©
1996-2010 Andrew Kuntz
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
WO |
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] |
WOBBLE GEARS. AKA and see "Wobbly Ears," "Harvest Home [1]," "Cincinnati Hornpipe,"
"Fisherman's Favorite,"
"Wooden Shoe Clog," "Wilson's Clog [1]," "Fred Wilson's Clog." Old‑Time.
WOBBLY EARS. AKA and see "Wobble Gears,"
"Fisherman's Favorite,"
"Harvest Home," "Cincinnati Hornpipe,"
"Wooden Shoe Clog," "Wilson's Clog," "Fred Wilson's Clog."
WOE IS ME. AKA and see "'Se Mo Chreach Mhaidne."
WOEFUL WIDOW, THE. AKA and see “The Humours of Lisheen,” “The Thrush in the Straw [2].”
Irish, Jig. E Minor. Standard. AABB. O'Neill (Dance Music of
X:1
T:Woeful Widow, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:E Minor
d|efe edB|dBA BGE|GAG BdB|BAA
ABd|efe edB|dBA BGE|GFG BdB|AGG G2:|
|:A|GBd ~g3|agf g2e|gfe edB|dBA
BGE|GBd ~g3|agf g2e|dBA BGE|DGG G2:|
WOES MY HEART THAT WE
SHOULD SUNDER. AKA – “Waes my heart…” Scottish,
Air (4/4 time). C Major. Standard. AABB.
The air was popular throughout the 18th century. It was
included in the ballad operas of Joseph Mitchell (The
***
Woes my heart that we shou’d sunder,
With broken words and down cast eyes,
***
Aird (Selections), vol. 5, 1797; pg. 60. Johnson (
X:1
T:Woes my
heart that we show’d sunder
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon
– Scots Tunes, Book 1 (c. 1746)
Z:AK/Fiddler’s Companion
K:C
(G>E)(G>A) G3c | (A>G)(A>c) A2
(G>A) | c3d (e>g)(d>e) | c3d e2 {e/f/}g2 |
(G<E)(DE) G3c | {_B}A2 G>F f3a | g>age
(fe)”tr”(dc) | “tr”A3G A2c2 :|
|: “tr”(f>ef)g (fga)f | {f}e>def (efg)e |
“tr”(dcd)e (ge)(de) | c3d e2 {e/f/}g2 |
(G>E)(DE) G3c | {_B}A2 (GF) f3a | g>age
(fe)”tr”(d>c) | “tr”A3G A2c2 :|
WOLF IN THE FERNS. In the repertoire of Champion, central
WOLFE’S SONG. AKA and see "Why,
Soldiers, Why."
WOLFTRAP PROMISE, THE. Irish, Reel. D Major. Standard tuning. AABB’.
Composed by
X:1
T: Wolftrap Promise
C: J. Derrane
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
dBAG FBAF | DFAD B,EDB, | A,B,DE FD (3DDD | AF (3FFF BF (3FFF |
dBAG FBAF | DFAD B,EDB, | A,B,DE (3FGA Bd | cBAF B2 z c :|
dB^AB FBdf | ec^Bc aecA | dB^AB FBdf | ecAc e2 z c |
dBFD
B,DCB, | A,CEA ce a2 | fdcd edBc |1 dBFD B,2 z c :|2 dBFD B,2 z2 ||
WOLLOP THE POTLID. AKA and see "Ballai
Lios Chearbhaill," "The Rakes of Newcastle West,"
"The Mouse in the Cupboard,"
"Tumble the Tinker," "The
Walls of Liscarroll [2],"
"The Walls of Enniscorthy,"
"Repeal of the Union [2],"
"The Merry Old Woman [1]."
WOLSEY'S WILD. AKA
and see "Wilson's Wild(d),"
"Quoth John to Joan." English,
Dance Tune (6/4 time). C Major. Standard tuning. One part. This early
seventeenth century popular dance air appears under this and other titles in
several lute and virginal books, including the Fitzwilliam Virginal Book. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time),
1964; pg. 75 (appears as a song, "Quoth John to Joan").
X:1
T:Wolsey’s
Wild
M:6/4
L:1/8
S:Chappell
– Popular Music of the Olden Times
Z:AK/Fiddler’s Companion
K:C
E3F G2 G4G2 | A3Bc2 B4G2 | E3F G2 C4G2 | A3B c2 B6 ||
|| E2G4F2A4 | E2G4D2F4 | E2G4 F2A4 | E4D2 C6
||
WOLVERTON HALL.
English, Jig. F Major. Standard tuning. AABB. “Wolverton
Hall” first appears in John Playford’s Dancing Master, 7th
edition (London, 1686) and subsequently appeared in all editions of the
long-running series, through the 18th, published in London in 1728
by John Young. The tune was picked up by the Walsh’s and appears in The
Compleat Country Dancing Master (London, 1718, with editions in 1731 and
1754). Wolverton Hall, Stouton, Worcestershire, is a country mansion built in
the reign of Queen Anne. Barlow (The Complete Country Dance Tunes from
Playford’s Dancing Master), 1985; pg. 66. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 145.
X:1
T:Wolverton Hall
M:6/4
L:1/8
S:Playford – Dancing Master,
7th edition (1686)
K:F
f2|f4 c2
A3GF2|B2 (d4 d3)c B2|A3B c2 A3G F2|G4 g2 e3d c2|
f4 c2 A3GF2|B2 d4 A2 c4|B3A G2A2
E4|(F6 F4):|
|:fg|a3b a2g4c2|f6 f2c2f2|d2B2d2
c3BA2|G2 g4 g4 a2|
b3a g2 a4 d2|g3 agf e3d c2|f4g2
g4f2|(f6 f4):|
WOLVES A HOWLIN’. AKA – “Poor Little Darlin’.” Old‑Time, Breakdown.
***
The first line of the lyrics,
according to Rankin, is common in tradition, but the second is often composed at
the whim of the source. Sometimes sung ‘howls’ are included.
***
Wolves outside howl and a‑hollar
They gonna getch‑you
Bet you a Dollar ! (Unknown)
***
O don't you hear them wolves a‑howlin,
All around my poor little darlin';
Four on the hillside, six in the holler,
They're gonna get 'er, betcha a dollar. (Thede)
***
Don't you hear them wolves a‑howling,
Setting in the corner talking to my darling.
(Rankin)
***
‑‑‑‑' Wolves a‑howlin'
All around my poor little darlin'
Poor little darlin', home a‑cryin' (or ‘hollerin’ and cryin’)
***
Wolves are, howlin', howlin',
howlin'
Oh the wolves are howlin'
Howlin' found my...{stop singing} (John Hatcher,
***
All
around you poor little darlin'
One
on the hillside, two in the hollar
Bet them wolves have done and got her.
***
Sheep
and Hogs and walkin' thru the pasture
Sheeps said, `Hogs can't you run a little faster?'
Go on there and hush your growlin'
Can't you hear them wolves a'howlin'?
(Goldie Goforth, sister of fiddler Gene Goforth)
***
Sources for notated versions: W.S.
Collins (
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
WOLVES IN THE WOOD. Old-Time, Piece. AEae tuning. A modal tune in
fast ¾ time from the playing of fiddler Duck Wootan (grandfather of
WOMAN AND TWENTY OF
THEM, A. Irish, Air (3/4 time). A Major.
Standard tuning. AB. See also the variant “I was one night about Bridgetmas.”
Source for notated version: “From Mary O’Donohoe, Arran More 13th Sept.,
1852" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 816, pg. 204.
X:1
T:Woman and twenty of them, A
M:3/4
L:1/8
R:Air
N:Andante
S:Stanford/Petrie (1905), No. 816
Z:AK/Fiddler’s Companion
K:G
G/A/ B/c/d/c/ | B>c dc B/G/E/C/ |
(D2 E)(E/G/) AA | (GA) BA/G/ EE |
E3 (G/A/) (B/c/)d/c/ | B>c
(d/c/)B/A/ (B/G/)E/C/ | D2 E(E/G/) AA |
(G>A) BA/G/ EE | E3 || (G/A/) Be
| e>f g/f/e/d/ cd/c/ | (B>G) E(G/A/) (B/c/)d/c/ |
BG A>G EE | E3 G/A/ B/c/d/c/ |
B>c dc B/G/E/C/ | D2 EE/G/ AA | G>A BA/G/ EE | E3 :|
WOMAN FIDDLER, THE. American, Jig. Composed by flute player Deanna
Styles for the late April Limber, “a mentor and fellow contra dance
musician.” Smithsonian
Folkways SFW CD 40126, Bob McQuillen and Old
WOMAN I NEVER FORGOT, THE. AKA and see “The Crane’s Leg,” “Glen of Aherlow” [2], “Lafferty’s,” “Rediggan’s.” Irish, Reel. E Minor. Standard
tuning. AABB. The tune is often nowadays known as “Lafferty’s” from Kevin
Burke’s several recordings of it. The tune was originally composed by Sean Ryan
as “Glen of Aherlow.” Songer (
WOMAN OF THE GLEN (Bean a‘Leanna). Irish, Air (4/4 time). A Dorian. Standard
tuning. One part. "Woman/Glen" is similar to "Boyne Water," especially to that
tune's second half. Cowdery (The Melodic
Tradition of
WOMAN OF THE HOUSE [1], THE (“Bean A Tig Air Lar” or “Bean an Tighe/Ti ar
Lar”). AKA - “Bean a’ Tigh Faoi Chlair” (The
Woman of the House in the Closed Coffin). Irish, Reel. G Major. Standard
tuning. AA'B (O'Neill/1850): ABB’ (Moylan): AABB (most versions).
