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.
WILD ROSE, THE. English, Morris Dance Tune (4/4
time). D Major. Standard. 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. 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.”
WILD ROSE OF THE MOUNTAIN [3] (Ros Fhiadhaich nam
Beann).
Scottish, Irish; Air (3/4 time). G Major. Standard. 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. AABB. Kerr (Merry Melodies),
Vol. 4; No. 117, pg. 14.
WILD SALAMANCA, THE. AKA and see "Salamanca," "The
Maigue's Tide," "The Coronation Reel," "The
Salamander," "The Tartan Plaid."
WILD SHOAT, THE. Old‑Time, Breakdown. USA, Alabama. G
Major. Standard. AB. The 'B' part is irregular. Source for notated version:
James Bryan [Phillips]. Phillips (Traditional
American Fiddle Tunes), 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. 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
variations. Old-Time, Breakdown. USA; Kentucky, West Virginia. C Major.
Standard. 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.
WILDCAT RAG. Old-Time, Country Rag. USA, north Georgia. F
Major. Standard. 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. Similar to "MacLaine of Loch Buie's
Reel."
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. AB.
Phillips (Traditional American Fiddle
Tunes), Vol. 2, 1995; pg. 328.
WILE HIM AWAY. AKA and see "Wylam Away," "To
Wylam Away," "Gingling Geordie."
WILEY LAWES. Old-Time, Breakdown. D Minor. In the
repertoire of North Carolina fiddler Manco Sneed.
WILFRED AND JANET BURKE. Canadian, Reel. Canada, Cape
Breton. A Dorian. Standard. 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. 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. AABB. Composed by fiddler and composer Dan R. MacDonald
(1911-1976, Inverness, Cape Breton). Cameron (Trip to Windsor), 1994; pg. 41.
WILFRED HIGH IN HIS BUNK. Canadian, Reel. Canada, Cape
Breton. G Major. Standard. 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. 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.”
WILKES RELEASE. AKA “Quick March 48th Regiment.” English, March (2/4 time). D Major. Standard. 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 fourtunes 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 exten 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),
Vol. II, 1782; No. 145, pg. 53.
X:1
T:Wilkes Release
M:2/4
L:1/8
S:Aird, Vol. II (1782)
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), Vol. 1, 1788, No. 145.
WILKS NO. 45. Northumbrian. One of the
"missing tunes" from William Vickers' 1770 Northumbrian dance tune
manuscript.
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. AB.
O'Neill (1850), 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 RARIE OLD MARCH [1]. AKA and see "Dow Everly."
American, March (4/4 time). USA, southwestern Pa. G Major. Standard. 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.
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.
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. 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 (1850), 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
(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?
English, Jig. England, Northumberland. B Flat Major. Standard. AABB.
Seattle (William Vickers), 1987, Part
2; No. 358.
WILL WIMBEL'S RANT. English, Reel or Rant. England, Northumberland.
D Major. Standard. 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. 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,
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 "Munster Gimlet." Irish, Slip Jig. G
Major/Mixolydian. Standard. AABB (Mitchell): AA'BC (O’Neill): AA’BCDEE’F
(Mitchell). Source for notated version: 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]. Mitchell (Dance Music of Willie Clancy), 1993; No. 46, pg. 56 & No. 58,
pg. 63 (two versions). O'Neill (1915 ed.), 1987; No. 216, pg. 115. O'Neill
(Krassen), 1976; pg. 80. O'Neill (1850), 1903/1979; No. 1121, pg. 212. O'Neill
(1001 Gems), 1907/1986; No. 415, pg.
82. Claddagh 4CC 32, Willie Clancy – “The Pipering of
Willie Clancy, Vol. 1” (1980).
X:1
T:Will You Come Down To Limerick?
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – 1001 Gems (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. AA'BBC. O'Neill (1850), 1903/1979; No.
1122, pg. 212.
WILL YOU COME TO THE BOWER. American (??),
Air (2/4 time). C Major. Standard. One part. Howe (Complete Preceptor for the
Accordeon), 1843; pg. 32.
