The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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

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

 

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

 

 

 

WINCHESTER CHRISTENING. AKA and see "The London Gentlewoman," "The Sun Has Loos'd His Weary Teams," "The Hemp Dressers," "The Deil's awa wi the exciseman." English, Air. The air appears under the above title as a song in A Third Collection of New Song, the words by Mr. D'Urfey (1685) and other publications.

                       

WINCHESTER WEDDING [1]. AKA and see "When Once I Lay With Another Man's Wife."

 

WINCHESTER WEDDING [2]. AKA and see “ The Lancashire Witches.”

                       

WINCHESTER RACES. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. The Winchester Races were held at Worthy Down, where the first recorded race was run in September, 1753. “King’s Plate of 100gs. for 6 yr. olds, 12-0 each, was run for and won by Lord Strange’s Sportsman, starting alone.”

                       

WIND HAS BLAWN MY PLAID AWAY, THE. AKA and see "Over the hills and far away [2]." Scottish, Air. An early version of the song "Over the Hills and Far Away."

           

WIND OFF THE LAKE, THE.  AKA and see “Tom Cawley’s.” Irish, Jig. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996. Learned from Chicago fiddler Johnny McGreevy).

           

WIND ON THE HEATH. Scottish, Pastoral Air (6/8 time). D Major. Standard tuning. AAB. Composed by Alec Sim of Birnam, Perthshire, who for many years was the conductor of the Aberdeen Strathspey and Reel Society. The tune is based on David Young's melody "Hey to Cowpar/Couper," published in his 1734 Duke of Perth's MS. Hardie (Caledonian Companion), 1986; pg. 20.

                       

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

                       

WIND THAT BLOWS YOU AWAY, THE. AKA and see "The Darkey's Dream," "Darkey Dan." American, Reel. USA, southwestern Pa. G Major. Standard tuning. AAB. Source for notated version: John Taylor (fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 411D, pgs. 393‑394.

                       

WIND THAT SHAKES/SHOOK THE BARLEY [1], THE ("An Ghaoth a Bhogann," "An Ghaoth/Gaot a Chroitheann/Corruideann an Eorna" or "An Gaot A Biodgeas An T-Orna"). AKA and see "Duncan Davidson," “(An) Gaoth A Chroitheanna an Eorna,” "I Sat (with)in the Valley Green," "The Kerry Lasses [3],” "Rolling Down the Hill [2]." Irish, Scottish, Shetland, American, New England; Reel. D Major (most versions): G Major (Hardings): D Mixolydian (Carlin). Standard tuning. AB (Allan's, Breathnach, Cole, Harker/Rafferty, Honeyman, Mallinson, O'Neill/1850, Stanford/Petrie, Surenne, Sweet, Tubridy): AAB (Athole): AA'B (O'Neill/Krassen, 1915): AAB (Brody, Carlin, Flaherty, Hunter, S. Johnson, Kerr, Neil, Skye, Sumner): ABB (Phillips): AABB (Hardings, Miller & Perron). The Irish musicologist Father Henebry considered this tune originally Scottish (as did Breathnach), but Bayard (1981) finds almost no Scottish traditional forms; he found numerous versions in Irish and Irish‑American currency. Emmerson (1971), however, states the tune is "substantially a set of the 'Fairy Dance,'" which is definately Scottish and whose full title is "Largo's Fairy Dance," composed by Nathaniel Gow.

***

 “The Wind that Shakes the Barley” was cited as having commonly been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly)./ "The (Provance) version...contains a feature common enough in old‑country reels, but seldom encountered in American variants: namely, the 'circular' construction, which provides for the tune's going on indefinitely without coming to a complete cadence. F.P. Provance stated that he learned this set 'among the Dutch' in eastern Fayette and western Somerset Counties‑‑an interesting evidence of how the German settlers have adopted the tradition of the Irish whom they encountered on their arrival in Pennyslvania" (Bayard, 1944).

