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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] |
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
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
WIND THAT BLOWS YOU
AWAY, THE. AKA and see "The Darkey's Dream," "Darkey Dan." American, Reel.
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,
***
“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). It was recorded on 78 RPM disc by Beaver Island, Michigan, fiddler
Patrick Bonner, who had several Irish-style tunes in his repertoire. Beaver
Island was settled by a number of immigrants from Arranmore island, off the
coast of Donegal, and the Donegal fiddling tradition can be heard in Bonner’s
playing (he was the youngest son of immigrants from Arranmore).
***
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
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
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
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
***
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 (
***
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 (
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
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
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
WINDERMERE REGATTA. English, Reel.
WINDING HILLS OF
WINDING ROAD. AKA and see “The Idle Road.” Irish,
Double Jig.
WINDING ROADS OF
ADVANCE, THE.
Irish, Reel. Composed by fiddler James Kelly, originally from
WINDING SHEEP. Old-Time, Breakdown.
WINDING STAIRS, THE. Irish, Slip Jig. E Dorian. Standard. AAB. Green Linnet SIF 1184,
X:1
T:Winding Stairs, The
M:9/8
L:1/8
Q:124
Z:Transcribed by Paul Kinder
S:
R:Slip Jig
K:EDOR
|:
|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."
WINDING WAY. American (?), Jig. C Major. Standard. AABB. Howe (Complete Preceptor for the Accordeon), 1843; pg. 7.
X:1
T:
M:6/8
L:1/8
R:Air
S:Howe – Complete Preceptor for the Accordeon (1843)
Z:AK/Fiddler’s Companion
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,
WINDS OF
WINDSOR FOREST.
English, Country Dance Tune (whole time). B Flat Major. Standard tuning.
AABB. Windsor Forest was a royal forest that at one time covered most of
Berkshire, England. The melody was printed in numerous publications in the 18th
century, including David Rutherford’s Choice Collection of Sixty of the Most
Celebrated Country Dances (London, 1750, and in a second volume in 1760),
John Johnson’s Two Hundred Favourite Country Dances, vol. 7 (London, 1756), Charles and Samuel
Thompson’s 1765 country dance collection, and Niel Stewart’s Select
Collection of Scots, English, Irish and Foreign Airs (Edinburgh, 1788). In
addition, it appears in the music manuscipt collections of London musician
Thomas Hammersley (1790), and Buckingham County, Virginia, fiddler Linnaeus
Bolling (1785). Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 2), 1765; No. 193.
X:1
T:Windsor Forest
M:C
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
BdfB AcfA|Ge/d/ cB AGFE|DFBD CEAc|{Bc}d2 FA B2 B,2:|
|:BdfB AcfA|Gf=ef (g/f/=e/d/) cB|AcfA Gf=eg|(f/g/a) c=e f2 F2|
dfbd
cbac|Bg/f/ e/d/c/B/ AGFE|DFBD CBAc|{Bc}d2 FA B2 B,2:||
***
Musing, I late, on
Amorous couple chat. (D'Urfey)
***
Kidson (Old English Country Dances), 1890; pg. 5. Knowles (A Northern Lass), 1995; pg. 4.
X:1
T:
M:C
L:1/8
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:Dmin
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||
X:1
T: Windsor Terrace [3]
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 :||
WINDSOR TERRACE [3]. English, Jig. A Major. Standard tuning. AABB. This “Windsor Terrace” is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 147.
X:1
T:Windsor Terrace
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
ABA
ecA|B2c def|ABA ecA|G2A BGE|ABA ecA|B^de fga|gaf ef^d|e3 E3:|
|:EGB dcB|Ace aec|EGB dcB|cec Ace|fdB Gee|cAF D[B,B]d|ecA fed|cdB A3:||
WINDY CITY, THE. Irish,
Reel. Composed by
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’Neill – Music of
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 LANE, THE. AKA and see “The Aughdarra,”
“The Otter’s Den,” “The Otter’s Hole,” “The Otter’s Holt,” “The Water Dog’s Hole,” “The Water Hole.”
WINE CANNOT CURE. AKA and see “From Night Till Morn.”
WINE'S DELIGHT. AKA and see "N_____'s Delight."
Old‑Time, Breakdown. A Major. Standard tuning. AABB. Probably named for
WINETAVERN STREET. Irish, Jig. D Major.
Standard tuning. AABB. Winetavern Street is in the city of Dublin and takes its
name from the fact that it was originally occupied by keepers of wine-taverns
and other drinking establishments. The pub that claims to be the oldest pub in
Ireland, the Brazen Head dating from the 16th century, is located
nearby, about a quarter of a mile away in Bridge Street. Christ Church
Cathedral is on the corner of Winetavern and Christchurch Place. McGuire & Keegan (Irish Tunes by the 100, Vol. 1), 1975;
No. 32, pg. 8.
WINGS. Scottish, Pipe Tune. The regimental march of the Royal Corps of
Engineers, also played by the Royal Air Force.
WINGS OF A DOVE. AKA and see "Les
Ailes des Hirondelles." Cajun. The original title actually refers to
swallows, not doves. Rounder Records, "Cajun Music From the
WINIFREDA. Welsh, Air. The tune appears in Jones’s first edition of Musical and Poetical Relicks of the Welsh
Bards (1784).
WINIFRED’S KNOT. AKA and see “Open the
Door to Three [1].” English, Country Dance Tune (6/8 time). G Major.
Standard. One part. Sharp (Country Dance
Tunes), 1909/1994; pg. 28.
X:1
T:Winifred’s Knot
T:Open the Door to Three
L:1/8
M:6/8
Z:AK/Fiddler’s Companion
S:Sharp – Country Dance Tunes
K:G
|:D|G2G B>cB|A2D G2G|B>cB
c2c|d2d d>cB|A2D G>AG|B A2 G2||
D|G2G B>cB A2D G2G|B>cB
c2c|d2d d>cB|A2D G>AG|B A2 G2:|
WINK
AND I'LL FOLLOW YOU. AKA and see “Whiskey and Water.” Irish, Single Jig.
G Major. Standard tuning. AABB’. O’Neill (Waifs
and Strays of Gaelic Melody), 1922; No. 110.
X:1
T:Wink and I'll Follow You
M:6/8
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Single Jig
K:G
B2 A G3|GBA G3|B2 A G2 A|B2 A BGE|
B2 A G3|GBA G2 E|FEF d2 B|e2 B AFD:|
|:B2 e e2 d|fed e3|B2 e e2 f|g2 e fdB|1B2 ^c d2 B|edc d3|B2 ^c d2 e|
f2 e dBA:|2 B2 ^c d2 =c|B3/2c/2B/2A/2 G3|FEF d2 B|e2 B AFD||
WINK AND SHE'LL FOLLOW
YOU. AKA and see "Hush the Cat from Under the
Table," "Last Night's
Fun [2]," "Miss
Brown's Fancy [3]," "Paddy be
aisy.” Irish, Slip Jig. Ireland, Kerry. D Dorian. Standard tuning. AAB. The
tonal base shifts between D dorian and G mixolydian. Identified in
Stanford/Petrie as a “Kerry Jig”. Source for notated version: “From Father
Walsh MS” (Father M. Walsh was “an enthusiastic musician” and the parish priest
at Sneem, bordering on Kenmare Bay, in the early 19th century {O’Neill, 1913})
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 956, pg. 243.
X:1
T:Wink and she will follow you
M:9/8
L:1/8
R:Slip Jig
B:Stanford/Petrie, No. 956 (1905)
Z:AK/Fiddler’s Companion
K:D Dorian
D2A A2G ABc|E2A AGE G2E|D2A A2G
ABc|BAG AGE G2E:|
c2d ecA A2c|B2c dBG G2G|c2d ecA
A2c|BAG AGE G2E|
c2d ecA A2c|B2c dBG G2G|g2g ecA
A2c|BAG AGE G2E||
WINK HER ASIDE (Sméid i Leataobh Í). Irish, Double Jig. G Major. Standard tuning.
