The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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

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

 

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

 

 

 

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. USA, Mo. John Hartford says this is the title that the tune was known by in Missouri by Dr. James Gray.

 

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 Ireland: 1001 Gems), 1986; No. 307, pg. 66.

X:1

T:Woeful Widow, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 307

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 Highland Fair, or Union of the Clans, 1731) and Theodore Cibber (Patie and Peggy: or, The Fair Foundling, 1730—a recasting of Allan Ramsay’s The Gentle Shepherd). Franz Joseph Haydn composed a setting for it. The air appears numerous collections from the period, including the Gillespie Manuscript of Perth (1768), and in several musicians’ copybooks of the late 18th century. It appears, for example, in the J. Brown manuscript of 1782, written in Seabrook, New Hampshire and in the manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a musician and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

***

Woes my heart that we shou’d sunder,

With broken words and down cast eyes,

***

Aird (Selections), vol. 5, 1797; pg. 60. Johnson (Scots Musical Museum), vol. 2, 1788; pg. 137. McGibbon (Scots Tunes, Book 1), c. 1746; pg. 20.

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 CREEK. Old‑Time, Breakdown. G Major. Standard. AABBBB. Source for notated version: Judy Hyman [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 260.

           

WOLF IN THE FERNS. In the repertoire of Champion, central New York State fiddler Winifred “Murph” Baker.

           

WOLFE’S SONG. AKA and see "Why, Soldiers, Why."

           

WOLFTRAP PROMISE, THE. Irish, Reel. D Major. Standard tuning. AABB’. Composed by Boston accordion player Joe Derrane. The promise of the title refers to Derrane’s pledge never to give up the accordion again, given to accordion player Billy McComiskey at the Washington Irish Festival at Wolf Trap. The promise was conditioned receiving McComiskey’s gift of an old but excellent D/C# Baldoni 19 treble 4 bass button accordion, the same model that Derrane used when he recorded his 78 RPM records in the 1940’s. Accordion player Jim Coogan remembers that the former owner’s widow had given it to McComiskey as someone who would respect the instrument, which was “black with rhinestone American and Irish Flags, shamrocks and harps next to the keys on the keyboard.” Derrane used the instrument for a year prior to receiving a custom made instrument from a French maker. Black (Music’s the Very Best Thing), 1996; No. 361, pg. 192.

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

G2 | c4 G2 E2C2F2 | E3F G2 D4G2 | c4G2 E2C2E2 | D3C D2C4 :|

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’. Old‑Time, Breakdown. USA; Alabama, Mississippi, Arkansas,  Missouri, Oklahoma, Texas. A Major: G Major (John Brown/Bruce Molsky, Phillips). AEae (most versions), GDgd (John Brown) tunings. AAB (Phillips): AABB. Tom Rankin (1985) identifies the tune as one specific to the "Old Southwest", or the states of Alabama, Mississippi, Arkansas, Oklahoma and Texas. Southwestern Missouri Ozarks fiddler Bob Holt (1930) learned it from local sources. Another Missouri fiddler, the father of Gene Goforth played “Wolves a Howlin’” and another tune called “The Howlin’ Wolves,” that was nearly the same. “His Dad swore up and down (that it) was different,” writes John Hartford (2001), “but Gene never could separate the two.” “Wolves…” was specialty tune of Tuscallosa fiddler Monkey Brown (1897‑1972) who was active in Alabama contest fiddling in the 1920's and 30's. It was a common tune in western Alabama, especially the Tombigbee‑Warrior region (Cauthen). The tune was one of several old‑time fiddle pieces listed in a 1925 University of Alabama master's thesis by S.M. Taylor entitled "A Preliminary Survey of Folk‑Lore in Alabama." Robert Fleder (1971) remarks that "Wolves Howlin'" has been collected in Mississippi and Oklahoma as well as Alabama, "but there is no reason to suspect that it is not indigenous to the Alabama‑Mississippi region.” Mississippi fiddler John Brown, of Tishomingo County, was recorded in 1939 playing the tune in GDgd tuning. He was over age 80 at the time. Some see resemblances to “Cotton-Eyed Joe [1].” See also Kentucky fiddler Buddy Thomas’s “Sheep and Hogs Walking Through the Pasture.” Little Jimmy Dickens recorded the tune under the title “Poor Little Darlin’.” The tune was played by Tom Sauber in Walter Hill’s 1980 film The Long Riders.

***

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.

***

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'

Can't you see those blue clouds flyin'

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, Mississippi)

***

Can't you hear them wolves a'howlin'

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 verisons: W.S. Collins (Pottawatomie County, Oklahoma) [Thede]; John Hartford [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 260. Thede (The Fiddle Book), 1967; pg. 133. Briar 4204, Earl Collins – “That’s Earl”. County 401, "The Stripling Brothers." Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986). Mississippi Department of Archives and History AH‑002, W.E. Claunch & John Brown ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music From Mississippi" (1985. Two different renditions, originally recorded for the Library of Congress in 1939). Rounder 0361, Bruce Molsky – “Lost Boy” (1996. 1st part based on John Brown, 2nd on the Stripling Bros.). Rounder RO-0388, Gene Goforth –“Emminence Breakdown” (1997). Rounder 0442, John Hartford – “Hamilton Ironworks” (2001). Vocalion 5412/02770 (78 RPM), Stripling Brothers (Alabama) {1929}.