***
Charlie Piggott, in his book Blooming Meadows (1998) written with
Fintan Vallely, relates the story of a Galway session attended by, among
others, the great Galway button accordion player Joe Cooley and a somewhat
irascible old fiddler named Paddy Meenahan.
A fiddle player was having some difficulty bringing out the well-known
“Woman of the House” and Meenahan was losing patience, finally saying words to
the effect that the fiddler’s tune wasn’t “Woman of the House,” for Paddy well
knew how it should be played. Cooley
expertly soothed the tense situation by chiming in that surely there could be
two women in that house!
***
Sources for notated versions:
accordion player Joe Fallon (b. 1935, Collooney, County Sligo) [Flaherty]; accordion
player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border)
[Moylan]; piper Jimmy O’Brien (County Mayo) [O’Neill]; set dance music recorded
live at Na Píobairí Uilleann, mid-1980’s [Taylor]; Eugene Leddy’s County Cavan
Ceili Band, c. 1957 [Miller &
Perron]; Kerry fiddler Denis Murphy [Miller & Perron]; fiddler and
accordion player John McGrath (1900-1955) [O’Malley]. Breathnach (CRÉ I), 1963; No. 86, pg. 38. Cranitch (Irish Fiddle Book), 1996; pg. 88.
Flaherty (Trip to
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:Woman of the House
S:John McKenna (1924)
M:4/4
Z:Transcribed
by Frank Claudy
L:1/8
K:D
GABd efdB|GFGB ABga|1 bgag efge:|2
bgag ef g2||~g3 f (3ege dg|efgf edBd|
G2 e|:dB~B2 Bz BA|GABd efdB|eA~A2 Az
BC|dgbg ageg|dB~B2 B=cBA|
~g3 f eBdg|faag faaf|gabg eBdg|efgf
edBd|G3 B ABga|1 bgag efgz:|2 bgag efge||
X:2
T:Woman of the House [1]
M:C|
L:1/8
R:Reel
S:O’Malley Collection
Z:AK/Fiddler’s Companion
K:G
DB{c}B^A B2 {c}B=A | GA )3Bcd eBdB |
AGEG A2 (3Bcd | eB~B2 gB~B2 |
GB{c}B^A B2 B=A | GABd (3efe dB |
GB~B2 A2 GA | BGAG EG G2 :|
|: f2 {g}fd edBd | edgd edBd | f2
{g}fd ed (3Bcd | ea~a2 ea{b}ag |
f2 df edBd | gage d2 BA | GABG (3ABA
GA | BGAG EG G2 :|
WOMAN OF THE HOUSE [2] (Máistreás an Tí). AKA and see "Bean an Ti ar Lar," "The Cows are a‑Milking." G
Major. Standard tuning. AB. A variant of “Woman of the House [1]." The
first part is also a variant of “Pinch
of Snuff” according to Philippe Varlet. Source for notated version: piper
Seán Potts (
WOMAN OF THE HOUSE [3] (A bhean-a-tighe). See “O
Woman of the House.” Irish, Air.
WOMAN WITH THE GOATS, THE (Bean nan gabhar).
Scottish, Air (4/4 time). D Major. Standard tuning. AB. Morison (
X:1
T:Woman with the goats, The
T:Bean nan gabhar
M:C
L:1/8
R:Air
S:Morison –
Z:AK/Fiddler’s Companion
K:D
D/D/D FE/F/ AB/d/ e2 | D/D/D FE/F/
{B}AF/E/ F2 | D>D FE/F/ AB/d/ e2 |
ee/B/ d>B {B}AF/D/ E>F ||
B>B B/A/F A>A A/F/D | B>B B/A/F AF/E/ F2 |
B>B B/A/F A>B d>B | ed/B/
d>B {B}AF/D/ E>F ||
WOMEN ALL TELL ME, THE. English, Air (6/8 time). C Major. Standard
tuning. AB. The tune appears in broadside ballads around 1740‑1750.
***
The women all tell me I’m false to my lass,
That I quit my poor Chloe and stick to my glass;
But to you men of reason, my reasons I’ll own,
And if you don’t like them, why let them alone.
***
Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 182.
X:1
T:Women All Tell Me, The
M:6/8
L:1/8
R:Air
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:C
G/F/|E>FG c>BA|G>FE
D2G/F/|E>FG c>BA|dD^F G2||
G/=F/|ECG A2A/G/|^FDd B2G|c>de
GEG|AcB c2||
WOMEN FOLK. Scottish, Air (2/4 time). D Major. Standard tuning. AB. The song, first
published in The Border Garland, was
composed by James Hogg, who said of it:
***
The air of this song is my own. It was first set to music by
Heather and most beautifully set, too. It was afterwords set
by Dewar, whether with the same accompaniments or not,
I have forgot. It is my own favourite humourous song when
forced by ladies to sing against my will, which too frequently
happens; and not withstanding my wood‑notes wild, it will
never be sung by anyone so well again.
***
He must have been the life of the
party, for it goes:
***
O sarely may I rue the day
I fancied first the womankind;
For aye sin syne I ne'er can hae
Ae quiet thought or peace o' mind!
They ha'e plagued my heart, and pleased my e'e
An' teased an' flatter'd me at will,
But aye for a' their witchery,
The pawky things I lo'e them still.
***
Neil (The Scots Fiddle), 1991; No. 49, pg. 67.
WOMEN OF IRELAND, THE (Mna na hEireann). AKA and see “Mna na hEireann.” Irish, Air.
WOMEN OF MONAGHAN, THE. Irish, Double Jig. E Dorian/Minor. Standard
tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler and composer Ed
Reavy (1898-1988). Reavy’s childhood was spent in
X: 1
T:The Women of Monaghan
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:For the Hamill women and the other lovely people that Ed
N:knew as a child in neighboring Monaghan.
K:G
B/2A/2 | GEF GAB | g2 B f2 B | efg fdf | e^ce dBA | GEF GAB |
g2 B f2 B | edc BcA |1 G3 GBA :|2 G3 G2 f || gfe fga | f2 d def |
gfe fga | b2 e e2 f | gfe def | agf g2 f | edB cBA | G3 G2 f || gfe fga |
f2 d def | gfe fga | b2 e e2 f | gfe def | agf gfe | dcB cBA
| G3 GBA :||
WOMEN OF PISQUID, THE. Canadian, Reel.
WOMEN’S ROCK, THE (Carraig na m-Ban). AKA and see "The Green Gates [1]." Irish, Reel. G
Major. Standard tuning. AB. Source for notated version: “Tobin”, perhaps
referring to O’Neill’s contemporary
X:1
T:Women’s
Rock
M:C|
L:1/8
R:Reel
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
D | GBdg
egdB| GBdg (3efg (dg) | eAcA eAcA | cdef gedB | GBdg egdB | GBdg (3efg (dB) |
cdef gedc
| BGAF G2 z2 || eg (3gfg bg (3gfg | dgfg (3efg (df) | eAcA fAcA |
cdef gedB
| dg (3gfg bg (3gfg | dgfg e2 (dB) | cdef gedc | BGAF G2 ||
WOMEN’S WORK IS NEVER
DONE. AKA and see "The Doubting Virgin," "O That I had never married,"
"The Soldier's Departure."
WONDER HORNPIPE, THE. AKA and see “Coey’s Hornpipe,” "Miss Ferry's Hornpipe,"
“The Southern Shore,” “Tammany Ring.” English, Scottish; Hornpipe. G
Major (Kennedy, Raven): B Flat Major (Honeyman, Kerr, Miller). Standard tuning.