AB. Source for notated version: John and Tommy Gunn (County Fermanagh)
[Breathnach]. Breathnach (CRÉ IV),
1996; No. 21, pg. 11.
WINK OF HER EYE [1], THE (Smeid N'a Suil). Irish, Air (6/8 time,
"cheerful"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 227, pg. 39.
X:1
T:Wink of Her Eye, The [1]
M:6/8
L:1/8
R:Reel
N:”Cheerful”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
g/a/|b2g {a}gfe|d>cB cde|dBd
gfe|dBG A2 g/a/|b>ag {a}gfe|dcB cde|
dge dcB|cBA G2||f/g/|a2b
{d’}c’ba|gfe d3|cBA Bcd|age d2 f/g/|
a2b {d’}c’ba|bd’b g2 e|dge dcB|cBA
G2||
WINK OF HER EYE [2], THE. AKA and see "Bold John O'Leary." Irish,
Double Jig. D Major. Standard tuning. AABB. Composition improbably credited to
one J. Hand in Cole's 1000. Cole (1000 Fiddle Tunes), 1940; pg. 56. Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley
Street Tradition.”
WINK OF HER EYE [3], THE. Irish, Reel. G Major. Standard tuning. AB. Source for notated version: the Rice-Walsh manucript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 266.
X:1
T:Wink of Her Eye, The [3]
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Reel
K:G
BGFG EGDG|BGFG AGEG|BGFG EGDG|Bged BdAc|
BGFG EGDG|BGFG AGEG|BGFG EGDG|Bged Bdef||
g2 gf gbag|egde Bdef|gfef gbag|(3efg de BA A2|
GABd
gbag|(3efg dB G2 ga|bgaf gefd|(3efg (3fga gedc||
WINK THE OTHER EYE. Old‑Time, Breakdown. USA; Kentucky, Tennessee, Missouri. G Major.
Standard tuning. AABB (Beisswenger & McCann, Christeson): AA'BB'
(Phillips). The tune is meant to be played at a tempo slower than that for a
standard breakdown. Charles Wolfe says it is a "fine old Sequatchie Valley
(Tenn.) fiddle band tune known to area fiddlers as diverse as Tom Douglas and
Curly Fox" (Charles Wolfe, The
Devil's Box, vol. 15, No. 4, Dec. 1981, pg. 56). Early recordings (Meade,
2002) are by Theron Hale & His Daughters (1928), Jess Young’s Tennessee
Band (1929) and Hack’s String Band (1930). It appears to be well‑known in
those states just west of the Mississippi River, as it is in Tennessee and
Kentucky. Guthrie Meade (1980) associates the title with songwriter W.T.
Lytton, who penned “When You Wink the Other Eye” in 1890 (popularised by Marie
Lloyd), a slightly risqué variety piece which begins:
***
Say boys, what do you really mean
when you wink the other eye?
Why, when you tell us where you’ve
been do you wink the other eye?
You tell your wives such stories,
you can give them just a few,
“Just met an old acquaintance” or
“The train was over-due.”
And when the simple wife believes
that every word it true,
Then you wink the other eye.
***
CHO:
Say, boys, now is it quite the
thing?
Say, should we let you have your
fling?
Oh! When you’ve got us on a string
Then you wink the other eye.
***
Sources for notated versions: Lonnie
Robertson (
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
WINNICK'S FAVORITE. American, Dance Tune (2/4 time). D Major. Standard tuning. AABB. The
tune is listed as a 'jig' in Ryan’s
Mammoth Collection, referring not to the familiar Irish 6/8 jig but rather
a type of syncopated, duple-time, old-time banjo tune. Cole (1000 Fiddle Tunes), 1940; pg. 82. Ryan’s Mammoth Collection, 1883; pg.
114.
X:1
T:Winnick’s Favorite
M:2/4
L:1/8
R:’Straight’ Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(A/B/c/d/) | fd f/<d/ z/f/ |
zd/f/ e2 | ec e/<c/ze | zc/e/ d :|
|: D | D/F/A/c/ d/>f/z/(d/ |
e/)(c/d/)B/ A/F/E/D/ | A,/C/E/F/ G/BG/ | A/F/G/E/ D :|
WINNIE DEAR [1]. AKA and see "Una A Ruin."
Irish, Slow Air (4/4 time). F Major. Standard tuning. One part. Source for
notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co.
Leitrim, c. 1846 (Joyce). Joyce (Old
Irish Folk Music and Songs), 1909; No. 622, pgs. 318‑319.
WINNIE DEAR [2]. AKA and see "Dear Oona,"
"Dear Winnie."
WINNIE GREEN'S
FAVORITE. AKA and see "Winnie Green's Reel," "The Graf Spee." Irish, Reel. C Major. Standard
tuning. ABBCCDD. Cole (1000 Fiddle Tunes),
1940; pg. 25. Ryan’s Mammoth Collection,
1883; pg. 50.
X:1
T:Winnie Green’s Favorite
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:C
(E/C/)~C (EG)~G | .A/.c/.G/.A/ (A/G/).c/.G/
| (E/C/)~C (E/G/)~G | .A/.c/(G/F/) (E/D/).D |
(E/C/)~C (EG)~G | .A/.c/.G/.A/
(A/G/).c/.G/ | (E/C/)~C (E/G/)~G | .A/.c/(G/F/) (E/D/).D ||
|: e>c d>c | (A/c/)(G/c/)
(A/G/)(c/G/) | .e/.e/.e/.c/ d>c | (A/c/).G/.c/ (E/D/).D |
e>c d>c | (A/c/).G/.c/
(A/G/).c/.G/ | e>c d>c | (A/c/)(G/c/) (E/D/).D :|
|: (e/g/)~g .g(g/=f/) | (e/a/)~a
.a(a/=g/) | .e(d/B/) (c/B/).c/.d/ | (e/a/)(a/g/) (f/d/).d :|
|: e>(c d>)c | (A/c/)(G/c/)
(A/G/)(c/G/) | .e/.e/.e/>c d>c | (A/c/)(G/c/) (E/D/).D :|
WINNIE GREEN'S REEL.
See "Winnie Green's Favorite."
WINNIE HAYES’. Irish, Jig. Similar to “The Cordal
Jig.” Shanachie 78030, Danú – “Think Before You
Think” (2000).
WINNIFRED. AKA ‑ "Una." Irish, Air or Planxty (4/4 time). D Minor.
Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan
(1670-1738). O'Neill (Krassen), 1976; pg. 232. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 644, pg. 116.
X:1
T:Winnifred
M:C
L:1/8
R:Air
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D Minor
DE | G2 G>A GEDE | G2 G>A GEDE
| A2 A>B c2 E>F | G3E D2 E>G | A2 A>B c2A2 |
d2 d>e f2 ed | cAGE CDEC | D4 D2
|| AB | c2 cd cAGA | d2 de f2 ed |
d>CAG E2 DE |
CcGE C2 DE | F2 EF G2 ^FG | Ad{e}de
f2 ed | cAGE CDEC | D4 D2 ||
WINNIFRED FOLEY. Canadian, Jig. F Major. Standard tuning. AA’BB’. Traditional. Source
for notated version: Winnifred Foley (
WINNING TICKET, THE. Canadian, Jig.
X: 1
T:
R:reel
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:D
AG|FA2F
ABAF|GB2B B2ed|cAce aece|defd A2AG|
FA2F
ABAF|GB2B B2ed|cAce aece|d2f2 d2:|
|:fg|a2f2
dcde|gfed B4|gfed cABc|defd A2fg|
a2f2 dcde|gfed B4|gfed cABc|d2f2
d2:|
WIN(N)YADEPLA. See "Winyadepla."
WINSLOW, THE. Canadian, Jig.
WINSOME WIDOW, THE. AKA ‑ "An Baintreabac
Eireacdamiul." Irish, Air (2/4 time, "with spirit"). G Mixolydian.
Standard tuning. AABB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 312, pg. 54.
