WI' A HUNDRED PIPERS. AKA and see "A Hundred Pipers."
WICKED YEOMAN. AKA and see "The Old Vest and
Cravat."
WICKLOW. Irish?, Jig. B Flat Major. Standard. AABB. Hardings All-Round Collection, 1905; No.
108, pg. 34.
WICKLOW HORNPIPE, THE (Crannciuil Ciu/Cill Mantain). AKA and see "Delahanty's
Hornpipe," “Delahunty’s,” "The Home Brew," “The Iron Gate,”
“John Quinn’s” [1], “A Kerry Hornpipe,” "The Road to Boyle,” "Sonny
Murray's," "Wicklow Hornpipe.” Irish, Hornpipe. D Major. Standard.
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 (1915 ed.), 1987; No. 340, pg. 167. O'Neill
(Krassen), 1976; pg. 169. O'Neill (1850), 1903/1979; No. 1579, pg. 293. O'Neill
(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 – 1001 Gems (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'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."
WIDE AWAKE REEL. AKA and see "Young Arthur Daly."
Irish? American, Reel. A Major. Standard. AABB. Al Smitley suggests the tune
may 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," "Rat Catcher's," "Clemtitus Jig" (Nathan), and
"Peggy Whiffle." Cole (1001 Fiddle Tunes), 1940; pg. 13.
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. 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
L:1/8
M:C
R:Slow Strathspey
S:Gow – 2nd Repository
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.
AABB. O'Neill (Krassen), 1976; pg. 73. O'Neill (1850), 1903/1979; No. 734, pg.
137. O'Neill (1001 Gems), 1907/1986;
No. 31, pg. 22.
X:1
T:Widow Brady, The
L:1/8
M:6/8
R:Jig
S:O’Neill – 1001 Gems (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:|
WIDOW CANTWELL'S FANCY, THE (Roga {an} Baintreabaig Ni
Cantuell/Catmaeil). Irish, Hornpipe. G Major. Standard. AABB. O'Neill (Krassen), 1976; pg.
205. O'Neill (1850), 1903/1979; No. 1732, pg. 322. O'Neill (1001 Gems), 1907/1986; No. 912, pg. 156.
X:1
T:Widow Cantwell’s Fancy, The
L:1/8
M:C|
R:Hornpipe
S:O’Neill – 1001 Gems (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 GIN THOU BE WAKING. Scottish.
Tune appears in Henry Playford's 1700 collection of Scottish dance tunes.
WIDOW MACHREE. Irish, Jig. D Major. Standard. 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” (see Stanford/Petrie’s No. 641). Cole (1000 Fiddle Tunes), 1940; pg. 59. Ryan’s Mammoth Collection, 1883. White’s Unique Collection, 1896; No. 11, pg. 2.
X:1
T:Widow Machree
M:6/8
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. AABB. Not
"Widow Machree." Kerr (Merry
Melodies), Vol. 1; No. 14, pg. 37.
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. AAB. Kerr (Merry Melodies), Vol. 3; No. 282, pg.
31.
WIDOW WELL MARRIED, THE. AKA
and see "Down With the Tithes."
WIDOWED BRIDE, THE (An Ceile Baintreabac). Irish, Air (4/4 time,
"plaintively"). E Minor. Standard. AB. O'Neill (1850), 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
(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, THE [1] (Ingean Na M-Baintreabaig). Irish, Slow Air (4/4 time). E
Minor. Standard. AB. O'Neill (1850), 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
(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, THE [2]. 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.
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 OF MY OWN, A. Scottish, Country Dance Tune (9/8 time). 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."
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. 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, Northumbria. G Major.
Standard. AABBCC. Peacock (Peacock’s
Tunes), c. 1805/1980; No. 30, pg. 12.
WIGHT’S REEL. Canadian, Reel. Canada, Prince Edward Island.
A Major. Standard. 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. 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," "Sailor's
Hornpipe," "The First of May." Irish, Hornpipe. D Major.
Standard. AABB. Roche Collection,
1982, Vol. 3; No. 181, pg. 63.
WILBERT STUBBERT. Canadian, Jig. Canada, Cape Breton. D Major.
Standard. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi,
Cape Breton, Nova Scotia). Cranford (Brenda
Stubbert’s), 1994; No. 109, pg. 38.
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. Known as a banjo piece. 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.”
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. 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 (1850), 1903/1979; No. 1135, pg. 214. O'Sullivan/Bunting, 1983; No.
140, pgs. 196-197.
WILD DUCK’S FLIGHT, THE (Eitilt na Lachan Fiáine). Irish, Double Jig. D Major.
Standard. 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 (CRE 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. AA'BBCC. Composed by Howie
Forrester. 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,” “Corporal Casey’s Fancy,” "The Four-Hand Reel,” “The
Five Mile Chase,” “Lady Gardner’s Reel,” “Parnell’s Reel,” “Yellow Haired
Laddie.” Irish, Reel. A Major. Standard. AB.
Roche Collection, 1982, Vol. 1; No. 152, pg. 60.
