (1910-1969), King of Western Swing, in 1959. In 1961 Cooley, a heavy drinker prone to heart attacks, invested heavily in a development at Willow Springs, California (eastern Kern County), which was to have been a water theme park. It was there that he stomped to death his wife, Ella May, wearing heavy cowboy boots after days of binging. Cooley was convicted of first-degree murder and sentenced to life, although with the possibility of parole. A model prisoner, Cooley was given a 72 hr. furlough to perform at an Oakland police benefit in 1969. He finished his performance to rousing applause, then returned to his dressing room where he suffered his last and fatal heart attack. Calvin Vollrath – “Fiddling My Way” (learned from Spade Cooley’s recording). Collector’s Choice Records 431, Spade Cooley – “Fidoodling” (1959). StoneWay 168, Howdy Forrester – “Stylish Fiddle.”

           


WILLOW TREE [1]. AKA and see "Weeping Willow Tree." English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AAB (x3), AA. Collected from the villages of Bucknell and Headington, Oxfordshire, in England's Cotswolds, where it is used for a dance with a sidestep and half-hey chorus. The same dance is also performed to the tune “The Blue-Eyed Stranger,” and Kirkpatrick and Wayne (1976) point out the two melodies “completely transform the feeling of a movement” so that the dances then become quite different. Bacon (The Morris Ring), 1974; pgs. 116 & 190. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 39, pg. 20. Carthage CGLP 4406, Hutchings et al - "Morris On" (1983/1972). Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976).  

 

WILLOW TREE [2]. AKA and see “Tars of the Victory,” "The News of the Victory." English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABBAB. Barnes (English Country Dance Tunes), 1986.

 

WILLOW TREE [3]. AKA and see "Rue and Thyme." English, Air (4/4 time). England, Northumberland. A Minor. Standard tuning. One part. "There are many versions of this ballad, and more than one variation or set of the melody. The song is stated by Mr. Chappell to have been written by a Mrs. Francis Habergham, opf Habergham, in the county of Lancaster, who died in 1703. Ruined by the extravagance and disgraced by the vices of her husband, she soothed her sorrows by some stanzas yet remembered by the old people of the neighborhood. Our version of both tune and ballad, as sung by the common folk of Tynedale and Redesdale, differs slightly from that given by Mr. Chappell in his work" (Bruce & Stokoe).

***

Beware, young maids, beware,

Beware and read my rhyme,

And see that you keep your garden well,

And let no one steal your thyme. (Bruce & Stokoe)

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 90‑91.

X:1

T:Willow Tree, The

T:Rue and Thyme

M:C

L:1/8

R:Air

S:Bruce & Stokoe – Northumbrian Minstrelsy

Z:AK/Fiddler’s Companion

K:A Minor

cB|A2 GE D2 EG|G4 z2E2|c2c2d2e2|A4 z2 cd|e2 ce d2 AB|

cB AG E2 cB|A2 Ac D2 EG|A4 z2||

 

WILLOW TREE [4], THE. AKA and see “The Ballina Lass,” "Gearrchailiu Chontae Mhuigheo," “The Green Meadows [1],” “The Hag’s (Reel),” “Johnny When You Die [1],” “The Mayo Lasses,” “The Old Maid(s) of Galway,” “Over the Moor to Maggie [2],” “Paddy’s Gone to France,” “Waynesboro,” “West Mabou Reel.” Irish, Reel. Not “Willow Tree [5].” The name is idiosyncratic to Cape Breton fiddler Howie MacDonald, who apparently did not remember the name of the tune (“Over the Moor to Maggie”) and, recording it but having no title, named it after a gas station near the studio. The name has been picked up by other Cape Breton fiddlers and appears on a few albums. Atlantica Music ATLD 0193, Howie MacDonald - “The Celidh Trail” (1993). Atlantica Music 02 77657 50222 26, Howie MacDonald - “Atlantic Fiddles” (1994).

 

WILLOW TREE [5], THE. AKA and see "Bonnie Sally," “The New Married Couple [3],” "O'Connell's Trip to Parliament [1],” "The Sporting Days of Easter [1]." Irish, Reel. D Major. Standard tuning. AABB. This reel is in Breathnach’s Ceol Rince na hEirreann, vol. II, as "O’Connell’s Trip to Parliament” (No. 217). Source for notated version: Brendan Mulvihill [Mulvihill]. Mulvihill (1st Collection), 1986; No. 1, pg. 1.

 

WILLOW TREE [6], THE. Irish, Air (4/4 time). F Major. Standard tuning. AB. Source for notated version: Miss Lucy Ray [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Willow Tree, The

M:4/4

L:1/8

S:Miss Lucy Ray

Z:Paul Kinder

R:Air

K:F

"Andante"A2|G3 F D2 D2|F3 G A2 A2|G3 F D2 C2|D4-D2 A2|!

G3 F D2 D2|F3 G A2 A2|G2 F2 D2 C2|D4-D2||!