X:1
T:Winsome Widow, The
M:2/4
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
D|G>G B>d|=f>f eg|d>B
AG|EG G<D|G>G Bd|=f>f eg|d>B AG|E<G G:|
|:d/e/|=f>f ed|e>^f ge|e>d
BG|AG E/D/ z/ D/|D>
WINSTER GALLOP. English, Country or Morris Dance Tune (4/4 time). G Major. Standard
tuning. AB (Barnes): AABB (Raven, Sweet, Wade). Both dance and tune were
originally collected by Cecil Sharp at Winster, Derbyshire, in 1911. The tune
is used for either a polka or a single step in the North‑West (
X:1
T:Winster Gallop
S:Claire McLaughlin, Edinburgh 9/4/03
Z:Nigel Gatherer
M:2/4
L:1/8
K:G
GB GB | GB d2 | AB/c/ BA | GB d2 |
ce fe | dB d2 | Ab/c/ BA | G2 G2 :|
gf ed | gf ed | gf ed | cB A2 |
fe d2 | fe d2 | d2 A>c | BG G2 :|]
WINSTER MORRIS REEL. AKA and see "Derbyshire
Morris Reel." English, Morris Dance Tune (6/8 time). A Major. Standard
tuning. AABB,AABB,A (Bacon). The first part resembles the Pennsylvania‑collected
"Mule Song." Bacon (The Morris
Ring), 1974; pg. 318. Sharp (Morris
Dance Tunes), 1909‑51, Set VI, pg. 4.
WINSTER MORRIS
DANCE/MARCH. AKA ‑ "Winster
Processional." English, Morris Dance Tune (2/2 time). G Major. Standard
tuning. AB (Plain Brown): AABB (Bacon). The tune was used for a
processional dance in the
***
And this is morris dancing,
And he said it was a chance Sir.
***
Bacon (The Morris Ring), 1974; pg. 318. Plain Brown Tune Book,
1997; pg. 31 (appears as “A Morris Tune”). EMI/Harvest
7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On"
(1976/1994).
X:1
T:Winster Processional
M:4/4
L:1/8
R:March
K:G
g2d2d2 ef | g2d2d2 ef | g2d2d2c2 |
B2A2G2z2 | g2d2d2 ef | g2d2d2ef |
g2d2d2c2 | B4G2z2 || c3e2e2 dc |
B2d2d2 cB | A2B2c2d2 | B2G2G2z2 |
c2e2e2dc | B2d2d2 cB | g2d2d2c2 |
B4G2G2 ||
WINSTER PROCESSIONAL. See "Winster Morris
Dance/March."
WINSTON. Old‑Time.
WINSTON AT THE
GLENVILLE HALL. Canadian, Jig.
WINSTON IN THE 50's. Canadian, Reel.
WINSTON "SCOTTY"
FITZGERALD'S JIG. Canadian, Jig.
WINSTON SCOTTY’S REEL. AKA and see “(A) Winston Tune.”
WINSTON TUNE, A. AKA - “Winston Scotty’s Reel.” Canadian, Reel.
WINSTON’S STRATHSPEY. Canadian, Strathspey.
WINTER APPLES [1] ("Uballide Geimread" or "Uballa
Geimrid").
AKA and see “Boston Rattlers',” "Connemara Stockings," “Hobb’s Favorite,” "Galway Reel [1]". Irish, Reel. G
Major. Standard tuning. AB. See also P.W. Joyce’s “Typrid Lasses,” a close variant. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
247, pg. 130. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1513, pg. 280. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 732, pg. 128. Copley Records 9-195 (78 RPM), Frank
Nelson with Paddy Cronin, (195?. Appears as “
X:1
T:Winter Apples [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
(3def|g2 fd edBA|GABG AGEF|GFGA
BABd|(3efg af gfed|g2 fd edBA|
GABG AGEF|GFGA BABd|(3efg af
g2||ef|(3gab eg b2 ag|(3fga df a2 gf|
(3gab eg b2 ag|(3fga df e2 ef|g b2 b
b2 ag|f a2 a a2 gf|(3gag bg (3fgf af| edef gbaf||
WINTER APPLES [2]. AKA and see "The Ball
(Humours) of Ballynafeidh," "The Banks of Lough Gowna,"
"The Clare Jig [1]," "Delaney's Drummers," "The Kitten and the Frog," "Kitty in the Fog," “Mug of Brown Ale,” “Old Man Dillon,” "One Bottle More," "Paddy in London [2],” “The Raffle Jig,” "The Rambler From Clare [1],"
"The Stonecutter's Jig,"
"Tom Billy's Jig,"
"Young Tom Ennis." Irish,
Jig.
WINTER DREAMS. English, Waltz. G Major. Standard tuning. AB.
The tune begins with the first full measure on the subdominent chord. Composed
by Jonathan Jensen. Barnes (English Country Dance Tunes, vol. 2), 2005;
pg. 143.
WINTER FLOWER POLKA. American, Polka. G Major. Standard tuning. AABB. The provenance of the
polka is unknown, however, it has been associated with Ozark and Texas
fiddlers. Sources for notated versions: Forrest Daugherty (Texas) [Phillips];
Lester Bennet (1913-1988, Scotland County, Mo.) [Beisswenger & McCann].
Beisswenger & McCann (Ozark Fiddle Music), 2008; gp. 170. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 357.
WINTER GARDEN JIG. American, Dance Tune. D Major. Standard tuning. AABA. The tune is
labelled a ‘jig’, meaning a kind of solo dance tune, not the 6/8 Irish jig. The
‘new’ Winter Garden theater on Broadway was originally built in 1911 and
continues as a major venue to this day for popular stage productions. It was
preceeded, however, by another Winter Garden, also famous as a
X:1
T:Winter Garden Jig
M:2/4
L:1/8
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
D/F/A/A/ BA | BA BA | D/F/A/A/ BA |
B/d/c/e/ d2 :| Fd cd | d2 AF | A>F D>A | B/A/B/c/ B2 ||
WINTER GARDEN
QUADRILLE. Irish, Quadrille Set. Compare with
“The Basket of Turf,” “Bundle and Go” [1], and “Unfortunate Rake [1]” family of tunes.
Source of notated version: manuscripts in the possession of Chicago Police
Sergeant James O’Neill, Francis O’Neill’s ‘scribe’ and collaborator [O’Neill].
O’Neill (Waifs and Strays of Gaelic
Melody), No. 82
X:1
T:Winter Garden Quadrille
M:6/8
L:1/8
S:Sergt. James O'Neill manuscripts
Z:Paul Kinder
K:D
"NO. I"
fdB AFA|BGB AFA|fdB AFA|B2 c d2 e|!
fdB AFA|BGB AFA|fdB AFA|B2 c d2 e||!
f2 a e2 f|dcd A2 g|f2 a e2 f|gfg a3|!
bbb aaa|gfg ede|fdB AFA|B2 c d2 e||!
K:G
"NO. II"
FAA Afe|dBB BAG|FAA d2 e|fdd dAG|!
FAA Afe|dBB BAG|FAA d2 e|fdd d2||!
e|fef afe|dBc d2 e|fgf ede|fdA Bde|!
fef afe|dBc d2 e|fgf ede|fdA BAG||!
"NO. III"
E2 B BAG|F2 d AFD|E2 B BGB|AGF e2 f|!
gfe dcB|AFd AFD|E2 B BGB|AGF E3||!
eBe gab|aga faf|eBe gbg|afd e2 f|!
gfe dcB|AFd AFD|E2 B BGB|AGF E3||!
"NO. IV"
GBB dBB|gBB dBB|cAA fef|gfa gdB|!
GBB dBB|gBB dBB|cAA fef|g3 g3||!
afd dcd|edc BAB|dBG GFG|AcB A2 c|!
Bdg
gdB|dfa afd|def def|g3 g3||!
WINTER (IT) IS PAST, THE (Ta An Geimread Tart). AKA and see "Curragh of Kildare." Irish, Air
(4/4 time). D Major (O'Neill): G Major (Joyce): F Mixolydian (Stanford/Petrie).