AABB (Honeyman, Kennedy, Miller, Raven): AA'BB (Kerr). “The Wonder” is
sometimes attributed to James Hill (c. 1811-1853) of
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 |
T:Wonder Hornpipe
M:C
L:1/8
R:Hornpipe
S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:B_
(3FGA|B>fd>B
A>ec>A|B>cd>B F2 B>A|G>=Bc>d e>dc>_B|A>cf>=e
g>f_ec|
B>fd>B
A>ec>A|B>cd>B F2 >A|G>gf>e d>cB>A|c2 (B2 B2):|
|:(3dcB|A>cf>=e f>dc>B|A>cf>=e f>ag>f|=e>fg>a b>ge>g|f>=ef>g f2 g>_e|
d>ed>c =B>d g2|c>dc>B A>c f2|g>ba>g f>ed>c|B2 b2 B2:|
X:2
T:Wonder Hornpipe, The
L:1/8
M:4/4
K:G
DEF|GdBG FcAF|(3GFG BG D2GF|EAAB cBAG|(3FED d^ced (3=cBA|
GdBG FcAF|(3GFG BG D2GF|Eedc BADF|AGGF G2:||
AG|FAd^c d2AG|FAd^c dfed|(3B^cd ef gece|d^cde d2 =c2|
B3A ^GBe2|A3G FAd2|(3efg fe (3ded (3cBA|G2(3AGF G2:||
X:3
T:Wonder
Hornpipe, The
R:hornpipe
S:Mike McHale workshop - East Durham July 2000
Z:Michael Hogan
M:4/4
L:1/8
K:G
(3DEF|GdBG FG (3AGF|GdBG D2GF|EGAB cBAG|Fd^cd ed(3=cBA|
G2BG FGAF|GdBG D2GF|Eedc BAGF|A2GF G2:||
AG|(3FGA de d2AG|(3FGA de dfed|^cdef ge^ce|d3e d3c|
B2BA ^GBe2|A2AG (3FGA d2|egfe (3ded (3cBA|G2 FA G2:|
WON’T YOU COME HOME
WITH ME.
AKA and see “Will
You Come Home with Me [1].”
WOO’D AND MARRIED AND
A’. Scottish, Shetland; Jig (9/8 time).
F Major (Bremner, Glen, Gow): G Major (Aird, Harding): A Major (Kerr). Standard
tuning. AAB (Aird, Glen, Gow): AABB (Bremner, Kerr): AABBCC (Harding). As a
march, this tune was played in Shetland on the islands of Whalsay and Walls for
the wedding march home after the minister's ceremony; it was also noted to have
sometimes been played by fiddlers during the signing of the register. When
Peter Cooke was doing his field work in the 1970's the tune and text, almost
exactly as published in early Scottish collections, was popularly known to most
older Whalsay people (Cooke, 1986). John Glen (1891) finds the earliest
appearance of the tune in print in Robert
Bremner's 1757 collection. Aird (Selection of Scotch, English, Irish and
Foreign Airs), vol. II, 1783; Nos. 171, pg. 63. Bremner (Scots Reels), c. 1757; pg. 52 (appears
as “Woo’d & Married & a’”). Glen (The Glen Collection of
Scottish Dance Music), vol. 1, 1891; pg. 20. Gow (Complete Repository), Part 1, 1799; pg. 29. Harding's All Round Collection, 1905; No. 24, pg. 8. Kerr (Merry Melodies), vol. 3; No. 215, pg.
25.
X:1
T:Woo’d an’ Married an’ a’
M:9/8
L:1/8
R:Jig
S:Glen Collection, vol. 1
(1891)
Z:AK/Fiddler’s Companion
K:F
f|c2B ABG F3|c2c cdA c2f|dcB (A>GA)
FGA|D2d d>ec d2:|
f|cde f>gf e>dc|A2c cdA
c2d|cde f>gf e>dc|A2d dec d2f|
cde f>ga
efg|ABc fcA c2f|cdB ABG FGA|D2d dec d2||
X:2
T:Woo’d and Married and a’
M:9/8
L:1/8
S:Aird, vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
g | d2c BAB
G3 | Bcd dgB d2g | edc BGB GAB | E2e ef^d e3 :|
g | def gag
fed | Bcd dgB d2g | def gag fed | B2e ef^d e2g |
def gag fed
\ Bcd dgB d2g | edc BAB GAB | E2e ef^d e3 ||
WOOD-BINE COTTAGE. AKA
and see “Allt-y-Caethiwed.”
WOOD CUTTERS. American, March and
Jig. C Major. Standard tuning. AABB. The melody appears in numerous New England
musicians’ manuscripts from the latter 18th and early 19th
centuries, including the commonplace or copybooks of fifer Thomas Nixon (c.
1776, Danbury, Conn.), Morris Woodruff (1803, Litchfield, Conn.), Luther
Kingsley (1795c. 1815, Mansfield, Conn.), Abel Shattuck (1801-c. 182?, Colrain,
Mass.), and flute player Elias Boynton (1799, Pepperell, Mass.). It was
published in American publications such as Samuel Holyoke’s Instrumental
Assistant, vol. 1 (1800, Exeter, N.H.) and Charles Robbins’ Drum and
Fifer Instructor (1812, Exeter, N.H.). Howe (Complete Preceptor for the
Accordeon), 1843; pg. 31.
X:1
T:Wood
Cutters
M:6/8
L:1/8
R:Jig
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
ccc ceg | ccc ceg | eee e2d | eee e2 e/f/ | ggg gag | fff fgf | eee ege | ddd d2 :|
|: f2f eAe | g2f ece | cge cge | ggg g3 | cGc
dBd | ece f3 | gfe fed | ccc c2 :|
WOOD DUCK, THE. American, Country Dance Tune or Waltz. A
Minor. Standard tuning. AB. Composed by Fried de Metz Herman (Larchmont, NY) in
1978, inspired by mallards he was kind enough to have fed during the blizzard
of February, 6‑7, 1978 ("the beauty of his feathers defies
description"). Matthiesen (Waltz
Book II), 1995; pg. 80. Flying Fish FF90564, Bare
Necessities ‑ "Take a Dance" (1991).
WOOD HILL, THE (Cnoc na Coille). AKA and see "Lady Maisterton."
WOOD HOUSE, THE.
English, Jig. F Major. Standard tuning. AABB. The melody is unique to
Charles and Samuel Thompson’s third country dance collection (London, 1773).
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3),
1773; No. 12.
X:1
T:Wood House, The
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:F
d|cdc BAB|Acf afc|dBb gfe|fff f2::f|gec BAB|GAB cAF|
afd
bag|fga c3|dBG cAF|EGB Acf|Bdf cba|gfe f2:||
WOOD OF FYVIE, THE. Scottish, Reel or Country Dance Tune (4/4
time). The melody appears in the Bodleian
Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection
of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A.
Young, W.M. 1740," and in the Drummond Castle Manuscript (in the
possession of the Earl of Ancaster at Drummond Castle), 1734, inscribed "A
Collection of the best Highland Reels written by David Young, W.M. &
Accomptant."
WOOD PICKER, THE.
English, Air (2/4 or cut time). D Major. Standard tuning. AABB. The
number of measures in each part of Gibbons’ version are unusual (10 for the
first part, 14 for the second) for a fiddle tune, however, the last two
measures of each part are repeated, as is the convention of some song airs. If
the repeats are excluded, then the tune becomes marginally more ‘regular’, with
8 bars in the first part and twelve in the second. I also have a photocopy of
the same melody in another fiddler’s manuscript, a musician named John Burks
with the date of 1821 on the cover. I know nothing of Burks, and although the
manuscript surfaced recently in
X:1
T:Wood Picker, The
M:2/4
L:1/8
S:John Burks music manuscript, dated
1821
K:D
A|.d(d/d/) d/e/f/d/|.e(e/e/)
e>e|.f(e/d/) .d(c/d/)|e/c/d/B/ .A(A/A/)|.d(d/d/) .d(c/d/)|
.e(e/e/) e z/A/|.a(f/d/) B
(G/G/)|.A(B/c/) d/e/f/g/|.a(f/d/ .B(G/G/)|.A(B/c/) d2||(A/A/)|
.A(G/F/) E(B/B/)|.B(A/G/) .F
(f/f/)|.f(f/f/) d/f/z|.f(f/f/) d/f/f|f/e/d/c/ B(B/B/)|
.d(d/d/) .B(B/B/)|.e(e/e/)
.c(c/c/)|.f(f/e/) .d(e/f/)|.g(f/f/) e(d/d/)|.d(c/^c/) (B/B/)z|
e/e/ (dc) A/A/|.a(f/d/) B/B
z/G/|A/A/B/c/ d/e/f/g/|.a(f/d/ B/B/z/G/|AB/c/ .d2||
WOOD PILE JIG. AKA and see "N....r
in the Woodpile."
WOOD UP QUICK STEP. American (?), Quickstep (2/4 time). C Major. Standard tuning. AABBC. Howe (Complete Preceptor for the Accordeon), 1843; pg. 36.