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.” Irish, Double Jig. G Major (Mitchell, O’Neill): D
Mixolydian/G Major (Breathnach). Standard. AABB (O’Neill): AA’BB (Mitchell):
AA'BCD (Breathnach). 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]. Breathnach (CRE II),
1976; No. 8, pg. 6. Mitchell (Dance Music
of Willie Clancy), 1993; No. 21, pg. 41. O'Neill (1850), 1903/1979; No.
842, pg. 157. O'Neill (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).
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
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. AABB. O'Neill (1850), 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
(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. AA'B. Source for notated version: Chicago fiddler John McFadden,
originally from County Mayo [O’Neill]. O'Neill (Krassen), 1976; pg. 81. O'Neill
(1850), 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
(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 GO AND MARRY
KETTLE/KETTIE/KATIE. AKA and see "Mulchard's Dream." Scottish, Strathspey. G Major.
Standard. 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
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. Kicking
Mule KM‑327, "Scartaglen" (1984. Song version).
WILL YOU GO TO SHER(R)IFF MOOR. Scottish. 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."
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 Cluim Thu Mi Mo Nighean
Donn."
WILL YOU RUN AWA' WI' ME? (An dean thu ruith air falbh leam). Scottish, Pipe Reel. A Minor.
Standard. 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
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. 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. AB. Raven (English Country
Dance Tunes), 1984; pg. 155.
WILLET'S HORNPIPE. American, Hornpipe. A Major.
Standard. 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. 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. 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. 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. 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 CLARK'S FAVORITE. AKA and see "The Three
Captains."
WILLIAM CRAWFORD’S REEL. Canadian, Reel. Canada, Cape
Breton. E Minor. Standard. 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. 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) was a disciple of J. Scott Skinner, and teacher to 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.
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. 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.
AAB. Composed by Duncan McIntyre. Carlin (The
Gow Collection), 1986; No. 318.
WILLIAM J. HARDIE. Scottish, Reel. A Major. Standard. AB.
Composed by J. Murdoch Henderson {1902-1972} (an M.A. of Aberdeen University
and a teacher of maths and science in that city) in 1930 honor of fiddler Bill
Hardie {b. 1916}, appearing in print first in Henderson's Flowers of Scottish Melody (1935). Hardie (Caledonian Companion), 1986; pg. 31.
WILLIAM KIMBER'S SCHOTTISCHE. English, Schottische (4/4 time). G
Major. Standard. 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.
WILLIAM LITTEN COUNTRY DANCE. English, Country Dance (cut time).
G Minor. Standard. 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 MACPHERSON. Scottish, Slow Hornpipe. E Flat Major ('A'
part) & B Flat Major ('B' part). Standard. 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. AAB. Composed by William Marshall. Carlin (The Gow Collection), 1986; No. 231.
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.
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. AAB. O'Neill
(Krassen), 1976; pg. 155. O'Neill (1850), 1979; No. 1521, pg. 281. O'Neill (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 – 1001 Gems (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. AABB. The melody is labled a 'jig' in Cole's 1001,
meaning not the 6/8 Irish jig but rather a type of old-time banjo tune. Cole (1001 Fiddle Tunes), 1940; pg. 85.
WILLIAM'S HORNPIPE. Irish, Hornpipe. G Major. Standard. AABB. Allan's Irish Fiddler, No. 97, pg. 25.
WILLIAMSBURG REEL. See "Bull Run Picnic."
WILLIAMSON'S HORNPIPE. American, Hornpipe. A Major. Standard.
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. 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. 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.
WILLIE CLANCY’S. AKA and see “Bliven’s Favorite,” "Bobbing
for Eels," "The Bottle of Punch," "The Butchers of
Bristol," "By your leave, Larry Grogan," "Coppers and
Brass," “The County Limerick Buckhunt," "Finerty's Frolic,"
"Fishing for Eels," “Green Sleeves,” "Groom,"
"Hartigan's Fancy," “The Humours of Ennistymon,” "The Humours of
Miltown,” "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 "The Moate
Hunt." Irish, Jig (6/8 or 12/8 time). Ireland, County Sligo. G Major.
Standard. 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. 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]. Breathnach (CRE 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. 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. Mulvihill (1st Collection), 1986; No. 30, pg. 71. Mulligan Records LUN 004, "Matt Molloy" (1976).