Standard tuning. One part. "I took down the words and air of this song
about 1852 from Kate Cudmore of Glenosheen, Co. Limerick: and I gave both to
Dr. Petrie, who published them in his Ancient
Music of Ireland. The air re‑appears in Stanford‑Petrie. There
is a Scotch version of the words: but the Scotch air‑‑which appears
modern‑‑is different from ours, as given here. The words originated
in Ireland" (Joyce). In fact, the 'Scotch version' referred to by Joyce
can be found in James Oswald's 18th century Caledonian
Pocket Companion, while Robert Burns, the Scots national poet, rewrote the
lyrics "The Winter It is Past" in the publication The Scots Musical Museum in the early
19th century. Burns retained the tune used by Oswald which, while no relation
to Joyce's melody, is one of a family of melodies that also includes
"Bonnie May," Cazden's (et al, 1982) Catskell Mountain collected
"Fare You Well, My Own True Love," and the sacred harp hymn
"Tribulation."
***
The rose upon the brier
By the water running clear
Gives joy to th linnet and the bee;
Their little hearts are blest,
But mine is not at rest,
Since my truelove is absent from me. (Joyce)
***
Joyce (Old Irish Folk Music and Song), 1909; No. 427, pgs. 238‑239.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 300, pg. 52.
Stanford/Petrie (Complete Collection),
1905; No. 439, pg. 111.
X:1
T:Winter is Past, The
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
A|AFAB d2 g>f|edBA A2 cd|e2fg
a2gf|(e4 e2)(ef)|gefg a2 gf|edBA A2 AB|
D2 gf edB>A|(A4 A2) ef|gefg a2
ba|gfed B2 AB|d2 gf edB>A|A4 A2 z||
WINTER MEMORIES.
English, Country Dance Tune (2/2 time). D Major. Standard tuning.
AA’BB’. The name of a dance and tune composed by Colin Hume in 1996. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 144.
WINTER('S) NIGHT SCHOTTISCHE. AKA and see “Duck’s Eyeball [2],” "Right Foot, Left Foot," "Rainbow Schottische," “Stephen Baldwin’s Schottische,”
“Tom Bhetty’s Hornpipe.” C Major (‘A’ part), A Minor (‘B’ part) &
F Major (trio section). Standard tuning. ABB’C (Trio). A member of a large and
wide-spread schottische family. Orchestral arrangements for “Winter’s Night
Schottische” date from about the 1860’s, and can be found in London publisher
Hopwood and Crew’s Orchestral Journal, No. 16 where either the
composition or arrangement is attributed to Charles Coote (1808-1880). Hopwood
and Crew specialized in popular songs during the latter 19th
century, half-owned by Coote, a composer of popular pieces for the ballroom,
concert hall and bandstand. Coote was also the director of Coote & Tinney’s
Band, the premier London dance orchestra, involved in the musical
programmes of Queen Victoria’s State Balls at Buckingham Palace where he was
court band director. Coote’s son, also Charles (1831-1916), himself became a
composer of popular songs, and was so successful he was able to purchase in
1875 the remaining interest in Hopwood and Crew for the family. Coote the elder appears to have been
a fan of Charles Dickens, as a few of his compositions have titles from
Dicken’s works, such as “Mugby Junction” (the name of a story by Dickens). The
“No Thoroughfare Galop” by Charles Coote 'as performed nightly at the Adelphi
Theatre' (1867-1868) is 'By Kind Permission
of Charles Dickens Esq.', and “Coote’s Lancers” and “Somebody’s Luggage” were
dedicated to the famous writer. Coote
wrote to Dickens in the early 1850’s to inquire for permission to use some of
his poems as lyrics for songs he would write. Dicken’s reply of January 24,
1853, survives in which he politely but firmly informs Coote that his publisher
withholds permission for whatever Coote’s request had been. He suggests Coote
look through older volumes of poetry for inspiriation, but ends, “Mrs. Dickens
and her sister send their kind regards,” so they must have been social
acquaintances. Source for notated version: fiddler Stephen Baldwin, recorded by
Russell Wortley in 1954 [Callaghan].
Callaghan (Hardcore English), 2007;
pg. 90 (appears as “Stephen Baldwin’s Schottische”). Kerr (Merry Melodies), vol. 2, No. 439, pg. 50. Familiar
Records FAM 47, Pyewackett ‑ "7 to Midnight" (1985). Musical
Traditions MTCD 334, Stephen Baldwin – “Here’s One You’ll Like, I Think” ().
X:1
T:Winter Night Schottische
M:C
L:1/8
R:Schottische
B:Kerr – Merry Melodies, vol. 2, No. 439
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
c’2 e>f g2 c>d|e>Bc>A
G4|G>AB>c d>ef>g|a2 g>^f g2 c>d|c’2 e>f g2 c>d|
e>Bc>A G4|G>AB>c
d>ef>B|c2 ({d}c>)B c2z2||A A>^G A>Bc>d|
e2 e>^d e2a2|e2a2e2d2|c>dc>B
A2E2|A2 A>^G A>Bc>d|
e2 e>^d e2a2|e2 d>e
c>dB>c|A2 z2 a2 a2:|2 a2 z2 [B2g2] z2||
K:F
f2 fa cfAc|FAcf a4|g2 gb egce|Gceg
b4|
f2 fa cfAc|FAcf a3f|efga
bcde|f2f2f2:|
WINTER
NIGHTS ARE LONG. Scottish, Air. The name of the tune
appears in a 1721 poetic address by Allan Ramsay addressed to the Edinburgh
Musical Society.
***
While vocal tubes and consort strings engage
To speak the dialect of the Golden Age,
Then you whose symphony of souls proclaim
Your kin to heaven, add to your country’s fame,
In Albion’s glens, as Umbria’s green retreat:
And with Corelli’s soft Italian song
Mix Cowden Knows, and Winter Nights are long.
WINTER WALTZ. AKA and see "Valse D'Hiver."
WINTER
WAS CAULD, AND MY CLAITHING WAS THIN. Scottish, Air. The meldoy was used
by Allan Ramsay for his ballad opera The
Gentle Shepherd (1725).
WINTON'S FROLIC. English, Jig. England,
Northumberland. D Major. Standard. AABB. Seattle (William Vickers), 1987, Part 3; No. 465.
WINYADEPLA. Shetland, Air (2/4 time) or Shetland Reel.
Shetland, Fetlar. A Major. Standard.
AAB. A norse name for a tune apparently indigenous to the Shetland island of
Fetlar. Anderson & Georgeson (1970) relate the story of the tune:
***
It was one winter in 1803 that Gibbie Laurenson, living at
Norderhoos, Gruting, set out with a mare's load of dried corn
for grinding at the Fir Vaa water‑mill. After he had filled the
hopper and started the mill, he lit a peat fire in a fire‑kettle
and sat down on a stool to rest. Aware of voices outside,
Gibbie pretended to be asleep as he knew then that the trows
were about. The door opened and
a troop of peerie folk came
in. A woman took off the nappie from her baby and hung it on
Gibbie's leg, near the fire, to dry. Then one of the trows said,
"What'll we do ta da sleeper?" "Lat him aleen,"
replied the
woman, "he's no a ill body. Tell Shanko ti gie him a ton."
Said
Shanko, "A ton he sall hae, an we'll drink his blaand."
After
drinking, they trooped out of the mill, and danced on the green
nearby. When the footfalls and music ceased, Gibbie looked
out from the mill door and saw the trows going up the hill towards
Stackaberg, and a boat with two rowers pulling away from the
shore. He concluded that this had landed his visitors.
***
Gibbie's fiddler son, to whom he whistled the tune, called it
"Faider's Ton", but it was later named "Winyadepla"
after a
loch near the Fir Vaa watermill.
***
Source for notated version: Walter
Shewan (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 13. Maggie’s Music MMS 209, Bonnie Rideout – “Celtic Circles.”
