The Fiddler’s Companion

© 1996-2010 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’. AKA – “Poor Little Darlin’.” Old‑Time, Breakdown. USA; Alabama, Mississippi, Arkansas, Missouri, Oklahoma, Texas. A Major (Beisswenger & McCann): G Major (John Brown/Bruce Molsky, Phillips). AEae (most versions), GDgd (John Brown) tunings. AAB (Phillips): ABB’ (Beisswenger & McCann): AABB. The tune has wide dissemination among deep South and Midwest fiddlers. Tom Rankin and Gary Stanton (notes to Great Big Yam Potatoes) indicate it was popular in the “Old Southwest” or the states of Alabama, Mississippi, Arkansas, Oklahoma and Texas. Richard “Dink” Goforth, a Missouri fiddler and father of Gene Goforth (1921-2002) 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]” (according to John Hartford), while Mark Wilson sees similarities with “Pretty Girl Going Down the River.” 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. 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'

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 versions: W.S. Collins (Pottawatomie County, Oklahoma) [Thede]; John Hartford [Phillips]; Bob Holt (1930-2004, Ava, Missouri), learned from the humming of his father and banho playing of Uncle Noah, as well as from a 78 RPM recording [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 69. 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 CD-0432, Bob Holt – “Got a Little Home to Go to” (1998). Rounder 0442, John Hartford – “Hamilton Ironworks” (2001). Rounder Records CD-0435, Bob Holt – “Traditional Fiddle Music of the Ozarks, vol. 1” (2000. Various artists). Vocalion 5412/02770 (78 RPM), Stripling Brothers (Alabama) {1929}.

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 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, 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 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/)|

.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. Canada; Maritimes, Prince Edward Island. D Major. Standard tuning. AABB. Composition of the tune has been credited to the popular mid-20th century New Brunswick fiddler Ned Landry (e.g. by Perlman). Canadian titles for the tune include “La soupe aux pois” (Pea Soup), the title in Montréal, and “reel des bucherons” (Lumberjack’s Reel). The melody has become popular in the American Mid‑West, probably picked up from Canadian radio broadcasts. It was, for example, in the repertoire of Cyril Stinnett (1912‑1986), who epitomized the "North Missouri Hornpipe Style" of fiddling (see abc below. Stinnet has the parts reversed from the original). . “We’re very suspicious that this tune may be French-Canadian,” wrote John Hartford in 2001. The melody is sometimes attributed to Maritime fiddling great Don Messer (as, for example, on his MCA album “The Very Best of…”), however, this seems to have been an attempt by the record company to establish a copyright claim. Sources for notated versions: Joe Pancerzewski (north Mid‑West USA) [Brody, Phillips]; Bob Walters (Burt County, Nebraska) [Christeson]; Reuben Smith (b. 1931, Blooming Point, Queens County, Prince Edward Island) [Perlman]. Brody (Fiddler’s Fakebook), 1983; pg. 294. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 55. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 7. Messer (Way Down East), 1948 (Gordon Thompson, pub. ‑ Out‑of‑print). Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 35, pg. 29. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 149. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 72. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 261. Sannella, Balance and Swing (CDSS). Fretless FR200, Yankee Ingenuity‑ "Kitchen Junket" (1977). Front Hall 010, Fennigs All Stars‑ "The Hammered Dulcimer Strikes Again." Green Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound” (1999). MCA Records MCAD 4037, “The Very Best of Don Messer” (1994. Thomas Young writes to say that MCA made mistakes in the order of the tracks. “Woodchopper’s” is actually cut #14). Philo 2000, "Louis Beaudoin" (1973). Rounder 0442, John Hartford – “Hamilton Breakdown” (2001). Voyager 306‑S, Joe Pancerzewski‑ "The Fiddling Engineer."

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:Missouri

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 Ireland: 1001 Gems (1907), No. 193

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 Sligo), 1990; pg. 30. Green Linnet SIF 1147, Deanta - “Ready for the Storm.”

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 Hamilton

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, Patrick Street – “No. 2 Patrick Street.”

 

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 West Virginia title for the tune.

 

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 [Seattle]. Plain Brown Tune Book, 1997; pg. 41. Seattle (William Vickers), 1987, Part 2; No. 220.