X:1
T:Wood Up Quick Step
M:2/4
L:1/8
R:Quickstep
S:Howe – Complete Preceptor for the Accordeon (1843)
Z:AK/Fiddler’s Companion
K:C
G2c2 | ed z2 | B2 g2 | ec z2 | A2 c2 | ff zf | edcB | cc z2 :|
M:6/8
L:1/8
|: g3 a2g | g2 c/c/ ccc | g2f d2e | c2 G/G/ GGG | g3 a2g | g2 c/c/ ccc | g2f d2e | c2z c’2z :|
G | cGe cGe | c2G/G/ G2G | dGf dGf | d2 G/G/ GGG | dGe dGe | c2 G/G/ Ace | g2 G/G/ GBG | c3 z2 | a2a a2a |
a3 f2d | gfd GAB | c2e g2g | a2a a2a | g3 c2c | BAB GAB | c2e c2g | a2a a2a | a3 f2d | gfd GAB | c2e g2g | a2a a2a |
g3c2c | BAB GAB | c2e g2c | BAB GAB | c3 z2 c/c/ | c2 c/c/ ccc | c2z e2z | c3 z2z :|
WOODBINE COTTAGE. English, Jig. D Major. Standard
tuning. AABB. Gibbons originally set the tune in the key of ‘C’ major in his
manuscript. Source for notated version: the 1823-26 music mss of papermaker and
musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire
Wolds) [Sumner]. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 57.
WOODCHOPPER’S BREAKDOWN. AKA and see “Woodchopper’s Reel.”
WOODCHOPPER’S REEL, THE. AKA and see "Pea Soup" (or “La soupe aux pois,” the
French‑Canadian title), "The Woodchopper," “Woodchopper’s Breakdown” [2],
"Woodchopper's Hornpipe.” Canadian (originally), American; Reel. USA, New
England.
X:1
T:Woodchopper’s Reel
L:1/8
M:C|
K:D
afdB AdFA|DFAd f2ef|(3gfe cB Aceg|a^gab a2f=g|
afdB AdFA|DFAd f2ef|(3gfe cB Acec|dfec d4:|
|:DFAd (3BdB AF|DFAd (3BdB A2|A,CEA ceaf|gfed cBAF|
DFAd (3BdB AF|DFAd (3BdB A2|A,CEA ceaf|(3gfe cA d2FE:|
X:2
T:Woodchopper's Hornpipe
M:2/4
L:1/16
Q:122
R:Reel
A:
B:Transcribed in OFTR
as tune #73
Z:B. Shull, trans.; R.P. LaVaque, ABCs
K:D
FE|(DF)A(d Bd)AF|(DF)A(d BA)FD|(A,C)E(A
c)(ea)(f|gf)ec (dB)AF|!
(DF)A(d Bd)AF|(DF)A(d BA)FD|(A,C)E(A
c)(ea)(f|gf)ec d2:|!
|:f(g|af)df AdFA|(DF)Ad (fe)fa|(ge)ce
(Ac)e(g|ag)ab (agf)(g|!
a-fdf
AdFA|(DF)Ad f2e(f|g)ece (Ac)eg|(3fgf e(c d2):|!
WOODCOCK, THE (“An Caileac-Coille” or “An Coileac Feada”). Irish, Double Jig. G Major. Standard tuning. AA'B. Source for notated version: Chicago policeman and fiddler Timothy Dillon [O’Neill]. O'Neill (Krassen), 1976; pg. 48. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 975, pg. 181. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 193, pg. 46.
X:1
T:Woodcock, The [1]
M:6/8
L:1/8
R:Jig
S:O’Neill
– Dance Music of
Z:AK/Fiddler’s Companion
K:G
DGG BGG|dGG BGG|DGG BAG|FAA BGE|DGG BGG|
dGG BGG|DGG ABc|1 BGA GED:|2 BGG G2||(3A/B/c/|
d2g B2d|A/B/cA BGE|DGG BAG|FAA ABc|d2g B2d|
A/B/cA BGE|DGG ABc|BGG GAB/c/|dgf edc|A/B/cA BGE|
DGG BAG|FAA ABc|dgf edc|A/B/cA BGE|DGG ABc|BGG G2||
WOODCOCK [2], THE.
AKA and see “Hamilton’s Jig [1]."
Irish, Jig. G Major. Standard tuning. AABB’. Composed by Irish flute player
Hammy Hamilton. Source for
notated version: Deirdre Havlin, flute player for the Northern Irish group
Deanta, who had it from flute player and craftsman Hammy Hamilton [Black]. Black
(Music’s the Very Best Thing), 1996;
No. 227, pg. 122. Flaherty (Trip to
X:1
T:Woodcock, The [2]
L:1/8
M:6/8
K:G
B|dBG AGE|DED GFG|BGB dcB|dcB ABc|
dBG AGE|DED GFG|BGB dcB| AGF G2:|
B|dBd ece|fdf g2 d|ege dcB|dcB ABc|
dBd ece|fdf g2 d|ege dcB|AGF G2 B|
dBd ece|fdf g2 d|ege dcB|dcB ABc|
dBG AGE|DED GFG|BGB dcB| AGF G2||
X:2
T:Woodcock, The [2]
C: Hammy
Q: 325
R: jig
X:Transcribed by Bill Black
M: 6/8
L: 1/8
K: G
B | dBG cGE | DED G2 A | BGB ded | dcB A2 B |
dBG cGE | DED G2 A | B2 c ded | ABA G2 :|
B | dBG ecA | fdf g2 g | fge edc | dcB A2 B |
|1 dBG ecA | fdf g2 g | fge edc | ABA G2 :|
|2
dBG cGE | DED G2 A | B2 c ded | ABA G2 ||
WOODCOCK HILL. AKA and see “The Jaunting Car,”
“The Lodge Gate,” “Pound Hill,” “Russell’s Hornpipe.” Irish, Hornpipe. D
Major. Standard tuning. AABB. Recorded by the Ballinakill Ceili Band in 1931
under the title “Pound Hill.” Roche
Collection, 1982, vol. 2; No. 205, pg. 8. Green
Linnet SIF 188,
WOODCUTTER, THE. English, Hornpipe. D Major. Standard tuning. AABB. Cahusac (Annual Collection of Twenty Four Country Dances for the Year 1809), 1809; No. 7.
X:1
T:Woodcutter, The
M:2/4
L:1/8
R:Hornpipe
B:Cahusac – Twenty Four Country Dances for the Year 1809, No. 7 (London)
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblies.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
A|df/>d/
a/>f/b/>a/|g/>f/e/>d/ c/>d/e/>A/|d/>Ad/>f/
a/>f/b/>a/|g/>f/e/>d/ c>A|df/>d/ a/>fd/>f/|
g/>f/e/>d/
c/>d/e/>c/|d/>e/f/>g/
a/>f/e/>d/|B/>d/c/>e/d::A|c/>d/e/>f/
g/>e/c/>A/|d/>e/f/>g/ a/>f/e/>d/|
B/>e/g/>f/
b/>a/g/>f/|e/>c/d/>B/ AA|c/>d/e/>d/
d/>c/B/>A/|d/>c/d/>e/ f/>g/a/>f/|b/>a/g/>f/ e/>d/c/>B/|A/>d/c/>e/
d:||
WOODEN ENDED REEL. American (?), Reel. G Major. Standard tuning. AABB. The tune is said to have been derived from the playing of Hudie Ledbetter, or “Leadbelly”, an African-American blues performer in the mid-20th century. Best known for his singing while accompanying himself of guitar, Ledbelly did play the single-row melodeon.
X:1
T:Wooden Ended Reel
C:trad?
N:"said by John Tams to be a Leadbelly tune"
N:which I got from Alan Wood (melodeon, hammered dulcimer etc; Baston, Lincs)
N:who got it from Steve Taggart (concertina; Stamford, Lincs)
Z::abc by Si Garbutt
M:4/4
K:G
DEGA G2 D2 | G2 cd c2 G2 | DEFG A2 B2 | .d2 d6 |
DEGA G2 D2 | G2 cd c2 G2 | DEFG A2 B2 | .d2 G6 :|
.g2 .g2 e2 fg | e2 e2 d4 | B2 BB A2 G2 | e2 d2 B4 |
.g2 .g2 ef g2 | e2 e2 d4 | DEFG A2 B2 | .d2 G6 :|
WOODEN LEG. AKA and see "The Red Haired
Boy," etc. The title is a shortened version of "The Old Soldier (with a
Wooden Leg) [2]," a
WOODEN NICKEL. Old‑Time, Breakdown. D Major. A modern composition by Mark
Gaponoff. Alcazar Dance Series ALC‑202, Sandy
Bradley ‑ "Potluck and Dance Tonite!" (1979). Yodel‑ay‑hee
Records #002, Critton Hollow String Band ‑ "Sweet Home" (1983).
WOODEN SHOE CLOG. AKA and see "Wilson's Jig,"
"Wobble Gears," "Wobbly Ears," "Fred Wilson's Clog," "Fisherman's Favorite,"
"Cincinnati Hornpipe [1],"
"Harvest Home [1]."