***

The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

***

The tune was the vehicle for the Donegal house-dance the Barnas Mór Reel, writes Fintan Vallely in his book Blooming Meadows (1998), interviewing Donegal fiddler Vincent Broderick of the townland of Tangaveane in the Croaghs (Blue Stack Mountains). Broderick remembered: “They would let hands to, d’you see, every other bar or so…and they done this step dance every one of them on their own and then they would join hands again, go around again.”

***

Several songs have been written to the melody. One set of Irish words goes:

***

Oh, won't you rattle me, and oh, won't you chase me,
Oh, won't you rattle me, the little bag of tailors. 
Oh, won't you rattle me, and oh, won't you chase me,
Oh, won't you rattle me, the little bag of tailors.
***
I went up to Dublin, I met a little tailor,
I put him in my pocket, for fear the dogs would eat him.
The dogs began to bark, and I began a-wailin',
I threw him in the Liffey, for fear the dogs would eat him.

***

A romantic song to the tune with words by Robert Dwyer Joyce (1830-1883) commemorating the uprising of 1798 led by the Society of United Irishmen was originally published c.1880 in Ballads of Irish Chivalry. It is also called “The Wind That Shakes the Barley” and goes:

***

I sat within a valley green

I sat there with my true love

My sad heart strove the two between

The old love and the new love

The old for her, the new

That made me think on Ireland dearly

When soft the wind blew down the glen

And shook the golden barley.

***

'Twas hard the woeful words to frame

'Twas worse the tide that bound us

But harder still to bear the shame

Of foreign chains around us

And so I said "The Mountain glen

I'll seek it morning early

And join the bold United Men

While soft wind shakes the barley"

***

While sad I kissed away her tears

My fond arms 'round her flinging

The foeman's shot burst on our ears

From out the wild wood ringing

The bullet pierced my true love's side

In life's young spring so early

And on my breast in blood she died

While soft wind shakes the barley.

***

I bore her to some mountain stream

And many's the summer blossom

I placed with branches soft and green

About her gore-stained bosom

I wept and kissed her clay-cold corpse

Then rushed o'er vale and valley

My vengeance on the foe to wreak

While soft wind shook the barley

***

Then blood for blood without remorse

I've taken to Oulard Hollow

I've laid my true love's clay cold corpse

Where I full soon will follow

And 'round her grave I wander here

Now night and morning early

With a breaking heart when e'er I hear

The wind that shakes the barley.

***

Oulart Hill, referred to in the song as “Oulard Hollow,” is located in County Wexford and was the site of the United Irish rebels' first significant success. On Whit Sunday, the 27th of May, 1798, they ambushed and annihilated a body of Government troops—the infamous North Cork Militia—numbering around one hundred. There are said to have been but three survivors, despite the fact that the militia was Irish to a man. Another song set to the tune is called “The Little Bag of Tailors.” O’Neill prints the tune as “Wind that Shakes the Barley” and “I sat in the Valley Green.”

***

The title is among those mentioned in Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas of which goes:

***

Murtagh Murphy’s barn was full to the door when the eve grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls - 
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.

***

Murtagh and his vanithee had their chairs brought in to see 
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright - 
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.

***

“Off She Goes,” “The Rocky Road,” “The Tipsy House,” and “Miss McLeod,”
“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”
“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,” - 
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.”

***

The tune is mentioned in William Hamilton Maxwell’s Stories of Waterloo and Other Tales (London, 1829), in a chapter on one Frank Kennedy, of Connemara, a junior officer stationed in Ireland. In this passage he has been invited to a ball with several other officers:

***

The first dance had concluded, when the long gentleman whispered softly over my shoulder, how I liked "the heiress?" The heiress!—I felt a faint hope rising in my breast, which made my cheek colour like a peony. Rattigan's remorse for neglected opportunities rushed to my mind. Had my lucky hour come? and had I actually an heiress by the hand for nine-and-twenty couples? We were again at the head of the room, and away we went—she cutting and I capering, until we danced to the very bottom, "The wind that shakes the barley!"

I had placed Miss O'Brien, with great formality, on a bench, when Rattigan took me aside:—"Frank, you're a fortunate fellow, or its your own fault—found out all from the old one—lovely creature—great catch—who knows?—strike while the iron is hot," &c. &c &c.