WIR LINDA'S MEDLEY
(REEL). Shetland, Reel. F# Minor. Standard
tuning. AB. See note for "Wir (Our) Linda's Strathspey." Anderson (Ringing Strings), 1983; pg. 57.
WIR LINDA'S MEDLEY (Strathspey). Shetland, Strathspey. F# Minor. Standard
tuning. AAB. 'Wir' means 'Our'. "A Strathspey and Reel in the Scottish
Northeast Style. Written (by Tom Anderson) in 1978, in the early hours of the
morning having woken up with the melodies in my head, in fact, I seemed to
think I'd heard them on the morning radio. Dedicated to Linda Keen, a student
from the USA, who was studying with me at the time" (Anderson). Anderson (Ringing Strings), 1983; pg. 56.
WIR MAY. Shetland, Reel. D Major. Standard tuning. AAB. "May Gair (nee
Smith) was the double bass player for the Shetland Fiddler's Society for some
years. She was affectionately known by the fiddlers as Wir (our) May. This was
composed (by Tom Anderson) in 1973" (Anderson). Anderson (Ringing Strings), 1983;d pg. 90.
WISE MAID [1], THE (An Ghearrchaile Chríonna). AKA and see “All Around the World,” “Cooley’s (Reel) [2],” “The Connemara Rake,” “Doherty’s (Reel) [2],” “Grehan’s,” “John Doherty’s Reel[2],” “Johnny Doherty’s Reel [1],”
“Jolly Beggar [2],” “The Knotted Chord” [2], “Matt Molloy’s [1],” “The Mistress,” “Mot
Malloy,” “Tinker Doherty.” Irish,
Reel. D Major. Standard tuning. AAB (Miller & Perron): AABB (most versions):
AA'BB (Breathnach).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Wise Maid, The [1]
T:Doherty's
R:reel
C:trad
B:The Fiddler's Fakebook
M:C|
L:1/8
Q:1/2=90
K:D
|:"D"~F3G FEDE|FAAB AFED|d2
(3efg fdec|"A"dBAF BEED|
"D"~F3G FEDE|FAAB AFED|d2
(3efg fdec|[1"A"dBAG "D"FDDE:|
[2"A"dBAG
"D"FDDA||"D"d2AG FDFA|dfaf
"A"gfeg|"D"fAdf "A"eAce|
"D/Bm"dfed
"A"cAAc|"G"BEGB "D"ADFA|dfaf
"A"gfed|"G"(3Bcd "A"ce "D"dBAG|
[1"A"FAEA
"D"D3A:|[2"A"FAEA "D"D4||
X:2
T:Wise Maid, The [1]
M:C|
L:1/8
N:Slurs by Brian Conway
S:Mulvihill – 1st Collection (1986)
K:D
(DE) | F3 (G F)ED(E | F)AAB A(FE)D | d2 (3efg f(de)c | {e}d(BA)F BE {F}(3EDE |
F3G FEDE | FAAB A(FE)D | d2 eg f(de)c | d(BA)F D2 || A | d2 A(G F)DFA | dfa(f {a}g)feg |
f2
df e(Ac)e | dfe(d c)AAc | B2 GB A(DF)A | dfa(f {a}g)fed | (3Bcd ec d(BA)G |
FGEF D2 ||
WISE MAID [2], THE. AKA and see “The Humours of Swanlinbar,” “The Pinch of Snuff [1].” Scottish, Reel.
D Major. Standard tuning. AABBCCDD. An up-to-nine-part Irish reel, popular in
County Donegal, called “The Pinch of Snuff” appears to be derived from this
tune. Not related to “Wise Maid [1].” Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 200, pg. 46. Kerr (Merry
Melodies), vol 4; No. 79, pg. 11.
X:1
T:Wise Maid [2]
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 79
Z:AK/Fiddler’s Companion
K:D
D2 (3FED (AD) (3FED | D2 (3FED EGFE
| D2 (3FED (AD) (3FED | G2 (BG) EFGE :|
|: (3ABA (FA) (3ABA (FA) | (3ABA
(FD) (EF)(GE) | (3ABA FA (dA)FA | GEFD EFGE :|
|: e2 (ge) bege | e2 (ge) fagf | e2
(ge) bege | b2 (ge) fagf :: d2 (cA) BcBA | dBcA EFGE |
d2 (cA) BcBA | GEFD EFGE :|
WISE NORA (Nóra Chríonna). AKA and see “"Nóra
Críona"
WISEMAN'S FAVOURITE. AKA and see "Bob
Thompson's Favourite," "The Coravat
Jig [1]," "The Mountain
Lark [5]," "Jackson's
Trip to Limerick," "Jackson's Walk to Limerick,"
"Jackson's Coola,"
"The Geese in the Bog [2],"
"The Green Meadow [2],"
"Tuhy's Frolic," "Twice Tricked." Irish, Jig. The tune
appears in a manuscript from A. Casey (Cork).
WISH, THE. English, Country Dance Tune. Published in
Playford’s English Dancing Master
(1651). Raven (English Country Dance
Tunes), 1984; pg. 37.
WISH(ED) I HAD MY TIME
AGAIN. Old‑Time, Breakdown. USA,
Kentucky. A Major. Standard tuning. One part. Another variant of the "Sally Ann [1]"‑"Great Big Taters"‑"Sandy
Land"‑"Sail Away
Ladies [1A]" tune family. One of only two tunes (along with "Hook and Line") recorded for
Gennett Records in 1933 by the
WISHAW'S DELIGHT. AKA and see "Ligrum Cush,"
"The Marquis of Granby,"
"Over the Water to Charlie,"
"Pot Stick," "Shambuie." Scottish, Jig. D Major. Standard
tuning. AAB. The Gow’s label the tune “Dancing Set. Or Wishaw’s Delight,” and
include another setting right above it, under the title “Original Set of O’er
the Water to Charlie.” Wishaw is a town in Lanarkshire, east-southeast of
X:1
T:Whishaw’s Delight
M:6/8
L:1/8
R:Jig
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
pgs. 12-13 (orig. 1792)
Z:AK/Fiddler’s Companion
K:D
D2(A A)FA|(B/c/d).F “tr”E2D|(DF)A
(AF).A|”tr”B>AB def|dFA AFA|
B>cd AFD|dfd ecA|”tr”B3
{A/B/}d3:||dfd ecA|({B/c/}d2)F “tr”E2D|
dfd ecA|”tr”B3 {A/B/}(.d2.A)|dfd
ecA|({B/c/}d2)F “tr”E2D|D(A A)FA|
“tr”B3 {A/B/}d2A|dfd ecA|B>cd
AFD|dfd ecA|”tr”B3 {A/B/}d2 f/g/|
agf edc|d>cB AFA|DFA AFA|”tr”BAB
d3 {e/f/}||
WISHING WELL, THE. Irish, Slip Jig. A Minor. Standard tuning.
AABB. Kennedy (Fiddler’s Tune-Book: Slip
Jigs and Waltzes), 1999; No. 88 , pg. 21. Kerr (Merry Melodies), vol. 4; No. 235, pg. 26.
X:1
T:Wishing Well, The
M:9/8
L:1/8
R:Slip Jig
S:Kerr – Merry Melodies, vol. 4, No. 235
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Amin
EFE A2B c3 | G2G B2c dBG | EFE A2B
c3 | dfe dcB A3 :|
|: GAG c2d e3 | d2e fdc BAG | GAG
c2d e3 | dfe dcB A3 :|
WISP ON THE LOFT, A. See “Sop air an Lochda.”