A2|c3 G A2 d2|c3 G A2 d2|c2 A2 G2 F2|G4 Z2 A2|!

G3 F D2 D2|F3 G A2 A2|G2 F2 D2 C2|D4-D2||

 

WILLOW, WILLOW [1]. English, Ballad Air (3/2 time). G Dorian. Standard tuning. One part. This sixteenth century air appears in a MS in the British Museum of c. 1600. Shakespeare makes use of the song in the fourth act of Othello (though he made changes in language to fit a female gender character). Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 106‑107.

 


WILLOW, WILLOW [2]. English, Ballad Air (6/4 time). A Minor. Standard tuning. ABC. The air was re‑set by Pelham Humfrey after the English Restoration in Stafford Smith's Musica Antiqua. Chappell (1859) says this setting for the lyrics is written in a form "much in vogue" in mid‑seventeenth century Italy (consisting of a different melody for each stanza connected by a short refrain passage), and which had travelled to Paris where Chappell believes Humfrey picked it up. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 108‑109.

                       

WILLS BREAKDOWN. The title of a tune recorded by a very young Texas fiddler named Bob Wills for Brunswick Records in November, 1929.

                       

WILL’S JIG.  American, Jig. A Major. Standard tuning. AABB. Composed by New Hampshire fiddler Randy Miller. Miller (Fiddler’s Throne), 2004; No. 112, pg. 75. RM-1C, Randy Miller – “Lore of the Fingerboard” (1990).

 

WILL'S REEL. Scottish, Reel. F# Minor. Standard tuning. AAB. Composed by J. Scott Skinner. Skinner (The Scottish Violinist), pg. 12.

X:1

T:Will’s Reel

M:2/4

L:1/8

R:Reel

S:Skinner – Scottish Violinist

Z:AK/Fiddler’s Companion

K:F^ Minor

C/ | F/^E/F/G/ A(G/F/) | G/B/e/c/ B/G/E/G/ | A/B/c/d/ cB/A/ | G/F/^E/G/ A/F/[C/F/]C/ |

F/^E/F/G/ A(G/F/) | G/B/e/c/ B/G/E/G/ | A/c/a/f/ e/c/B/A/ | G/F/^E/G/ A/F/[C/F/] ||

E | A/c/e/g/ a/e/c/A/ | B/A/G/F/ ^E/G/c/B/ | A/c/e/g/ a/e/c/A/ | B/d/c/^e/ f/F/F/G/ |

.A/.c/.e/.g/ a/e/c/A/ | B/A/G/F/ ^E/G/C/c/ | A/c/e/g/ a/e/f/d/ | e/c/d/B/ c/A/A/ ||

                       

WILLTU, WILLTU, DO IT AGAIN. Scottish. A supposed composition, according to Ramsay, of fiddler Patie Birnie of Kinghorn in Fife (c. late seventeenth century), though no music has ever been found.

           

WILLY ... See listings under the spelling "Willie..."

 

WILLY WALSHE’S HORNPIPE.  See “Walsh’s Hornpipe.”

                       

WILLY WILKY. AKA and see "Willie Winkie's Testament."

                       

WILLY WINKY. AKA and see "Willie Winkie's Testament."

                       

WILLY’S JIG. American, Jig. A Major. Standard tuning. AA’BB’. Composed by East Alstead, New Hampshire, fiddler Randy Miller, for his son. Songer (Portland Collection), 1997; pg. 209. Randy Miller - “Lore of the Fingerboard.” (1990).

                       

WILMA SELLAR TWO-STEP. Scottish, Two-Step or March. D Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AB. Composed by Shetland fiddler and composer Arthur Scott Robertson (1911-2000), a Scottish national champion. Miller (Fiddler’s Throne), 2004; No. 360, pg. 210. Robertson (Musical Reflections Book II).

 

WILSON'S CLOG [1]. AKA and see "Fred Wilson's Clog," "Harvest Home [1]," "Cincinnati Hornpipe [1]," "Fisherman's Favorite," "Brown's Hornpipe," "Wobble Gears," "Wobbly Ears," "Wooden Shoe Clog." American, Clog. USA; New York, Arkansas, Missouri, Iowa. F Major (Ford): D Major (Bronner). Standard tuning. AABB. Bronner and Ford's versions are somewhat dissimilar in parts. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Bronner's source said the tune was not only popular in central New York, but much requested by Canadians. Tolman and Page, in the Country Dance Book, note that this tune was a specilaty of Maine fiddler Mellie Dunham, an elderly fiddler who was Henry Ford's champion square dance fiddler in the late 1920's. For more, see note for "Fred Wilson's Clog." The “Harvest Home” family of tunes is related primarily in the second (‘B’) part, although the first parts are distinct. Source for notated version: Milo Kouf, 1977 (New York State, learned from his father) [Bronner]. Bronner (Old-Time Music Makers of New York State), 1987; No. 43, pg. 163. Ford (Traditional Music in America), 1940; pg. 100. Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999. Learned from a home tape of fiddler Casey Jones, who played over radio shows sponsored by the Henry Field Seed Company in Shenandoah, Iowa).