***

Sources for notated versions: Kevin Burke (Co. Clare) [Phillips]; Michael Kennedy (Ireland) [Carlin]; F.P. Provance (Point Marion, Pa., 1943; learned from fiddlers playing it in eastern Fayette and western Somerset Counties, Pa.) [Bayard, 1944]: J Bryner (Pa., 1946), F King (Pa., 1960), and Shape (fiddler from Pa., 1944) [Bayard, 1981]; fiddler Sean Keane (Ireland) [Breathnach]; fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon) [Flaherty]; S. O’Daly [Stanford/Petrie]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 68, pg. 17. Bayard (Hill Country Tunes), 1944; No. 23. Bayard (Dance to the Fiddle), 1981; No. 162A‑C, pgs. 99‑100. Breathnach (CRÉ III), 1985; No. 202, pg. 90. Brody (Fiddler’s Fakebook), 1983; pg. 293. Burchenal (Rinnce na h‑Eireann), pg. 120. Carlin (Master Collection), 1984; No. 195, pg. 116. Cole (1000 Fiddle Tunes), 1940; pg. 22. DeVille, 1905; No. 74. Flaherty (Trip to Sligo), 1990; pg. 91. Greenleaf, No. 186. Hardings All‑Round Collection, 1905; No. 129, pgs. 40‑41. Harding's Original Collection, 1928; No. 130. Harker (300 Tunes from Mike Rafferty), 2005; No. 159, pg. 49. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 9. Hunter (Fiddle Music of Scotland), 1988; No. 223. Jarman (Old Time Fiddlin' Tunes); No. or pg. 15. JFSS, VII, 172 (a Manx vocal set, "Crag Willee Syl"). S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983  (revised 1991, 2001); pg. 6. Kerr, vol. 1; Set 3, No. 2, pg. 4. Levey, No. 49. MacDonald (The Skye Collection), 1887; pg. 35. Mallinson (Essential), 1995; No. 24, pg. 11. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 92. Neil (The Scots Fiddle), 1991; No. 188, pg. 243. O'Neill (Krassen), 1976; pg. 155. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 257, pg. 133. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1518, pg. 280. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 737, pg. 129. Peoples (Fifty Irish Fiddle Tunes), 1986; 32. Phillips (Fiddlecase Tunebook), 1989; pg. 52. Robbins, 1933; No. 25. Roche Collection, 1982, vol. 1; No. 199, pg. 75. Stanford/Petrie (Complete Collection), 1905; Nos. 320 & 321, pgs. 80-81. Stewart-Robertson (The Athole Collection), 1884; pg. 89. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 96 (appears as “The Wind that Blows the Barley Down”). Surenne (Dance Music of Scotland), 1852; pg. 41. Sweet (Fifer’s Delight), 1965/1981; pg. 64. Sym's Old Time Dances, pg. 27. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 24. Welling (Hartford Tunebook), 1976; pg. 26. White's Excelsior Collection, pg. 35. Columbia C 33397, Dave Bromberg Band ‑ "Midnight on the Water" (1975). Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Front Hall 014, John McCutcheon ‑ "The Wind that Shakes the Barley" (1977. Learned from the Smathers Family). Front Hall 015, Jake Walton and Roger Nicholson‑ "Bygone Days." Gael‑Linn Records CEF 022, Seamus Ennis, John Joe Gannon, Sean Keane ‑ "Seoda Ceoil II" (1969). Ghe Records GR1001, Mike Cross ‑ "Child Prodigy" (1979). Green Linnet SIF1110, Tony DeMarco ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Homespun Tapes, Kevin Burke. Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977). Shanachie 79006, Mary Bergin‑ "Traditional Irish Music." Shanachie 79011, Planxty‑ "Cold Blow the Rainy Night." Shanachie 78010, Solas – “Sunny Spells and Scattered Showers.” Bob Smith’s Ideal Band – “Ideal Music” (1977). “Fiddlers Three Plus Two.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Wind that Shakes the Barley [1]