WILLIE COLEMAN’S (REEL) [1]. AKA and see “Martin Wynne’s No. 3.”
WILLIE COLEMAN’S (REEL) [2]. Irish, Reel. G Major. Standard.
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 (CRE II), 1976; No. 143, pgs. 76-77 (appears as “Gan anim/Untitled”).
WILLIE COOK. Scottish, Strathspey. A Major.
Standard. 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, dpg. 5.
WILLIE COOK'S APPLE TREE. Scottish, Reel. A Major. Standard.
AA'BB'. Composed by Carl Volti. Kerr (Merry
Melodies), Vol. 2; No. 14, pg. 5 (appears as "The Apple Tree").
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. 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
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
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. AABB. Composed by Hugh Dunlop. Kerr (Merry Melodies), Vol. 3; No. 348, pg. 38.
WILLIE DUNCAN. Scottish, Air or Strathspey. C Major.
Standard. 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:The Athole Collection
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 IS A BONNIE LAD. English, Reel. England,
Northumberland. D Major. Standard. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg.
15. Raven (English Country Dance Tunes),
1984; pg. 186.
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.
AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 275, pg. 79.
WILLIE KENNEDY’S STRATHSPEY.
Canadian, Strathspey. Canada, Cape Breton. D Major. Standard. 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).
WILLIE LAWRIE JUNIOR.
Scottish, March (6/8 time). D Major. Standard. 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. 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. 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,” “MacLaine of Loch Buie,” “Wildcat
Reel.” Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard. AAB. 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). RLP 107, Joe MacLean - “And his Old Time Scottish Fiddle” (c. 1967.
Appears as 1st reel after “Ca’ the Stirks”). 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. AABB’CCDD’. Composed by K.C. Mackay. Martin (Ceol na Fidhle), Vol. 4, 1991; pg. 41.
WILLY NILLY. Swedish, Waltz. A Major. Standard. 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.
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. 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]. 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. 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. 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 (1850), 1903/1979; No. 150, pg. 26. O’Neill (1913), pg. 115.
WILLIE ROY’S LOOMHOUSE. AKA and see “Maggie Cameron,” “The
Old Men at the Loom.”
WILLIE SHAW. Scottish, Strathspey or Schottische. D Major.
Standard. 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." 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:A Minor
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. New
England, Polka. G Major ('A' part) & D Major ('B' part). Standard. AABB.
Miller & Perron (101 Polkas),
1978; No. 82.
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.
WILLY WALSH'S JIG (Port Uilliamin Uí Breatnaig). Irish, Double Jig. D Major.
Standard. AABB. The ‘A’ part is shared with “The Wandering Minstrel,” “The
Dandy Scholar,” and “The Merry Maiden.” O'Neill (1001 Gems), 1907/1986; No. 88, pg. 30. O'Neill (1850), 1903/1979;
No. 823, pg. 153.
X:1
T:Willy Walsh’s Jig
M:6/8
L:1/8
R:Jig
S:O’Neill – 1001 Gems (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 “Constitution March.”
Scottish, American; Polka or Scots Measure. USA, New England. D Major.
Standard. AABB. 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 acribed to William Forbes of Disblair), and Robert Riddell's 1794 Scotch, Galwegian, and Border Tunes (set
by James Clark). It was the original tune for the American campaign song
“Jefferson and Liberty” penned by orinthologist-painter Alexander Wilson. In
early American collections it can be found as “Constitution March.” Kerr (Merry Melodies), Vol. 3; No. 378, pg.
42. McGlashan (Collection of Scots
Measures), 177?; pg. 6. Miller & Perron (101 Polkas), 1978; No. 19.
X:1
T:Willie was a wanton wag
M:C|
L:1/8
B:McGlashan – Collection of Scots Measures
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:|
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
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)||
WILLIE WILL YOU E'ER RETURN? (Uilleachan, an tig thu chaoidh). Scottish, Slow Strathspey. F Major. Standard.
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
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.