           

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 Austin, Texas, fiddler Tim Wooten). Reed Island Rounders - “Wolves in the Wood” (1997).

           

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 New England – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

           

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 (Portland Collection), 1997; pg. 212. Niall O’Callanain (The Irish Bouzouki). Planxty -

           

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 Ireland), 1990; Ex. 40, pg. 114.

           


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). County Donegal fiddlers tend to play the tune in A Major, as would be in Scotland. For more on the Donegal origins of the tune see note for “Bean an Tighe ar Lar.” The first part corresponds to that of "Bummer's Reel [1]." See also the variants “Mistress of the House” and “O’Keeffe’s ‘Woman of the House’”. The great Irish music compiler Francis O’Neill learned this tune from County Mayo piper James O’Brien, who visited Chicago (where O’Neill worked in the police department) in 1876. O’Neill describes him as “a neat, tasty Irish piper of the Connacht school of close players, and though his Union pipes were small, they were sweet and musical...One of his peculiarities—and an unpleasant one, occasionally—was a habit of stopping the music in order to indulge in conversation. He could not be induced to play a tune in full, when under the influence of stimulants, as his loquacity was uncontrollable, and he never hesitated under such conditions to express a passing sentiment. Amiable and harmless at all times, he died at a comparatively early age in Chicago, a victim to conviviality, his only weakness.”

***

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 Sligo), 1990; pg. 99. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 23. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 4 (includes a 'B' part variation). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 111 (two versions). Moylan (Johnny O’Leary), 1994; No. 209, pg. 120. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 62, pg. 31. O'Neill (Krassen), 1976; pg. 114. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1300, pg. 244. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 565, pg. 104. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 171 (mistakenly listed as a Canadian tune). Taylor (Music for the Sets: Yellow Book), 1995; pg. 23. Globestyle Irish CDORBD 085, Denis Murphy - “The Rushy Mountain” (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians). Gennett Records (78 RPM), John McKenna (1924. Appears as “Lady of the House”). IRC Records, Michael Coleman - “The Musical Glory of Old Sligo” (1967). Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry Fiddles” (1977). RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe.”

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 (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 71, pg. 33.

 

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 (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 22, pg. 11.

X:1

T:Woman with the goats, The

T:Bean nan gabhar

M:C

L:1/8

R:Air

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 22 (c. 1882)

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 County Cavan, hard by the Monaghan border. His mother and her people were from Monaghan. Reavy (The Collected Compositions of Ed Reavy), No. 80, pg. 88.

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. Canada, eastern Prince Edward Island. G Major. Standard tuning. AABBA’A’BB. Pisquid (which Perlman says rhymes with ‘biscuit’) is a district in Queens County, PEI. Source for notated version: Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 50.

           

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 Chicago piper and fiddler Adam Tobin [O’Neill]. O'Neill (Krassen), 1976; pg. 161. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1550, pg. 286.

X:1

T:Women’s Rock

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1550

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 Newcastle, Northumberland, born in Scotland but active from the 1830s to 1850s in Gateshead and Newcastle, Northumberland, England. Hill, a sometime publican and popular tavern fiddler, is still famous especially for his hornpipes (“High Level Hornpipe,” “The Beeswing,” “The Hawk,” etc.), and was wont to name tunes after racehorses and pubs. He is sometimes called the ‘Paganini of the hornpipe’. Honeyman prints three versions, one each in his three hornpipe playing styles: Sand Dance, Newcastle, and Sailor's. The first four bars of the second strain of "Black's Hornpipe [1]" are reminiscent of this tune. Irish versions can be found in O’Neill under the titles “Coey’s Hornpipe” and “The Southern Shore,” and an American one in Ryan’s Mammoth Collection (1883) as “Tammany Ring.” Philippe Varlet reports that the tune was recorded on a 78 RPM record by champion accordion player George Ross in the mid-1950’s. Ross, born 1916, was from County Wexford and was a member of Mayglass Ceili Band. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pgs. 40‑41 (three versions). Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 3. Kerr (Merry Melodies), vol. 1; No. 29, pg. 46. Miller (Fiddler’s Throne), 2004; No. 324, pg. 190. Raven (English Country Dance Tunes), 1984; pg. 168. De Dannan – “Hibernian Rhapsody” (appears in the set “George Ross’ Hornpipes”). Old Bridge Music OBMCD 04, Tom McConville – “Fiddler’s Fancy.”

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, Jig. C Major. Standard tuning. AABB. 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 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 California, it seems by the contents that Burks was probably from the north of England. His second part is 15 measures long, but the whole tune is very similar to the one in the Gibbons manuscript. The indication of a fermata on the fourth note (‘e’) of measure 9 in the ‘B’ part, and the repeated ending measures would indicate that this was a song air. 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. 25.

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/)|