L:1/8

M:C|

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

A|F(AA)B AFED|B2BA B2d2|F(AA)B AFED|gfed B2d:|

e|f2fd g2ge|f2fd Bcde|f2fd g2gb|afed B2 d>e|f2fd g2ge|

f2fd Bcde|fafd gbge|afed B2d||

X:2

T:Wind that Shakes the Barley [1]

L:1/8

M:C|

K:D

A2 AB AF ED| B BA Bc d2|A2 AB AF ED|gf ed Bc dB|

A2 AB AF ED|B2 BA Bc dB|A2 AB AF ED|gf ed B2 d2:|

|:f2 fd g2 ge|f2 fd ed BA|f2 fd g2 ge|af ed B2 de|f2 df g2 eg|

f2 fd ed BA|de fg af ba|gf ed B2 d2:|

 

WIND THAT SHAKES THE BARLEY [2]. AKA and see “As I sat in the valley so green.” Irish, Air.

X:1

T:Wind That Shakes the Barley [2]

M:4/4

L:1/4

Q:60

D:Lonely Stranded Band

Z:Naka Ishii

S:Joe Corcoran

K:EAeolian

E/F/|GE E/D/ B,|GFE>D|GGAB|A/F/D2E/F/|GGGA| BcB>A|GEFD|EE2D|

G2GA|BcB>A|GEGB|BED>F|GFGA|BcB>A|GEFD|EE3||

 

WIND THAT SHAKES THE BARLEY [3]. Irish, Air (6/8 time).

X:1

T:Wind that Shakes the Barley [3]

S:Various; Solas "Sunny Spells..."

Z:Jerome Colburn

M:6/8

K:Em

B | B2 B A2 B | G2 A F2 G | E2 E ^D^C^D |1 E G2-G2 :|2 E E2-E2 \

B, | E2 F G2 A | B2 A G2 A | B2 e e2 ^d | e2 ^d B2 \

e | e2 B A2 B | G2 A F2 G | E2 E ^D^C^D | E E2-E2 |]**

           

WIND UP [1], THE. American, Reel. D Minor (‘A’ part) & F Major (‘B’ part). Standard tuning. AABB. Howe lists the tune among the schottisches. Cole (1000 Fiddle Tunes), 1940; pg. 16. Howe (1000 Jigs and Reels), c. 1867; pg. 55. Ryan’s Mammoth Collection, 1883; pg. 38.

X:1

T:Wind Up Reel, The [1]

M:2/4

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D Minor

{^g}a2 {g}a>=g | f/e/d/f/ e/c/A | {^g}a2 {g}a>=g | f/e/d/c/ d/e/f/g/ | {^g}a2 {g}a>=g |

f/e/d/f/ e/c/A/c/ | d/e/f/g/ a/f/g/e/ | f/d/e/c/ d2 :: (F2 F)A/B/ | c/f/a/g/ f/d/c/A/ |

F/G/F/E/ F/G/A/B/ | c/B/d/c/ G2 | F{G}(F/E/) F/G/A/B/ | c/f/a/g/ f/d/c/A/ | b/c/a/c/ g/c/f/c/ | g/f/a/g/ fz :|

 

WIND-UP [2], THE. English?, Reel. G Major. Standard tuning. AABA. Hardings All-Round Collection, 1905; No. 200, pg. 63.

X:1

T:Wind-Up, The  [2]

M:2/4

L:1/8

R:Reel

S:Harding’s All Round Collection, No. 200  (1905)

Z:AK/Fiddler’s Companion

K:G

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

G/B/A/G/ E/G/D/G/|E/G/D/G/ E/A/c/e/|d/B/B/A/ G:||z|BB,/C/ (D/C/)B,|BE/F/ (G/F/)E|BD/E/ (F/E/)D|

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

 

WIND UP REEL, THE. American, Reel.