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 and see "Cobbler's
Hornpipe," "Connolly's Reel," “Craig’s Pipes,” "The
Edenderry Reel," "The Fiddler is Drunk," "The
Foxhunters," “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 Wink(ie)'s Testament,"
"Willy Wilky." Scottish, Strathspey; English, Reel. England,
Northumberland. F Major. Standard. AABB.
Carlin (Gow Collection), 1986; No.
498. Gow (Complete Repository), Part
2, 1802; pg. 29. Kerr (Merry Melodies),
Vol. 2; No. 189, pg. 22. Seattle (William
Vickers), 1987, Part 2; No. 305 (appears as "Willy Wilky").
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:|
WILLIE WINK'S TESTAMENT [3]. Scottish, Strathspey. A Mixolydian
(Johnson). AEAC#. AABBCCDD (Johnson). The Scottish version is a strathspey
setting of the reel "Grieg's Pipes." John Glen (1891) finds the
earliest printing of the tune in Robert Bremner's 1757 collection (pg. 61),
though Johnson finds it 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. Oswald (Caledonian Pocket Companion), vol. vi,
pg. 5.
WILLIE'S AULD TREWS (Seann triubhais Uilleachain). Scottish, Reel. D Minor. Standard.
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
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. 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
S:Gow – 3rd Repository
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. AABB’.
Martin (Ceol na Fidhle), Vol. 4,
1991; pg. 7.
WILLIE'S RARE AND WILLIE'S FAIR. Scottish, Air (3/4 time). D Major.
Standard. 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,
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. 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. American, Hornpipe. A Major. Standard. AABB.
Cole (1001 Fiddle Tunes), 1940; pg.
91. Rounder 0436, Bill Mustain – “Traditional Fiddle Music of the Ozarks, Vol.
2: On the Springfield Plain.”
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.
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 TREE [1]. AKA and see "Weeping Willow Tree."
English, Morris Dance Tune (6/8 time). G Major. Standard. 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 "The News of the
Victory." English, Country Dance Tune (6/8 time). G Major. Standard.
AABBAB. The tune dates from 1820. 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. 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, THE [4]. AKA and see “The Ballina Lass,”
"Gearrchailiu Chontae Mhuigheo," “The Green Meadows,” “The Hag’s
(Reel),” “Johnny When You Die,” “The Mayo Lasses,” “The Old Maids of Galway,”
“Over the Moor to Maggie,” “Paddy’s Gone to France,” “Waynesboro,” “West Mabou
Reel.” Irish, Reel. Not “Willow Tree” [5]. Atlantica
Music ATLD 0193, Howie MacDonald - “The Celidh Trail” (1993). Atlantica Music
02 77657 50222 26, Howie MacDonald - “Atlantic Fiddles” (1994).
WILLOW TREE, THE [5]. Irish, Reel. D Major. Standard. AABB. Source
for notated version: Brendan Mulvihill [Mulvihill]. Mulvihill (1st Collection), 1986; No. 1,
pg. 1.
WILLOW TREE, THE [6]. Irish, Air (4/4 time). F Major.
Standard. 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. 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. 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 traveled 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 REEL. Scottish, Reel. F# Minor. Standard. 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 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. 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).
WILSON'S CLOG. AKA and see "Fred Wilson's
Clog," "Harvest Home," "Cincinnati Hornpipe,"
"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. 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. 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 HORNPIPE. Old‑Time, Hornpipe. USA, West Virginia.
G Major. Standard. 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. Title tune was known by blind
Ky. fiddler Ed Hayley.
WILSON'S TUNE. Old-Time, Breakdown. D Major. Standard. 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. 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. AABB.
Miller & Perron (101 Polkas),
1978; No. 81.
WILTSHIRE WEDDING. AKA and see "The Friar and the
Nun," "All in 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),” "Courting Them All," "Don't Bother
Me," "The Moving Bogs (of Allen)," "Miss Rae's Reel,"
“Obelisk Hornpipe,” “Shaw’s Reel,” “Where Did You Find Her?” Irish, Hornpipe. G
Major. Standard. AABB. O'Neill (1850), 1903/1979; No. 1751. O'Neill (1001 Gems), 1907/1986; No. 923, pg. 158.
X:1
T:Wily Old Bachelor, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – 1001 Gems (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. 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.”