 

WILSON’S CLOG [2]. AKA and see “Billy Wilson’s Clog.”

                       


WILSON'S HORNPIPE. Old‑Time, Hornpipe. USA, West Virginia. G Major. Standard tuning. AA'AA'BB'. Source for notated version: Clark Kessinger (1896-1975, Kanawha County, W.Va.) [Phillips]. Phillips (Traditional Music in America), vol. 2, 1995; pg. 234. June Appal 007, Tommy Hunter ‑ "Deep in Tradition" (1976. Learned from Clark Kessinger, St. Albans, W.Va.).

                       

WILSON'S JIG. Old‑Time, Reel. Ed Hayley’s title for “Higgins' Hornpipe”/”Cliff Hornpipe,” perhaps based on melodic similarities in parts with “Wilson’s Clog [1]” or "Fred Wilson's Clog,"

                       

WILSON'S TUNE. Old-Time, Breakdown. D Major. Standard tuning. AABB. Source for notated version: Vivian Williams (Seattle) [Phillips]. Phillips (Traditional Music in America), vol. 1, 1994; pg. 259.

                       

WILSON'S WILD(E). AKA and see "Wolsey's Wild." English, Country Dance Tune (6/4 or 6/8 time). C Major (Chappell, Raven): G Major (Merryweather). Standard tuning. AAB (Raven): AABC (Chappell): AA'BBCC' (Merryweather). The tune dates from the mid‑16th century. Merryweather notes the earliest record of the tune was when it was used as the vehicle for a ballad called "The Queenes visiting of the Campe at Tilsburie with her entertainment there," which commemorated Queen Elizabeth I's famous "heart and stomach of a King" speech before her mustered militia on August 10th, 1588 (old calender). The ballad was published barely 24 hours after the event. The tune appears under this title in Musick's Delight on the Cithren (1666) and, as "Wilson's Wile," in William Ballet's Lute Book (c. 1610). Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 267‑268 (appears as "Wolsey's Wild"). Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 29. Raven (English Country Dance Tunes), 1984; pg. 10.

                       

WILSON'S WILE. See "Wilson's Wild."

                       

WILT THOU BE MY DEARIE. Scottish. Glen (1891) states that this tune is derived from "Suttor's Daughter."

                       

WILT THOU PLAY ME FAIR, HIGHLAND LADDIE. Scottish, March. Played derisively by one of the companies of the main body of Loyalist Scottish troops, Argyle's Highlanders, as they marched into Perth and Dundee during the ill‑fated Jacobite rebellion of 1715, led by the Earl of Mar (Bobbing John) {Winstock, 1970}. See also notes for "(Stay and) Take the Breeks With Thee," and "The Campbells are Coming."

                       

WILTSHIRE REEL. New England, Polka. D Major. Standard tuning. AABB. Miller & Perron (101 Polkas), 1978; No. 81.

                       

WILTSHIRE WEDDING. AKA and see "The Friar and the Nun [1]," "All in/on a misty morning." English, Air. The earlier name for the tune is "The Fryar and the nun," in the Dancing Master of 1650 and later editions.  It appears under the above title in Pills to Purge Menlancholy, Vol. IV, and in John Gay's Beggar's Opera (1728) as "Before the barn door crowing."

                       


WILY OLD BACHELOR, THE (An Seangiolla Criona). AKA and see "The Bashful Bachelor (Hornpipe),” “Obelisk Hornpipe,” “Shaw’s Reel,” “Where Did You Find Her? [2]?” Irish, Hornpipe. G Major. Standard tuning. AABB. The first strain is also shared with “Norfolk Hornpipe [1],” credited to W.H. Whiddon in Ryan’s Mammoth Collection (c. 1883), and has similarities to the second strain of “Whiddon’s Hornpipe.” Only the second part of “Where did you find her?” is related. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1751. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 923, pg. 158. Coleman Center CD CC004, P.J. Hernon, Donal Hernon, Maria Lynn McHugh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Coleman Music Center CHC 009, fiddler Michael Creegan (Cloone, Co. Leitrim, died circa 1980’s) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Shanachie 78004, John Carty – “Yeh, That’s All It Is” (2001).

X:1

T:Wily Old Bachelor, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 923

Z:AK/Fiddler’s Companion

K:G

DC|G,DGA BGDB,|CEAB cAFD|B,DGA BGc>B|(3ABG (3FGE (3DEC (3B,CA,|

B,DGA BGDB,|CEAB cAFD|B,DGB ADEF|G2B2G2:|

|:ga|bgeg dgBg|dgBg dgBg|bgeg dgBg|fgab a2 ga|

bgeg dgBg|cBAB cdef|gdBG EcAF|G2B2G2:|

                       

WIMBUSH RAG. Old-Time, Country Rag. D Major. Standard tuning. AAB. The original source for the tune was Theodore and Gus Clark of Barrow County, Georgia. Source for notated version: the Canebrake Rattlers [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 172. Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”

 

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