 

WINDER SLIDE. AKA – “End of the Lane.” Old-Time, Breakdown. A modern ‘old-time’ tune composed around 1980 by Joe LaRose, in the style of Gus and Theodore Clark, who recorded 2 sides in North Georgia about 1930 --"Barrow County Stomp" and "Wimbush Rag." Two versions are played, one from Joe’s original recording, covered by Bruce Molsky. A second version was developed by LaRose, who added to the ‘B’ part of the tune. This latter version was recorded by Rayna Gellert, learned from Bill Dillof. Kerry Blech writes: “Bruce first heard it on a tape sent to him by a friend. Joe's original recording of it was double tracked guitar and fiddle, with 78rpm surface noise overlaid. The first version he sent around was jokingly titled as by Gus and Theo. Clark. I forwarded it, as is, to many friends, and that is what Bruce apparently received in the mail. WS also was left alongside the other two real 78rpm cuts of the the Clarks, and was at the end of the taped interview with Bert Layne. Bruce later told me that what he found out from me was called "Winder Slide" was untitled on that tape and that he started calling it "The End of the Layne."

                       

WINDERMERE REGATTA. English, Reel. England, North‑West. B Flat Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 59.

                       

WINDING HILLS OF SLIGO, THE. Irish, Reel. G Major. Standard. AB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 72, pg. 19. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002).

                       

WINDING ROAD. AKA and see “The Idle Road.” Irish, Double Jig. Ireland, County Roscommon. G Major. Standard tuning. AABB. Source for notated version: fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 88.

                       

WINDING ROADS OF ADVANCE, THE.  Irish, Reel. Composed by fiddler James Kelly, originally from Dublin, who emigrated to the United States in 1978. Kelly was visiting a friend, Fred Lail, a fiddler who lived in Advance, North Carolina, and took a walk along the back roads.  Capelhouse Records, James Kelly – “Tradtional Irish Music” (1996).

 

WINDING SHEEP. Old-Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AB. Jeff Titon (2001) identifies the tune as a variant of “Folding Down the Sheets” (see note for that tune for more on the tune family). Source for notated version: Alva Greene (Sandy Hook, Elliott County, Ky., 1973) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 169, pg. 195.

                       

WINDING STAIRS, THE. Irish, Slip Jig. E Dorian. Standard. AAB. Green Linnet SIF 1184, Patrick Street – “Made in Cork” (1997).

X:1

T:Winding Stairs, The

M:9/8

L:1/8

Q:124

Z:Transcribed by Paul Kinder

S:Patrick Street "Made in Cork"

R:Slip Jig

K:EDOR

|:EDE B2 G F2 G|E2 B B2 G AFD|EDE B2 G F2 B|AGA dBG AFD:|

|B2 e e2 d e2 d|B2 e e2 b afd|A2 d d2 c d2 B|AGA dBG AFD|!

Bcd e2 d e2 d|B2 e e2 a fdB|gab efg dcB|AGA dBG AFD||!

 

WINDING STREAM. AKA and see "Through the Field [1]," "Miss Thornton's Reel." New England, Reel. G Major. Standard. AABB. Jarman (Old Time Fiddlin' Tunes), No. or pg. 25. Kerr (Merry Melodies), vol. 1; pg. 34. O'Neill, 1850; Nos. 238 & 108.

                       

WINDING WAY. American (?), Jig. C Major. Standard. AABB. Howe (Complete Preceptor for the Accordeon), 1843; pg. 7.

X:1

T:Winding Way

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:C

G2G G2G | ABc G2F | E2G c2e | e3 d2e | g2e c2G | ABc c2G |

EGc e2c | d3 c2 :: z | c2c cfe | d3 G2A | d2d dag | f3 e2e |

ede fef | gfg afd | c2G e2c | d3 c2 :|

                       

WINDMILL [1], THE. Scottish, Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 277, pg. 30.

X:1

T:Windmill, The [1]

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 277  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

Bcd G2F|E2G D2G|FAc edc|B2 A2c|Bcd G2F|E2G D2G|FAc edF|A3 G2c:|

|:Bcd d2d|cde e2e|def f2f|gfe d2c|Bcd d2d|cde efg|fed Ad^c|(d3 d2)=c:|

 

WINDMILL [2], THE. Irish, Reel. A modern composition by fiddler Ciaran Tourish, named after the Windmill Lane Studios, Dublin, where he the recorded an album called "Island Angel" with the band Altan. Green Linnett GLCD 1137, Altan - "Island Angel" (1993).