WISSAHICKON DRIVE. Irish, Reel. A Major. Standard tuning. AABB (Cranford, Perlman,
Songer): AA’BB’ (Black). Composed by Chicago Irish-style fiddler Liz Carroll
and named for a famous windey city drive in northwest Philadelphia,
Pennsylvania, which leads to the Commodore Barry Club, the site of many Irish
music events in the city. Perlman (1996) notes it is one of the few
contemporary tunes from the United States in circulation on Prince Edward
Island. Sources for notated versions: fiddler Brenda Stubbert (b. 1959, Point
Aconi, Cape Breton, Nova Scotia) [Cranford]; Kenny Chaisson (b. c. 1947, Bear
River, North-East Kings County, Prince Edward Island; now resident of Rollo
Bay) [Perlman]. Black (Music’s the Very
Best Thing), 1996; No. 296, pg. 159. Cranford (Brenda Stubbert’s), 1994; No. 14, pg. 6. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 107. Songer (Portland
Collection), 1997; pg. 210. Brenda Stubbert -
“House Sessions” (1992).Wild Asparagus WA 003, Wild Asparagus - "Tone
Roads" (1990). Shanachie, Liz
Carroll – “Cherish the Ladies” (1985).
X:1
T:
C: Liz Carroll
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: A
EFAB cBAB | f2 ef ecBA | F2 dF eFde | feef edBA |
EFAB cBAB | f2 ef eAce | fagf eAcA |1 BEGB A2 FA :|2 BEGB A2 ce ||
a2 ga baga | fAde fagf | eAce aece | aedc BEGB |1
a2 ga baga | fAde fagf | eAce aedc | BEGB A2 ce :|2
A2 ce ac'ba | fAde fagf |eAce aedc | BEGB A2 ||
WITCH OF THE GLEN. AKA and see "The Kerry Reel
[1]," "The Green
Banks of Rossbeigh," "Pairceanna Glasa Ros Beithe."
WITCH OF THE WAKE. AKA and see "Witch of the Waves."
WITCH OF THE WAVE(S). AKA - "Witch of the Wake." American, Scottish; Reel. G Major
('A' part) & D Major ('B' part). Standard. ABB (Kerr): AABB (Cole,
Phillips, Sweet). The Witch of the Waves
was the name of a renowned American clipper ship, built in 1851 for the
***
The tune is in the repertoire of
X:1
T:Witch of the Wave
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
D | G/A/B/c/ d/e/d/B/ | c/d/e/f/
g/a/g/e/ | d/e/d/B/ c/B/A/G/ | F/G/A/G/ F/D/E/F/ |
G/A/B/c/ d/e/d/B/ | c/d/e/f/
g/f/g/a/ | b/a/g/f/ g/f/e/d/ | ^c/d/e/f/ g :: (f/g/) |
a/f/d/f/ g/f/e/d/ | ^c/A/B/c/
d/e/f/g/ | a/f/d/f/ g/f/e/d/ | ^c/A/B/c/ d(f/g/) |
a/f/d/f/ g/f/e/d/ | ^c/A/B/c/
d/e/f/g/ | a/f/d/f/ g/f/e/d/ | ^c/A/B/c/ d :|
WITCHES, THE. Scottish, Reel. E Dorian. Standard tuning.
AAB. Composed by Joseph Lowe, who produced a collection of dance music in the
1840's.
WITCHES HILL, THE.
Scottish, Slow Air (whole time). A Minor. Standard tuning. AAB. Composed
by Abraham Macintosh, appearing in
his Thirty New Strathspey Reels Etc. (
X:1
T:Witches Hill, The
M:C
L:1/8
R:Slow Air
C:Abraham Macintosh
S:Macintosh – Thirty
New Strathspey Reels (1792)
K:Amin
E|A>BcB .A.E.E.^F|G>DB,>.D G>A.B.E|A>B.c.d
e>de>g|dB (e/d/)(c/B/) A2A:||
B|(c/d/e/f/ g>)a .g.e.c.e|dgd>c .B.G.G.B|(c/d/e/f/g
g>)a .g.e.c.e|dB (e/d/)(c/B/) A3B|
(c/d/e/f/ g>)a .g.e.c.e|dgdc BGG>B|A>Bc>d
e>d.e.g|dB (e/d/)(c/B/) {B}A2||
WITH A FADING. AKA and see "The Fading."
WITH A HUNDRED PIPERS. AKA and see "A Hundred Pipers."
WITH ALL MY HEART (Lem Toil Go Leir). AKA and see "Ask my Father," "Fiafraigh de m'Athair e."
Irish, Single Jig (12/8 time). D Mixolydian. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 201,
pg. 108. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 368, pg. 75.
X:1
T:With All My Heart
M:12/8
L:1/8
R:Single
Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
368
Z:AK/Fiddler’s Companion
K:D
A2G|F2D DED F2D D2G|A2c BAG A3
A2G|F2D DED F2D D2F|G2B AGF G3 A2G|
F2D DED F2D D2G|A2c BAG A3 f2g|agf
gfe fed cAF|G2B AGF G3:|
|:F2G|A2d d2e f2d cAG|A2c BAG A4
F2G|A2d d2e f2d cAF|G2B AGF G3 F2G|
A2d d2e f2d cAG|A2c BAG A3 f2g|agf
gfe fed cAF|G2B AGF G3:|
WITH BIDDY BY MY SIDE ('S Brigidin Le Mo Taob). Irish, March? (4/4 time). E Minor.
Standard tuning. AA'B. Source for notated version: Kennedy [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1842, pg. 346.
X:1
T:With Biddy by My Side
M:C
L:1/8
R:March
S:O’Neill – Music of Ireland (1903), No. 1842
Z:AK/Fiddler’s Companion
K:E Minor
EFGA BcAc|B>A (3GAB AGED|EFGA
BcAc|1 Bee^d e2 z2:|2 Bee^d e2 ef||
gefd edB^c|d2 ed B<d d2|gefd
edBA|(3B^c^d ef e2 ef|gefd edB^c|d2 ed B<d dg/a/|
bgaf gefd|Bee^d e2 z2||
WITH EARLY HORN. English, Air (6/8 time). G Major. Standard
tuning. One part. The song was sung by the tenor John Beard (1717-1791, an
ex-chorister from the Chapel Royal) at the Theatre-Royal in Covent Garden, in
1734. Beard managed the theatre from 1761-1774. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg.
30.
X:1
T:With early horn
M:6/8
L:1/8
R:Air
S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipes (c. 1745-46)
Z:AK/Fiddler’s Companion
K:G
F | BGd d2g | BGd d2g | gfe dcB | A3
z2d | (f/g/a)a a2d | (e/f/g)g g2a | (fe)d (ed)^c |
de/d/c/B/ A3 | A3 A3 | A3 g3 | fed
ed^c | de/d/^c/d/ e/f/e/d/e/ | fg/f/e/f/ ga/g/f/g/ |
a3a3g | fed efd | d3 d2z | z3 z2d |
(dB)G G2d | (dB)G G2d | ecB Aag | f3 z2d |
(e/f/g)g g3 | z3 z2e | (f/g/a)a a3 |
z3 z2A | (B/c/d)d d3 | z3 z2g | dcB cBA | G3 GdB |
GdB GdB | G3 G3 | G3G3 | G3 GdB |
GdB GBd | g3g3 | g3g3 | g3 g3 | ga/g/a/g/ fg/f/g/f/ |
ef/e/f/e/ de/d/e/d/ | cd/c/d/c/
Bc/B/c/B/ | A3 z2B | (ce)a d2c | (B/d/)g c2B | (AB)G DGF |
(GBd gfe) | d2g BcA | G3 z3 | z3 z2B
| e/f/gf e2^d | e3 z2B | ged ^c2A | (fd)c B3 |
g3 z3 | f3 z2B | (gf)e (d^c)B | f3
z2F | B/c/ec B2A | B3 z2F |
d/e/f/e/c2B | (d/e/fe d2z | g3 z3 |
f3 z2e | (d^c)B (FB)^A | B3 z3 ||
WITH HER DOG AND GUN. Irish, Air (3/4 time). Ireland, Mayo. G Major. Standard tuning. One
part. Petrie identifies this as a Mayo tune. Stanford/Petrie (Complete Collection), 1905; No. 380, pg.
96.