WOODEN SHOES (1). AKA and see “Britains (1)
(The).” English, Country Dance Tune (6/8 time). England, Northumberland. A
Major (Seattle): C Major (Plain Brown). Standard tuning. AABB. Source
for notated version: the 1770 music manuscript of Northumbrian musician William
Vickers, about whom, unfortunately, nothing is known [
X:1
T:Wooden Shoes
M:6/8
L:1/8
R:Jig
S:William Vickers’ music manuscript
(Northumberland, 1770)
Z:AK/Fiddler’s Companion
K:A
A2 ABc|B3 Bcd|dBA BAG|AED CB,A,|A3
ABc|
B3 Bcd|cBA BAG|A3 A,3::e3 edc|f3
fga|
gfe efg|a3 a3|d3 dcB|cde fga|cBA
BAG|A3 A,3:|
WOODEN SHOES [2].
English, Country Dance Tune (2/2 time). C Major. Standard tuning. AABB.
“Wooden
Shoes” first appears in the 8th edition of Henry Playford’s Apollos’s
Banquet, Choice New Tunes, Ayres, and Jiggs (London, 1701), under the title
“The Wooden Shew Dance.” It next appears in Playford’s Dancing Master,
12th edition, printed in London in 1703. It was retained in all
subsequent editions of the long-running series, through the 18th,
published by John Young in 1728. It was picked up by the Walsh’s for their own The
Compleat Country Dancing Master published in London in 1718 (the melody
also appears in the edition of 1731), and by Johnson for Wright’s Compleat Collection
of Celebrated Country Dances, vol 2 (London, 1742). The title is given
variously as “Wooden Shoos,” “Wooden Shooes,” or “Wooden Shoes.” As “Wooden
Shoes or Bart. Fair” dance instructions appear in the commonplace book of James
Alexander, under the heading “List of Dances in N.Y. 1730.” Barlow (The
Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No.
519, pg. 116. Barnes (English Country Dance Tunes, vol. 2), 2005; pg.
146.
X:1
T:Wooden Shoes [2]
M:C|
L:1/8
S:Playford – Dancing Master
12th edition (1703)
K:C
g2|e2c2
dcBA|G6g2|e2c2c2d2|e2c2c2 de|f2 fg agfe|
d2g2g2a2|^f2d2g2f2|g2G2G2::g2|g2 fe
defg|a2f2f2g2|
c2c2A2d2|B2G2G2e2|AB c2 Bcd2|de f2
efg2|agfe defg|e2c2c2:|
WOODFORD FLING [1], THE. AKA and see “Blue Bonnets,” “Here Anna,” “Here Awa’,” “Frank Roche’s Favorite,” “John Roche’s Favorite,” “Lady Ann Hope,” “Irish, Fling. D
Major. Standard tuning. AB. See note for “Frank Roche’s Favorite” & “Lady Ann Hope.” This was the
second of two flings played in a set by flute player Jack Coen and his brother,
Fr. Charlie Coen (flute, concertina), originally from County Galway, but long
émigrés to New York. Green Linnet SIF 3067, Jack &
Charlie Coen – “The Branch Line” (learned from their father, in their home near
Woodford, East Galway).
X: 1
T: Woodford Fling
S: Jack & Charlie Coen / "The Branch
Line" (Topic 12TS337)
M: 4/4
L: 1/8
R: hornpipe
Z: Transcribed by Bill Black
K: D
fe | d2 cA GEFE | D2 FA D2 FA | d2 cA GE E2 |
(3Bcd ec dgfe |
d2 cA GEFE | D2 FA D2 FA | d2 cA GE E2 | (3Bcd
ec d2 ||
de | fgaf dcde | fgaf gbag | fgaf dc A2 | (3Bcd
ef g2 fe |
fgaf dcde | fgaf gbag | fgaf dc A2 | (3Bcd ef g2 ||
WOODFORD FLING [2], THE.
AKA and see “Garrai Na Saileog,” “Miss
Galvin’s,” “Mrs. Galvin’s
Favourite,” “Sally Gardens [3].”
Irish, Fling. D Major. Standard tuning. AABB. The first in the Coen
brothers’ fling set. Green
Linnet SIF 3067, Jack & Charlie Coen – “The Branch Line” (learned from
their father, in their home near Woodford, East Galway).
WOODFORD SHIP, THE. English, Air (6/8 time). G Dorian. Standard
tuning. AABB. Huntington (William Litten),
1977; pg. 43.
WOODICOCK. AKA and see "Whirligig."
English, Country Dance Tune (6/8 time). The melody was printed in Playford’s Dancing Master of 1650 and the Fitzwilliam Virginal Book where it is
set by Giles Farnaby. Bayard (in his article “Miscellany of Tune Notes”) says
it was a Welsh harp and perhaps dance tune, known in England since the 16th
century by its appearance in the Fitzwilliam.
Chappell (1859) says it was the “delight of the men of Dovey” although it is
“an inferior copy of ‘Greensleeves’.”
Five 17th century Dutch sets appear, under the title “Wooddicock”,
in van Duyse Oude Nederl. Lied, II
(1905), and a set appears in Adriaen Valerius’ Nederlandtsche Gedenck-Clanck (1626) under the title “Engels
Woddecot,” confirming the tune’s popularity in England. Bayard concludes from a
comparison of these variants that the Welsh forms are examples of secondary
lengthening, and are borrowings from the English or Dutch traditions. Familiar Records FAM 47, Pyewackett ‑ "7 to
Midnight" (1985).
X:1
T:Woodicock
L:1/8
M:6/8
S:William Chappell
K:Dmin
d2 d f>ed|^cAA A>=Bc|d2d
f>ed|^cAA A3|c2d c2A|BGG G>AB|
A2A A>=B^c|dDD D3||
X:2
T:Woodicock
L:1/8
M:6/8
S:Jones, Relicks, 1794, 129
K:Dmin
FAA A>cA|BGG G2G|A2A BAG|FDD D3:|
d2d fed|c>d/c/B/ A2A|d>e/d/e/
fed|cAA A2B|
cdc cBA|BGG
G2 A/B/|cAF B>AG|FDD D3||
WOODLAND FLOWERS [1]. AKA and see “Mrs.
Kenny’s Barndance,” “The Shit Cart Polka.”
English, Jig. England, East Anglia. D Major. Standard tuning. ABB'. The tune is
almost universally known amongst older traditional fiddle and squeezebox
players in England and was in the repertoire of such musicians as melodeon
player Bob Cann (Dartmor, Devon) and Billy Bennington (Norfolk, who called it
“Prickly Pear”). Despite its being often set as a jig, the melody was composed
as a schottische by Felix Burns. Nigel Gatherer informs that Burns was born in
Perth, Scotland, in 1864. A musical prodigy and multi-instrumentalist, his
first musical instruments were tin whistle and mouth organ, “graduating” to
piano, organ and various brass instruments. His composing career started at an
early age and he went on to become one of the most popular composers of his
time, although for an unknown reason he often credited his compositions to
various pen names such as Leona Lacoste, Alfred Rosslyn, Claud Roslind, and
Leon Fabrini. He settled in Carlisle, and died 1920, although not before siring
thirteen children and composing 120 pieces. Burns’ work was much recorded in
the early decades of the 20th century by such musicians as
Scotland’s Wyper Brothers. Later,
Scottish band leader Jimmy Shands recorded “Woodland Flowers.”
***
In Ireland it is played
as a barn dance under the title “Mrs. Kenny’s Barndance.” Paul de Grae finds a
version of “Woodland Flowers” appearing as an untitled barndance (although,
oddly, noted in 6/8 time) in Feldman & O’Doherty’s The Northern Fiddler (1976, pg. 110), collected from Donegal
fiddler Simon Doherty. Callaghan (Hardcore
English), 2007; pg. 55. Carlin (Master
Collection), 1984; No. 16, pg. 22. Old Hat Records OH‑1, Old Hat
Band ‑ "The Old Hat Concert Party." Topic Records, Bob Cann –
“Voice of the People, vol. 9.”
X:1
T:Woodland Flowers
(Schottische or Barn Dance) [1]
T:Mrs. Kenny's Barndance
M:4/4
L:1/8
Q:175
Z:Paul de Grae
C:Felix Burns
P:aabbaccaabba
B:The Music-Lovers'
Library, No. 31; George Newnes Ltd.,
N:piano accompaniment
omitted here
K:C
(3EF^F|:G>ed>c
G>ed>c|(3A^GA d>f a4|g>^f=f>B e>cA>B|(3ced (3cBA G2
(3EF^F|
G>ed>c
G>ed>c|(3A^GA d>f a4|g>^f=f>B e>cA>B|1c2 e2 c2 (3EF^F:|2c2
e2 c2 z2|:
K:G
(3bag d2 (3bag d2|(3c'ba
e2 (3c'ba e2|f>d^c2>d e>fb>a|(3gba (3gfe d2 z2|
(3bag d2 (3bag d2|(3c'ba
e2 (3c'ba e2|f>d^c2>d e>fb>a|1g2 b2 g2 z2:|2g2 b2 g2 (3E=F^F||
K:C
G>ed>c
G>ed>c|(3A^GA d>f a4|g>^f=f>B e>cA>B|(3ced (3cBA G2
(3EF^F|
G>ed>c
G>ed>c|(3A^GA d>f a4|g>^f=f>B e>cA>B|c2 e2 c2 z2||
"Trio"
K:F
A2 A>c
B>AB>=B|c2 f2 z2 f>e|d>^cd>e g>fe>d|c4-c>ca>c|
B2 g2-g>Bg>B|A2 f2-f>Af>e|d>^cd>e
f>ef>^f|g2 c2 =B2 _B2|
A2 Ac B>AB>=B|c2
f2 z2 f>e|d>^cd>e f>ef>g|a>A^c>e a>ab>a|
^c2 d2-d>da>g|=B2
c2-c>cg>f|e2 b2 a2 g2|1f2 c2 =B2 _B2:|2f6||
WOODLAND FLOWERS [2]. AKA and see “Metsäkukkia.” Finnish, Waltz.