           

WINDS OF SHILOH. Old-Time. A cross-tuned piece from Kentucky fiddler J.P. Fraley. Fraley plays the tune in second position on the violin.

                                               

WINDSOR FORESTER QUICKSTEP. Scottish, Quickstep. F Major. Standard tuning. AABBCC. Carlin (Master Collection), 1984; No. 175, pg. 102.


                       

WINDSOR TARRIS. AKA - "Windsor Terrace" [2]. English, Country Dance Tune. From Walsh's 1714 Compleat Country Dancing Master. It is a different tune than "Windsor Terrace" [1].

           

WINDSOR TERRACE [1]. AKA - "Windsor Tarass." English, Country Dance Tune (4/4 time). D Minor. Standard tuning. AABB. Kidson (1890) identifies this melody as the original of "Dawning of the Day" (Torried y dydd) from Welsh tradition. The title comes from a song to the tune by Thomas D'Urfey, printed in Vol. 1 of his Pills to Purge Melancholy. It also appears in Walsh’s Dances for 1714, Playford's Dancing Master of 1716 (16th edition), the Fashionable Lady (1730) and Vvol. III of Thompson's Country Dances.

***

Musing, I late, on Windsor Tarass sate,

And hot and weary, heard a merry

Amorous couple chat.   (D'Urfey)

***

Kidson (Old English Country Dances), 1890; pg. 5. Knowles (A Northern Lass), 1995; pg. 4.

X:1

T:Windsor Terrace

M:C

L:1/8

S:Frank Kidson – Old English Country Dances  (1890)

Z:AK/Fiddler’s Companion

K:D Minor

d2 Af e3A|dfed ^c3B|AdGd FdEd|Dde^c d4:||

affa g3g|affa g3f|efdf cfBf|Afge f2 z2|

af fg/a/ b/a/ b2a|gfed ^c3B|AdGd FdEd|Dde^c d4||

 

WINDSOR TERRACE [2]. AKA and see "Windsor Tarris."

 

WINDSOR TERRACE [3]. Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by Washington, D.C., accordion player Billy McComiskey, who named it for his old home neighborhood near Prospect Park, Brooklyn. Black (Music’s the Very Best Thing), 1996; No. 155.

X:1

T: Windsor Terrace

C: B. McComiskey

Q: 300

R: hornpipe

M: 4/4

L: 1/8

K: D

(3ABc | dAFD GFEC | DCDF Adfd | (3gfe dc BA^GB | AECE A2 (3ABc | dAFD GFEC | DCDF Adfd | gfec Acec | (3dcd (3edc d2 :|

(3ABc | dcde f2 (3def | edcB A2 EA | cAEA CA^GB | AECE ABcA |

dAFD GFEC | DCDF Adfd | gfec Acec | (3dcd (3edc d2 :|

           

WINDY CITY, THE.  Irish, Reel. Composed by County Leitrim fiddler Charlie Lennon.

           

WINDY GAP [1], THE (Bearna na Gaoithe). AKA and see "Ah Surely," "Killabeg's House," "Killaghbeg House," "Bearna Gaoite," "The Boys of Twenty‑Five [2]", "The Bonfire [2]".  Irish, Reel. G Major. Standard. AABB. Source for notated version: accordionist Sonny Brogan (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 81, pg. 36.

 

WINDY GAP [2], THE. A modern composition by Pat Kilbride. John Whelan – “Celtic Crossroads.”

                       

WINDY HEIGHT, THE (Ard-Na N-Gaota). Irish, Air (6/8 time, "with spirit"). D Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 360, pg. 62.

X:1

T:Windy Height, The

M:6/8

L:1/8

N:”With spirit”

S:O’NeillMusic of Ireland (1903), No. 360)

Z:AK/Fiddler’s Companion

K:D

A|d2 d def|e2d c2A|B2B BAF|A2 A ABc|d2d def|e2d cBA|B<ed cBc|d3 d2||

B|A2G FEF|A2A A2g|f2d edB|d2d d2B|A2G FEF|A2A A2A|B<ed cBc|d3 d2||

                       

WINDY LAN