X:1
T:With Her Dog and Gun
M:3/4
L:1/8
N:”Andante”
S:Stanford/Petrie (1905), No. 380
Z:AK/Fiddler’s Companion
K:G
GAB | c2 (bc)(dB) | (GE) DE (3GAB |
“tr”(AG/A/) G2G2 | G4 (3def |
(g2f2) (ed) | e2G2 (Bc) | d2 (eg)
(fe) | {e}d4 (3def | g2f2 (ed) |
(e2G2) (Bc) | d2 (dg) (3fed | {d}g4
(3edB | (c2B2) (dB) | (GE) DE (3GAB |
“tr”(AG/A/) G2G2 | G4 ||
WITH MY DOG AND GUN. Irish, Air (4/4 time). A Flat Major. Standard tuning. AB.
Stanford/Petrie (Complete Collection),
1905; No. 366, pg. 93.
X:1
T:With My Dog and Gun
M:C
L:1/8
S:Stanford/Petrie (1905), No. 366
Z:AK/Fiddler’s Companion
K:A_
E | A2 AB AE CE | EA AB A3B | cB cd
ec BA | GA Bc B3 :: B | cA Ac dB Bd |
ec BA E3A | BA GA B e2 d | cA A>B
A3 :|
WITH MY LOVE ON THE
ROAD. Irish, Air (3/4 time). F Major.
Standard tuning. One part. See also “Banks
of the Bann,” “Be Thou My Vision,”
“Slane.” Source for notated version: "Mr.
J. M'Kenzie of Newtownards, a great lover of Irish Music and of the
corresponding folk songs," c. 1879 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 323, pg. 151.
X:1
T:With my love on the road
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:F
F2F2 GF|D2C2 CD|F2F2G2|A4
cA|G2G2G2|G2A2c2|d2c2A2|c4 zc|
D2 de fe|d2c2A2|c2F2E2|D4
zC|F2A2c2|dc A2 FA|G2F2F2|F4||
WITH OURSELVES. Irish, Reel. E Minor. Standard tuning. AABB’. Composed by Chicago tin whistle
player Johnny Harling. Bill Black says the title has nothing to do with Sinn
Fein (Among Ourselves). Black (Music’s
the Very Best Thing), 1996; No. 36, pg. 18.
X:1
T: With Ourselves
C: J.Harling
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Edor
D | EDEB GE (3EDE | DEFD GFFD | EDEB GEEA | Bded e3 f |
gB (3B=cB gedB | AF (3FFF dBAF | EDEB GE (3EDE | DEFD E3 ||
d | edef g2 af | ge e2 dBAF | D2 (3FED ADFD | defd gfed |
edef g2 af | ge e2 dBAF | D2 (3FED ADFA | dBAF E3 ||
d | edBd edBd | gBfB eBdA | D2 (3fed ADFD | defd gfed |
edef
g2 af | ge e2 dBAF | D2 (3FED ADFD | dBAF E3 ||
WITHERED GROWLING OLD
WOMAN, THE (Sean-Bhean
Chrion An Dreanntain). Irish, Air (6/8 time). D Major. Standard tuning. AABBCCDD. "In
O'Daly's 'Munster Poets' there is a very incorrect version, which is in 2/4
time instead of 6/8 as it should be. The setting in Stanford‑Petrie is
correct so far as it goes; but it is curtailed. I give the full and correct
version here as I found it in one of the Pigot MSS. I may add that I have known
the tune all my life. Compare with 'The Beardless Boy', in Bunting"
(Joyce). Joyce (Old Irish Folk Music and
Songs), 1909; No. 713, pg. 356.
WITHIN A MILE [1]. AKA and see "Within
a Mile of Edinburgh (Toon)." AKA ‑ "The Cumberland Long Eight." English
(originally Scottish?), Reel. D Major. Standard tuning. AABB. Kennedy (Fiddlers
Tune Book), Vol. 1, 1951; No. 15,
pg. 8. Raven (English Country
Dance Tunes), 1984; pg. 176. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 56
(appears as "Within a Mile of Edinburgh" in Strathspey form).
X:1
T:Within a Mile [1]
M:C|
L:1/8
R:Reel
K:D
fg | a2 af d2 fd | BdAF A2 FG | AGAB
ABde | f2e2e2fg | afdf Adfd |
BdAF A2 FG | AGAB ABde | f2d2d2 ::
(3ABc | defg afdf | efga bgeg |
dedB AFAd | f2e2e2 fg | afdf Adfd
BdAF A2 FG | AGAB ABde | f2d2d2 :|
WITHIN A MILE OF
CLONBUR ("Mile As
Cluain-Burris" or "I Ngoire Mile o Cluain-Burris"). AKA and see “Burn’s Reel,” "Byrne’s Reel.” Irish, Reel. G Major.
Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). The
tune appears in Ryan’s Mammoth Collection,
but was not included when the publication was transformed into Cole’s 1000. It is printed in The Northern Fiddler under the title
“Byrne’s Reel.” O'Neill (Krassen), 1976; pg. 138. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1435, pg. 266.
O'Neill (Dance Music of
X:1
T:Within a Mile of Clonbur
L:1/8
M:C|
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
Bddg egdg|egdB BA A2|Bddg edgd|BdAc
BGGz|Bddg egdg|egdB BAAz|
Bgaf gedc|BdAc BGG||(3efg dg
agbg|(3efg dg ea a2|(3efg dgagbg|
edef ag g2|(3efg dg agbg|(3efg dg ea
a2|bgaf gedc|BdAc BG G2||
WITHIN A MILE OF DUBLIN [1] ("Mile Ua
Baile-Ata-Cliat," "I Ngoire Mile o Baile-Ata-Cliat" or "I
bhFoisceacht Mile do Bhaile Atha Cliath"). AKA and see "An Giobarach," "The Meadow in Bloom," "Through the Fields [3],"
"The Club Reel," "The
Kerry Lasses [2]," "Sarah's
Reel," "You're
a long time a courting," "The Road
to Dublin," "A Mile from
Dublin." Irish, Reel. D Mixolydian. Standard tuning. AB (Breathnach,
O'Neill/1850 & 1001): AAB (O'Neill/Krassen). Breathnach (1976) finds the
tune under the title “An Giobarach” in a manuscript from Waterford. He lists
one (of several) alternate titles as “The Maid of Ballintra,” however, Paul de
Grae thinks this is incorrect. As “The Meadow in Bloom” it is printed in the
(James) Goodman manuscripts. The title “Within a Mile of Dublin” appears in a
list of tunes in his repertoire brought by Philip Goodman, the last professional
and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898
(Breathnach, 1997). Source for notated version: piper Pat Mitchell, 1970
(Dublin, Ireland) [Breathnach]. Breathnach (CRÉ
II), 1976; No. 179, pg. 93. Breathnach (Folk
Music and Dances of Ireland), 1971; 6. Fiddler Magazine, vol. 11,
No. 3, Fall 2004; pg. 53. Kerr (Merry
Melodies), Vol. 2; pg. 27 (appears as “Irish Reel”). O'Neill (Krassen),
1976; pg. 153. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1511, pg. 279. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 730, pg. 128.
Vallely (Learn to Play the Tin Whistle
with the Armagh Pipers Club), vol. 3; 20.
X:1
T:Within a Mile of
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1903), No. 730
Z:AK/Fiddler’s Companion
K:D Mixolydian
(dB)|ADDE FEFG|A>D (3DDD
cABG|ADDE FEFG|AdcA GcBc|ADDE FEFG|
A>D (3DDD cABG|ADDE FEFG|AdcA
G2||(FG)|Addc AGFG|Adde fdec|
Addc AGFG|ABcA G2 FG|Addc AGFG|Adde f2 (3efg|afge fdec|dcAF G2||
WITHIN A MILE OF DUBLIN [2]. Irish, Reel. D Mixolydian. Standard tuning.