WOODLAND REVELS. English, Country Dance Tune (4/4 time). E Minor/G Major. Standard
tuning. One part. Composer unknown. Barry Callaghan (2007) notes that it was
“in the repertoire of the prize-winning Tadley (Hampshire) Band in 1924, and
popularized by (the band) Flowers and Frolics in 1977.” Callaghan (Hardcore English), 2007; pg. 70. Carlin
(Master Collection), 1984; No. 30,
pg. 29.
X:1
T:Woodland Revels
M:4/4
L:1/8
K:Emin
E3c B4|E2 Gc B4|c2c2e2c2|B3c
BAGF|E3c B4|EGc B4|
A2A2B2^c2|d4 d4|E3c B4|E Gc
B4|c2c2e2c2|B6 B2|
c2c2B3B|c2c2B4|B2 Bc BAGF|E2 D4||G2
B2d2|GBde d2|
G2B2c2B2|A2e2e4|A3B c3B|A3B
c3B|A2c2B2A2|G2e2d4|
G2 Be d4|GBde d4|G2B2c2B2|A2 e2
e4|e2c2e2c2|d2B2d3d|
dcBA GFGA|B2d2g2fe||d4 d2
^cd|e2d2B2G2|EG2_E G2A2|
B2B2c4|d4 d2 ^cd|e2d2B2G2|EA2E
A2B2|A2F2E2D2|d4 d2^cd|
e2d2B2G2|EG2_EG2A2|B6 d2|e3d
f2e2|d2B4d2|e4f4|g8||
WOODLAND SCHOTTISCHE. American, Schottishe. A Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg.
162.
X:1
T:Woodland Schottische
M:4/4
L:1/8
R:Schottische
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:A
A,C/E/ A/A/c/d/ e2E2|Fd/e/ d/c/B/G/
(E2 E2)|A,C/E/ A/A/c/d/ e2f2|
f/e/d/c/ d/E/G/B/ AAA2::{c’}e’e
{c’}e’e c’/d’/c’/e/ a/e/c/e/|{b}d’e {b}d’e d’/c’/b/e/ g/e/c/e/|
{c’}e’e {c’}e’e c’/d’/c’/e/
a/e/c/e/|{b}d’e/g/ d’/e’/g/b/ aa a2:|
WOODLANDS
English, Air (3/4 time). C Major. Standard tuning. AAB. Source for notated
version: the music manuscript copybook of ship’s fiddler William Litten, who
finally settled in Martha’s Vineyard [Huntington]. Huntington (William Litten's), 1977; pg. 43.
X:1
T:Woodlands
M:3/4
L:1/8
R:Air
S:William
Litten’s c. 1800-1802 music copybook
Z:AK/Fiddler’s Companion
K:C
G2|c2
ed ed|c2c2d2|e2 gf gf|e4 e/f/|g2 ag ag|fg az f2|e2 gf gf|{e}d4:||
e2|d2
de de|f2f2 gf|{f}e2 eg ag|g4 e2|dB/d/ c2f2|ed/e/ d2 c’g|
f2e2
g/f/e/d/|{d}c4g2|a2f2 zf|e2 de fg|c’/a/g/f/ e2d2|c4||
WOODPILE. See "N....r in the Woodpile."
WOODS HOLE FISHERMAN, THE. Irish, Reel. A Dorian. Standard tuning. AB.
Composed by Falmouth, Massachusetts, musician and writer Bill Black, named
after the southwestern Cape Cod town of Woods Hole, Massachusetts, famous for
its oceanographic institute. Black (Music’s
the Very Best Thing), 1996; No. 300, pg. 161.
X:1
T: Woods Hole Fisherman
C: © B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Ador
EAcA BcdB | caag abag | efge dB (3BAB | cABG AGED |
EAcA BcdB | caag abag | ecgc dBgB | cBAG A4 :|
c2 ec gcec | =fedf ecAB | c2 ec gcec | eaab a2 ag |
e2
de ceBe | A2 GA =FADA | EAcA BcdB | cBAG A4 :|
WOODS HORNPIPE. AKA and see “Morpeth Rant.”
English, Scottish; Hornpipe. G Major. Standard tuning. AA'BB'. The tune is
better known as “Morpeth Rant” from its long association with the dance called
the Morpeth Rant, name for a small town in Northumberland. It is often claimed
as a Northumbrian tune, although it has been collected in tradition throughout
England and Wales. The melody also appears under the “Wood’s Hornpipe” title in
the music manuscript collection of John Rook, Cumbria. It is nearly identical
to the version printed in Kerr, save that the last measure of the ‘A’ part in
the ms. goes |FGAB A4:|. Kerr (Merry
Melodies), vol. 2; No. 356, pg. 39.
X:1
T:Woods Hornpipe
L:1/8
M:C
K:G
(3DEF|G2G2G2 Bc|dBdg dBAG|edcB cBAG|FGAB A2 (3DEF|
G2G2G2 Bc|dBdg dBAG|edcB cBAG|d2d2d2:|
|:Bc|dBdg dBdg|eceg eceg|edcB cBAG|FGAB A2Bc|
dBdg
dBdg|eceg eceg|gfed cBAG|D2G2G2:|
WOOD’S LAMENTATION. AKA and see “Squire
Wood’s Lamentation on the Refusal of his Sixpence.”
WOODS OF BARGENNY. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in John Riddell's 1766 collection
(pg. 31).
WOODS OF FANAID, THE. Irish,
Slip Jig. D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 89, pg. 21.
WOODS OF FINLAND. AKA and see "Life in the Finnish
Woods."
WOODS OF KILKENNY, THE (Coillte Cill-Cainnaig). Irish, Hornpipe. D Major. Standard
tuning. AABB. See also the related “O’Connor’s
Favorite.” O'Neill (Krassen), 1976; pg. 196. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1693, pg. 315.
O’Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 892, pg. 153.
X:1
T:Woods of Kilkenny, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 892
Z:AK/Fiddler’s Companion
K:D
A2|dAFA dfaf|gece dcBA|BGAF E2
ef|gece dcBA|
dAFA dfaf|gece dcBA|dfaf
bgec|d2d2d2:|
|:AG|F>A (3AAA d>A (3AAA|fdcd
BAGF|E>e (3eee g>e (3eee|
cege dcBA|gbbg faaf|gece dcBA|dfaf
bgec|d2d2d2:|
WOODS OF KILMURRAY, THE (Coillte Cill-Muire). Irish, Air (6/8 time, "rather
slow"). G Dorian. Standard tuning. AB. O’Neill says the tune is: “a
restoration of an ancient air partly forgotten, which my mother sang (in
Bantry, west Cork).” O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 22, pg. 4. Roche Collection, 1982, Vol. 3; No 67, pg. 19.
X:1
T:Woods of Kilmurray, The
M:6/8
L:1/8
R:Air
N:”Rather slow”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:Gmin
d/c/|BAG|FDC|D G2 G2 G/B/|BAG
dcA|(F3 F2)d/c/|BAG FDC|D (G2 G)zG/A/|
B<dc
A<BA|(G3G2)||G/A/|B>cd/=e/ fdc|d (g2 g)g/a/|bag dcA|(G3 G)z a/g/|
fed cAG|F (D2 D2)zG/A/|B<dc
A<BA|(G3 G2)||
WOODS OF OLD
X:1
T:Woods of Old
M:6/8
L:1/8
S:John Kelly,
Z:Paul Kinder
K:F
c/2B/2|AFF GAB|cff edB|AFF GBB|GEC GAB|
AFF GAB|cff ecB|A2 F GcB|GFF F2:|
|:f/2g/2|aff fgf|ecc c2 g/2a/2|bge fga|bge f2 g|
agf gec|def ecB|A2 F GcB|GFF F2:||
X:1
T:Woods of Old Limerick, The
R:jig
H:Played in G or D
D:
Z:id:hn-jig-228
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:6/8
K:G %GRK:402570B5
BGG ABc|dgg fdc|B2G ABc|ADD ABc|
BGG ABc|dgg fdc|B2G ABc|1 AGF G2A:|2 AGF Gga||
|:bgf gag|fd^c dga|bgf gab|c'af g2a|
bag afd|~g3 fdc|B2G ABc|1 AGF Gga:|2 AGF G2A||
K:D
FDD EFG|Add cAG|FDD EFG|EA,A, EFG|
FDD EFG|Add cAG|F2D EAG|1 EDC D2E:|2 EDC D2e||
|:fdc ded|cA^G Aef|gec def|gec d2e|
fed ecA|~d3 cAG|F2D EAG|1 EDC D2e:|2 EDC D2E||
WOODS SO WILD, THE. AKA and see "Greenwood,"
"The Huntsman." English, Air (3/4
time). G Mixolydian or G Dorian. Standard tuning (fiddle). One part. The air
was set twice by the English composer William Byrd and Chappell (1859) gives an
alternate ending by another famous composer, Orlando Gibbons. Apparently there
were words written to it that have not survived. It appears in The Fitzwilliam Virginal Book, Lady Neville's Virginal Book, William Ballet's Lute Book, Pammelia (1609), and Playford's Dancing Master (1650). Chappell (Popular Music of the Olden Time), vol.