WILD GEESE, THE [1] (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," "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 (1850), 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. AKA and see "Flight of the Wild
Geese." Old‑Time, Breakdown. USA; Virginia, Kentucky. B Flat Major
(Phillips): G Major. Standard. 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 Eld 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."
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:|
WILD GOOSE CROSSING THE OCEAN. AKA and see "Lost Goose,"
"Wild Goose on the Ocean." Old-Time. G Major. Standard. 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. One part (Raven): AB (Kennedy). See also “The
Rollicking Boys of Tandaragee” and “The Hills of Glenorchy” 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
Break." 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. 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
L:1/8
M:2/4
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 "Old
Bangum." Old‑Time, Breakdown. USA, southwestern Va., Kentucky. A
Dorian (Phillips): D Dorian (Fuzzy Mtn. String Band). AEAE or GDGD (Taylor
Kimble). 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. 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).
WILD HOG IN
THE WOODS [2]. Old-Time, Breakdown.
USA, Kentucky. F Major. Standard. 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,” “Nigger in the
Woodpile,” “Off with Your Jacket,” "Old Dad" (Va. title), "Old
Mother Goodwin" (Pa.), "Pigtown (Fling)," “Preacher in the
Woodpile,’ "Ston(e)y Point," "Stoney Point Reel" (Pa. title,
1866), "Wild Horse(s) at/on Stoney Point," “White Horse.” Old‑Time,
Breakdown. USA; N.C., Ky., Central West Virginia, southwestern Pa. G Major (Krassen, Phillips, Titon): F Major
(Ford). Standard. 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.”
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 "Stoney
Point," "Wild Horse," "Pigtown Fling" and other tunes
listed in the family. G Major. Standard. AABBCC. Spandaro (10 Cents a Dance), 1980; pg. 31.
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." The
title Babe and Tump Spangler (Patrick County, southwest Va.) knew the tune by.
WILD IRISH. American, Reel. B Flat Major. Standard. AABB.
Composed by G.L. Tracy. Not either of the "Wild Irishman" versions.
Cole (1001 Fiddle Tunes), 1940; pg.
36.
WILD IRISH BOY [1]. AKA and see "Dear Irish Boy." Irish,
Slow Air (3/4 time). E Minor. Standard. AAB. O'Neill (1915 ed.), 1987; No. 68,
pg. 42.
WILD IRISH BOY [2] (An Buacaill Fiadain Ua Eirinn). Irish, Air (6/8 time, "with
feeling"). G Major. Standard. One part. Source for notated version: Mrs.
Fitzgerald [O’Neill]. O'Neill (1850), 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 (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, THE [1]. Old‑Time, Breakdown. USA,
Virginia. A Major. Standard. 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.
WILD IRISHMAN, THE [2]. AKA and see "Anderson's
Reel," "The Flowers of Redhill," "The Queen of the
May." Irish, Reel. A Mixolydian ('A' part) & D Major ('B' part).
Standard. 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 deliniated 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.”
WILD IRISHMAN [3]. AKA and see "The Daisy Field,"
"The Field of Daisies," “The Irish Girl,” "Boil the Breakfast
Early." Irish, Reel. Ireland, Counties Roscommon, Sligo, Donegal. D Major.
Standard. 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
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.
***
Source for notated version: fiddler
Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon)
[Flaherty]. 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. Huntington
(William Litten's), 1977; pg. 21.
Miller & Perron (Irish Traditional
Fiddle Music), 1977; Vol. 3, No. 49. 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 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).
WILD IRISHMAN [4]. AKA and see "Cailleach an Tuirne,"
"Cailin A' Tuirna," "Garret Barry," "Gearoid de
Barra," "Is Maith Le Nora Ciste" (Nora Likes Cake), "Kiss
Me, darling," "The Ladies' Fancy," "The Maid at/of the
Spinning Wheel," "Maire an Phortair," “Noran Kista,” “Nora’s
Purse,” "Norickystie," "Port an Achreidh,” "The Road to
Lurgan," “Sergeant Early's Jig," “The Spinning Wheel,”"Tune the
Fiddle,” "The Wild Irishman," "Wreathe the Bowl.” Scottish, Jig. D Major. Standard. AABB. A
jig setting which apparently predates the reel version played in Ireland.
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. McGlashan
printed the melody in his Scots Measures
(pg. 36), c. 1778 & 1781. Source for notated version: copied from The Hibernian Muse (1787) [O’Neill].
Camus (Military Music of the American
Revolution), 1976; Example 1, pg. 47. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 94.
X:1
T:Wild Irish Man, The [4]
L:1/8
M:6/8
R:Jig
S:McGlashan – Collection of Scots Measures
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:||
WILD IRISHMAN [5]. AKA and see "The Tarbolton Reel,"
"Cooleen Bridge."
WILD IRISHMAN [6]. AKA and see “Anderson’s” [3], “Don’t be Foolish,”
“Flowers of Redhill,” “The Hod Carrier,” “Jilly Neary’s Favourite.” Irish,
Reel. A Mixolydian. Standard. 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 JOHN. Old-Time, Breakdown. USA, Texas. C Major.
Standard. 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. 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. English. England, Northumberland. One of the
"missing tunes" from William Vickers' 1770 Northumbrian dance tune
manuscript.