ABC. Source for notated version: students of
X:1
T:Within a Mile of
M:C|
L:1/8
R:Reel
S:O’Malley Collection
K:D Mix
(3ABA ^GB A2 dB | cBcG EFGB | (3ABA
^GB A2 dB | (3ABc GE {F}ED D2 |
AD (3FED A2 dB | cBcG EFGB | AFAc
BGBd | cAGE {F}ED D2 ||
ed ~d2 ABcd | ed ~d2 ea {b}ag | e2
dg ecdc | AcGc Ad d2 |
e2 dg edd>c | ABcd efge | a2 ge
dgec | ABcd ed d2 || efge d2 (3B^cd |
ea{b}ag ed^cd | efge dged | cAGE
{F}ED D2 | gage d2 (3B^cd |
ea{b}a^g a=gef | ged^c dged | cAGE
D2 z2 ||
WITHIN A MILE OF
X:1
T:Within a Mile of
M:4/4
L:1/8
R:Strathspey
S:Howe – 1000 Jigs and Reels (c. 1867)
pg. 136 an odd 6 measure ‘b’
part.
Z:AK/Fiddler’s Companion
K:Bb
(d>e) | (f<d) (c>d) B2 (dB)
| G<B F>D F2 B>c | (d<f) (.gb) (f<d) (.cB) | (d2c2)z2(d>e) |
(f<d) (c>d) B2 d>B |
(G<B) (F>D) F2 (B>c) | (d<f)(g<b) (f<d) (c>d) | B4 z2 ||
(B>cd>e) fd b2 | (B>cde) fd
b>B | (B>cB>G) FD F>B | (dB/)(d/f) .g3 b |
(f<d)(d<B) (G<B)(F<B) |
(d<f) (c>d) B2 ||
WITHIN
A MILE OF EDINBURGH (TOWN) [2]. AKA and see "Within a Mile [1]," "The Cumberland Long Eight."
Scottish; Air, Strathspey or
***
'Twas
within a furlong of Edinborough Town,
In the Rosy time of year,
when the Grass was down,
Bonny Jockey Blith and Gay,
Said to Jenny making Hay,
Let's sit a little (Dear) and prattle,
'Tis a sultry Day:
He long had Courted the Black-Brow'd
Maid,
But Jockey was a Wag
and would ne'er consent to Wed;
Which made her pish and phoo,
And cry out it will not do,
I cannot, cannot, cannot, wonnot,
monnot Buckle too.
***
The
melody has been attributed to several composers, notably Henry Purcell
(1659-1695), a frequent collaborator with D’Urfey, and Jeremiah Clarke. Emmerson, however, states that the
tune is a successful imitation Scots air and was actually composed by James Hood
(1746‑1827), whom he designates a prolific composer of ballads and
catches. Williamson tells the tale of a tavern wager in which the principals
decided to a walking race between
X:1
T:Within a Mile of Edinburgh
M:C
L:1/8
R:Air
B:William Mackie manuscript collection (Aberdeen, early 19th
century)
Z:AK/Fiddler’s Companion
K:D
f>g|(a<f)(e>f) d2 f<d|B<d A<F A2
d>e|f<a b<d’ a<f d>f|(f2 e2) z2 f>g|
a<fe>f d2 fd|B<d A<F A2 d>e|f<ab<d’
a<fef|d4 z4||
|:d>ef>g a>f d’2|d>ef>g a>f d’3d|d>edB
AFAd|
fdfa bd’/4c’/4b/4c’/4d’ b|a<f f<d B<d A<d|f<a
e>f d2:||
WITHIN
THIS VILLAGE DWELLS A MAID [1]
(Annsa Baile Seo Comnaideann Aindear). AKA and see "When I Breathe A Fond Adieu,"
"Ar A' mBaile Seo Ta
an Chuilfhionn" (In this village dwells the fair lady), "Cuilfhionn Brocach." Irish, Slow
Air (3/4 time). G Major (O'Neill's): E Major (O'Sullivan/Bunting). Standard
tuning (fiddle). One Part (Bunting): AB (O'Neill's). The melody can also be
found in Crosby's Irish Musical
Repository (pgs. 164‑165) under the title "Within this Village
Dwells a Maid." O'Sullivan (1983) prints Gaelic words to the tune, whose
origin is in Connacht Irish, "probably the same as that of the tune."
Source for notated version: the air was noted by the Irish collector Edward
Bunting at Deel Castle, Ballina, County Mayo, in 1792. O'Neill (Music of Ireland: 1850 Melodies), 1903;
No. 446, p. 78. O'Sullivan/Bunting, 1983; No. 15, pp. 22‑23.
X:1
T:Within this Village Dwells a Maid
[1]
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 446
Z:AK/Fiddler’s Companion
K:G
B>c|d2g2 g>a|b2d2 B>c|d2
d>e d>c|B2G2 B>c|d2g2 g>a|b2 d2d2|e2 e>g f>e|d4||
B>c|d2d2 d>f|g2 dg/a/ bg|d2
B>c d>c|B2G2 B>c|{^c}d2 b2a2|g>a b2d2|Bd cB A>B|G4||
WITHIN
THIS VILLAGE DWELLS A MAID [2]
(Annsa Baile Seo Comnaideann Aindear). Irish, Air (4/4 time). G Major. Standard
tuning (fiddle). AB. O'Neill (Music of
Ireland: 1850 Melodies), 1903; No. 447, p. 78.
X:1
T:Within this Village Dwells a Maid
[2]
M:C
L:1/8
N:”Moderate”
R:Air
S:O’Neill – Music of Ireland (1903), No. 447
Z:AK/Fiddler’s Companion
K:G
de/f/|g3a g2f2|e3d B2d2|g3f g2a2|b3a
g2 de/f/|g3a g2f2|
e2d2B2 zd|e3g f2a2|{a}g6||GA/B/|c3d
e2 dc|B3c d>cBA|
G3A B2d2|e3d B2 de/f/|g3a
bagf|e2f2g2 dc|B3G {B}A3G|G6||
WITTLE DEAN. English, Hornpipe. A Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg.
2. Raven (English Country Dance Tunes),
1984; pg. 159.
WIVES OF KILWINNIN, THE. Scottish. John Glen (1891) finds the earliest
appearance of this tune in print in Robert Bremner's 1768 2nd collection (pg.
111).
WIVES OF TORPHICHAN, THE. Scottish, Jig. D Major. Standard tuning. AABB. John Glen (1891) finds the
earliest appearance of this tune in print in Robert Bremner's 1757 collection.
Bremner (Scots Reels), c. 1757; pg.
42-43.
X:1
T:Wives of Torphichan, The
M:6/8
L:1/8
R:Jig
S:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:D
A | “tr”F2D DFA | E=CE G2E | “tr”F2D
DFA | DED f2d | (ga/g/f/e/) (fg/f/e/d/) |
eEE E2A | “tr”F2D A(d/c/B/A/) | FDD
D2 :: f | (f>ef) def | gaf efg | “tr”(f>ef) def |
(ab/a/)g “tr”f2d | g(a/g/f/e/)
f(g/f/e/d/) | eEE E2A | “tr”F2A B(d/c/B/A/) | dDD D2 :|
WIVES’ VICTORY, THE.
English, Jig. G Minor. Standard tuning. AABB. Composed by Thomas Bray
(1658-1730) in 1699, appearing in his Country Dances. Bray was a dance
and dancing master who dedicated his volume to Prince William, Duke of Gloucester.
According to Diana Cruikshank, he also worked as a choreographer and dancer for
the theatre where he sometimes worked with professional dancers from France.
She believes several dances in his collection may have specifically been
composed for the English stage. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 145.
WIZARD, THE. Canadian, Clog. B Flat Major. Standard tuning.
AABB. Source for notated version: Winstons Fitzgerald (Cape Breton) [Cranford].
Cranford (Winston Fitzgerald), 1997;
No. 15, pg. 6.
WIZARD’S WALK, THE. American, Reel. E Minor. Standard tuning.
ABDD. Composed by West Hurley, New York, fiddler Jay Ungar, whose daughter Ruth
(presently of the group The Animals) composed a dance matched to it at the age
of twelve (she is now a fiddler and singer). Songer (Portland Collection), 1997; pg. 211. MCO
301, Moving Cloud Orchestra - “The Moving Cloud” (1993).
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