1, 1859; p. 119.
WOODSHED, THE. Canadian, Jig.
WOODY HILL, THE. Irish, Slow Air (3/4 time). F Mixolydian.
Standard tuning (fiddle). AAB. Joyce (Old
Irish Folk Music and Song), 1909; No. 717, p. 358.
WOODY’S HORNPIPE.
Old-Time, Breakdown. USA, Arkansas. G Major. Standard tuning (fiddle).
AA’B. A member of the “Mountain
Hornpipe [1]” family, notes Drew Beisswenger (2008), with a non-standard
12-mearsure second strain. Source for notated version: Jim ‘Skeeter’
Walden (1879-1956, Busch, northern Arkansas) [Beisswenger & McCann].
Beisswenger & McCann (Ozark Fiddle Music), 2008; p. 154.
WOODYSTOCK. AKA ‑ "Gigge‑a‑Gogge," "Woodicock." English, Country Dance Tune. Published
by Playford in his English Dancing Master
(1651). Raven (English Country Dance
Tunes), 1984; pg. 38.
WOO’IN O’T, THE. Scottish, Reel. D Major. Standard tuning (fiddle).
AAB. Kerr (Merry Melodies), vol. 4;
No. 39, p. 7.
X:1
T:Woo’in O’t, The
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 39
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
(AF)Ad (cA)dA|egfe dcBA|dddd
efga|f2d2 d2A2|
(AF)Ad (cA)dA|egfe dcBA|dddd
efga|f2d2d2 (de)||
(fa)aa a2 gf|(ag)gg g2 ef|gafg
efde|cdBc A2a2|
afba geag|fdgf e2A2|dddd efga|f2d2d2
z2||
WOOLIVER’S
MONEY MUSK.
See “Money Musk/Monymusk.” Rounder 0442, John Hartford – “
WOOLSEY CREEK. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
X:1
T:
M:6/8
L:1/8
R:Jig
S. Johnson – The Kitchen Musician Nos. 6 & 7.
K:D
DFA def|DFA de|ece cBc|AcB AGE|DFA
def|DFA def|ece gfe|d2A d3:|
|:f/g/|a2 a/a/ faf|dfd B2e/f/|g2
g/g/ ege|cec A2 f/g/|a2 a/a/ faf|dfd Bef|gfe cde|dAF D2:|
WOOTEN QUADRILLE. American, Quadrille. Edison 52425 (78 RPM),
1928, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel
Dan Emmett. Emmett returned to the town in 1888, poor, but later taught
Baltzell to play the fiddle}.
WOOTON UNDERHEDGE ASSEMBLY.
AKA – “Wotton Underhedge Assembly,” “Wooton Undridge Assembly.” English,
Jig. G Major. Standard tuning. AABB. The melody, like many in Charles and
Samuel Thompson’s 1757 country dance collection, was first published in John
Hinton’s periodical Universal Magazine of Knowledge and Pleasure
(London, 1753). It later appeared in John Johnson’s 200 Favourite Country
Dances, vol. 7 (London, 1756). Johnson’s title was “Wooton Undridge
Assembly.” The title refers to the Gloucester market town of Wotton-under-Edge
(the Edge being a limestone escarpment). It was a center for the wool trade in
the Cotswolds. See also “Wotton Underhedge
Fair.” Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 1), 1757; No. 73.
X:1
T:Wooton Underhedge Assembly
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
d2d d2e|BcA B2G|d2e dcB|”tr”A3 G3::F2G A2B|AGF “tr”E2D|
A2B
AGF|”tr”E3 D3|B2c d2e|BcA B2G|gfe dcB|”tr”A3 G3:||
X:1
T:
M:4/4
L:1/8
R:Hornpipe
S:Fiddler John Mason
(Stow-on-the-Wold, Gloucestershire), via Cecil Sharp
K:G
D2|G2 BA GB d2|e2 ef g2 fe|dBGB
dBGB|cAFA cAFD|
G2 BA GB d2|e2 ef g2 fe|dgfe dcBA|1
G2B2G2:|2 G2B2G2Bc||
|:d2B2 GF G2|e2c2 cBce|d2B2
GFGB|AGFE D2 Bc|
d2B2 GFGB|cdef g2fe|dgfe dcBA|1
G2B2G2Bc:|2 G2B2G4||
WORCESTERSHIRE
HORNPIPE. AKA and see "The Bridge of Lodi," “Down Back o’ Shoddy,” "Huntsman's Hornpipe," "The Lochmaben Hornpipe," "Nelson's (Hornpipe) [2]," "Saxon's Hornpipe," “Worcestershire Hornpipe.”
WORKING BLUES. See "Valse de Creve de Faim."
WORKING ON THE
RAILROAD. Old‑Time, Breakdown. Marimac 9111, The Blakenship Family ‑ "Goin' Up
Town: Old Time String Bands, vol. 2" (orig. rec. 1931).
WORKS OF THE LAND. AKA and see "The Wanderers
Musings.”
WORLD TURNED UPSIDE
DOWN [1], THE. AKA and see "When the King Enjoys His
Own Again.” English, Country Dance or Song Air (cut time). D Major.
Standard tuning. AB (Miller): AAB (Camus, Sweet). The tune originally went to
an extremely popular Cavalier song called “When the King Enjoys his Own Again,”
later taken up by the Jacobites. The original text appears in the Thomason
Tracts (669.f.10 (47)), where it is dated April 8, 1646, and decries the
passing of all the favorite English Christmas traditions after the forces of
King Charles were defeated by the Parliamentarians at the battle of Naseby in
1645
***
Listen to me and you shall hear, news hath not been this thousand year:
Since Herod, Caesar, and many more, you never heard the like before.
Holy-dayes are despis'd, new fashions are devis'd.
Old Christmas is kickt out of Town.
Yet let's be content, and the times lament, you see the world turn'd upside down.
***
The wise men did rejoyce to see our Savior Christ’s Nativity:
The Angels did good tidings bring, the Sheepheards did rejoyce and sing.
Let all honest men, take example by them.
Why should we from good Laws be bound?
Yet let's be content, &c.
***
Command is given, we must obey, and quite forget old Christmas day:
Kill a thousand men, or a Town regain, we will give thanks and praise amain.
The wine pot shall clinke, we will feast and drinke.
And then strange motions will abound.
Yet let's be content, &c.
***
Our Lords and Knights, and Gentry too, doe mean old fashions to forgoe:
They set a porter at the gate, that none must enter in thereat.
They count it a sin, when poor people come in.
Hospitality it selfe is drown'd.
Yet let's be content, &c.
***
The serving men doe sit and whine, and thinke it long ere dinner time:
The Butler's still out of the way, or else my Lady keeps the key,
The poor old cook, in the larder doth look,
Where is no goodnesse to be found,
Yet let's be content, &c.
***
To conclude, I'le tell you news that's right, Christmas was
kil'd at
Charity was slain at that same time, Jack Tell troth too, a friend of mine,
Likewise then did die, rost beef and shred pie,
Pig, Goose and Capon no quarter found.
Yet let's be content, and the times lament, you
see the world turn'd upside down.
***
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. An
1828 anecdote written by Alexander Garden of the British surrender at Yorktown
that resulted in the end of the American Revolution specified "The World
Turned Upside Down" as the tune the British bands played while their army
marched out with colors cased. This notion has persisted to the present day as
a popular legend, although no contemporary accounts have been found of any of
the titles of march tunes played at the surrender, save that the American bands
played "Yankee Doodle". Camus
(1976) finds Aedanus Burke comes closest to describing any British music: “They
marched thro’ both Armies at a slow pace, and to the sound of music, not
military marches, but of certain airs, which had in them so peculiar a strain
of melancholy, and which together with the appearance before me excited
sentiments far different from those I expected to enjoy.” Even if it was true
that a tune called “The World Turned Upside Down” was ordered played by a
bitter British bandmaster, it still leaves the problem of which melody this was
since there were several tunes known by the title. As something of a floating
title, it would be impossible to know which tune was played. In addition to the
above titles, the tune was the vehicle for songs called “The Old Woman Taught
Wisdom” and “Derry Down.” “The World Turned Upside Down” was printed in the
John Simpson manuscript and was published in London in 1750 in the Compleat Tutor for the Flute (part 2,
pg. 11). See also Arkansas fiddler Absie Morrison’s “British March” for another tune claimed
to have been played at Yorktown.
***
Several
English inns and taverns have carried the name World Turned Upside Down. The
sign of one such-named old London pub depicted a donkey sitting in a cart
pulled by a man, a pig killing a butcher, a bear conducting a dancing man, a
rat chasing a cat, a hare shooting a man, and dogs ridden by fixes chasing a
man (Hackwood, 1909). See similarities with the song “Martin Said to His Man.”
***
Camus (Military Music of the American Revolution),
1976; Example 17, pg. 164. Miller (Fiddler’s
Throne), 2004; No. 361, pg. 211. Sweet (Fifer’s
Delight), 1965; pg. 48. Gourd Music 110, Barry
Phillips and Friends – “The World Turned Upside Down” (1992).
X:1
T:World
Turned Upside Down, The
M:2/4
L:1/8
Z:AK/Fiddler’s Companion
K:D
AA dd |
e/f/g/a/ fe/f/ | gB cf | e>d A2 | AAdd | e/f/g/a/ fe/f/ | gB cf | e>d d2
:|
|: ec/d/ eA
| e/d/e/f/ eA | e/d/e/f/ ed/c/ | B>A A2 | aa/g/ fe/d/ | e/f/g/a/ fe/f/ | gB
cf | e>d d2 :|
WORLD TURNED UPSIDE
DOWN [2], THE. American, March (6/8 time). USA,
southwestern Pa. D Major. Standard tuning. One Part. This floating title was
attached to a march tune fragment. Source for notated version: Hiram Horner
(fifer from Westmoreland and Fayette Counties, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 538, pg.
478.
WORN, TORN PETTICOAT, THE. AKA and see “The Torn Petticoat [2]”. Irish,
(“Fast”)Slide (12/8 time).
See also listings at:
Alan Ng’s Irishtune.info |
X:1
T:The Worn Torn Petticoat
S:"Treoir"
M:12/8
L:1/8
R:slide
Z:Transcribed by Bill Black
K:Ador
e2 d | c2 A BAG A2 G E2 D | EFG A2 B c2 d e2 d |
c2 A BAG A2 G E2 D |1 EFG A2 B A3 :|2 EFG A2 B
A3 A3 ||
Bcd e2 f g2 e d2 d | efg a2 b a2 g e2 d |
Bcd e2 f g2 e d3 | efg a2 b a3 a3 |
Bcd e2 f g2 e d2 d | efg a2 b a2 g e2 d |
c2
A BAG A2 G E2 D | EFG A2 B A3 A3 ||
WORSBOROUGH HORNPIPE. AKA and see “Gooseberry
Hornpipe.” English, Hornpipe. D Major. Standard tuning. AABB. The melody
appears under the “Worsbroough” title in the early 19th century music
manuscript of Joshua Burnett (Worsborough, south Yorkshire). Callaghan (Hardcore English), 2007; pg. 27.
WORSTER HORNPIPE. English, Hornpipe. England, Shropshire. A Major. Standard tuning. AABB.
Source for notated version: a c. 1837‑1840 MS by Shropshire musician John
Moore [Ashman]. Ashman (The Ironbridge
Hornpipe), 1991; No. 47a, pg. 17.
WOTTON UNDERHEDGE FAIR.
English, Jig. G Major. Standard tuning. AABBCC. The title refers to the
Cotswold town of Wotton-Under-Edge (the Edge being a limestone enscarpment).
The melody is unique to London publishers Charles and Samuel Thompson’s 1757
country dance collection. See also "Wooton
Underhedge Assembly." Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 1), 1757; No. 139.
X:1
T:Wotton Underhedge Fair
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
c|BGB def|gfe dcB|cAA eAA|cAA A2c|BGB def|gfe dcB|cAg faf|gdB
G2:|
|:c|BGB d2B|cAA e2c|BGG d2B|cAA A2c|BGG d2B|cAA e2c|BGB def|gdB G2:||
|:d|gfe
dcB|gfg dcB|gfe dcB|cAA A2d|gfe dcB|gfg dcB|cAg faf|gdB G2:||
WOU’D FATE TO ME
BELINDA GIVE. English, Air. The title comes from
a song composed by John Wilford, c. 1710. The tune was published by John Gay in
his Beggar's Opera (1729), under the
title "Among the men coquets we find." Raven (English Country Dance
Tunes), 1984; pg. 66.
WOULD I MIGHT BE
HANGED. AKA and see "All you that
must take a leap in the dark."
English, Air. The tune appears under the above title in John Gay's The Beggar's Opera, 1728.
WOULD YOU HAVE A YOUNG
VIRGIN (OF FIFTEEN YEARS). AKA and see “La Native,” "Poor Robin's Maggot,” “Saw Ye a Lassie of Fifteen."
English, Air (6/4 time). D Major. Standard tuning. AABB. The tune was published
by John Gay in his The Beggar's Opera
(1729), where it appears as "If the heart of a man is deprest with
cares." The tune was also employed in the ballad operas Livery Rake and Country Lass (London,
1733), The Female Rake (London,
1736), “Would you have a young virgin
of fifteen years” is the title Thomas D’Urfy used for his song set to the
melody in his play The Modern Prophets
(1709) in the time of the reign of Charles II [1660-1685], although he also
published it in his Pills to Purge
Melancholy, vol. 1 (1719, pg. 132). The tune was said to have been an old
one at the time, with an earlier name being “Poor Robin’s Maggot.”
***
Would ye have a young virgin of fifteen years,
You must tickle her fancy with sweats and dears,
Ever toying, and playing, and sweetly, sweetly,
Sing her a love sonnet and charm her ears,
Wittily, prettily, talk her down,
Chase her, praise her, if fair or browns,
Sooth her and smooth her,
And tease her and please her,
And touch but her smicket, and all’s your own.
(smicket=a woman’s undergarment)
***
In addition to the ballad operas,
the tune was used for dancing and appears in John Young’s editions of
Playford’s Dancing Master of 1718 as
“Would You Court a Young Virgin: or, Poor Robin’s Maggot” (a maggot was a trifle, or plaything, whim,
or fancy; from the Italian maggioletta),
and again in Dancing Master vol. II,
4th ed. 1728, 148. In 1719 it appeared in J. Walsh’s Compleat Country Dancing Master, vol. 2 (
X:1
M:6/8
L:1/8
R:Jig
S:O’Farrell – Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s Companion
K:D
WOUNDED HUSSAR, THE. AKA and see "Cailin Tighe Moir," "Captain O'Kane." English, Scottish,
Irish; Slow Air (6/8 or 3/4 time). B Flat Major (Howe): A Minor (Huntington,
Knowles): A Dorian (Ó Canainn): G Minor (Ashman): E Minor (Skinner). Standard
tuning. AB (Ashman): AAB (Ó Canainn): ABB (Huntington, Knowles). The song “The
Wounded Hussar” is attributed to Scottish poet Thomas Campbell in Smith’s Irish Minstrel (Edinburgh, 1825), who is
said to have penned it in 1799, and it appeared early in print around 1800 in
the Musical Magazine, The German Flute
& Violin Pocket Magazine, Consisting of a choice Collection of the most
favourite Pieces, vol. 2. Malcolm
Douglas believes the lyric was not set to the tune by Irish harper Turlough
O'Carolan (1670-1738) called “An Caiptín Ó Catháin/Captain O’Kane,” until 1822.
Smith notes that O’Carolan’s title refers to “Captain Henry O’Kain who died of
his wounds on ‘the banks of the dark rolling
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Wounded Hussar, The
M:3/4
L:1/8
R:Air
N:”Slow. Old Air.”
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:Emin
E>D | B,2 E2F2 | G4 FE | FGAGFE |
D2E2F2 | G2B2d2 | BAGFED | B,2 E2D2 | E4 :|
EF | G2B2B2 | B4A2 | F2A2A2 | A4 GF
| E2e2d2 | e2f2g2 | B2e2d2 | e4 ef |
g2f2e2 | d2c2B2 | A2d2F2 | D2E2F2 |
G2B2d2 | BAGFED | B,2E2D2 | E4 ||
_________________________________________________________
HOME ALPHABETICAL
FILES REFERENCES
© 1996-2010 Andrew Kuntz
Please help maintain the viability of the Fiddler’s
Companion on the Web by respecting the copyright.
For further information see Copyright and Permissions Policy or contact the author.