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., London

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 Ireland (1903), No. 22

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 LIMERICK, THE. Irish, Jig. F Major (O’Neill): G Major (Patrick Street): D Major/Mixolydian (Harker/Rafferty). Standard tuning. AABB (O’Neill): AA’BB (Harker/Rafferty): AA’BB’ (Patrick Street). Sources for notated versions: John Kelly (San Francisco) [O’Neill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 224, pg. 69. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 141. Green Linnet SIF‑1105, Patrick Street ‑ "Irish Times" (1989). Larraga Records MOR 1302, Mike Rafferty – “Speed 78” (2004). Topic Records, Johnny O’Leary – “Music for the Sets.” Gráinne Hambly  (Co. Mayo) – “Between the Showers.” 

X:1

T:Woods of Old Limerick, The

M:6/8

L:1/8

S:John Kelly, San Francisco

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:Patrick Street: Irish Times
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. Canada, Cape Breton. G Major. Standard tuning (fiddle). AA’BB’. Composed by the late fiddler and composer Jerry Holland (1956-2009, Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 270, p. 78. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

                       

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 – “Hamilton Ironworks” (2001).

 


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.

                       

WOOSTER ODDITY. American, Jig. USA, Michigan. D Major. Standard tuning (fiddle). AABB. There is a Wooster, Ohio, or Wooster, Massachusetts, to which this tune may or may not refer. The tune was in the repertoire of Michigan fiddler Les Raber. Source for notated version: hammered dulcimer player Viola Cox (Michigan) [Johnson]. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); p. 5. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), 1986‑87; p. 6. Raber (Come Dance with Me), 3rd edition, 2005.

X:1

T:Wooster Oddity

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:||

 

WORCESTER HORNPIPE.  AKA and see “The Navy,” “New Bridge Hornpipe.” English, Hornpipe. G Major. Standard tuning. AABB. The melody was collected in 1907 by English folklorist Cecil Sharp (1859-1924) from fiddler John Mason (Stow-on-the-Wold, Gloucestershire). It appears in the music manuscripts of a few 19th century English musicians under the alternate titles. Callaghan (Hardcore English), 2007; pg. 26.

X:1

T:Worcester Hornpipe

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 Naseby fight:

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). Ireland, Sliabh Luachra region of the Cork-Kerry border. A Dorian. Standard tuning. AAB (Harker/Rafferty, Sullivan): AA’B (O’Leary/Moylan). A slide-rhythm version of the reel “The Torn Petticoat.” See also the reel “Old Torn Petticoat.” Martin Mulvihill published the melody in his 1st Collection (1986) as “Johnny Leary’s (Slide).” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]; Danny Barry, via New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 288, pg. 93. Moylan (Johnny O’Leary), 1994; No. 82, pg. 47. Sullivan (Session Tunes), vol. 3; No. 20, pg. 8. Treior, vol. VII, No. 1. Globestyle Irish CDORBD 085, Johnny O’Leary - “The Rushy Mountain” (1994. Reissue of Topic recordings). Topic 12T311, John & Julia Clifford - “The Humours of Lisheen.” Topic 12T357, Johnny O’Leary - “Music for the Set” (1977).

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 (London, pg. 167), and John and William Neal printed it in Dublin c. 1726 in A Choice Collection of Country Dances, with their Proper Tunes (pg. 14). In the 19th century the tune was incorporated into the stylish and popular “Lancer’s Quadrilles” as the third (jig) movement, entitled “La Native.” See also the Irish dance derivative, in the form of a slide, under the title “I’d Rather be Married than Left.” T. Westrop included it in his 120 Country Dances, Jigs, Reels, Hornpipes, Spanish Waltz, etc. for the Pianoforte (London, No. 30), although under the title “If the Heart of a Man” (i.e. the Beggar’s Opera song title). “Wou’d you have a young virgin” also appears in several 19th century musicians’ manuscript collections, including the Thomas Hardy family (Dorset), Thomas Hammersley (London, 1790), and two untitled manuscripts from the mid-19th century. Callaghan (Hardcore English), 2007; pg. 66. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 118 (appears as “Saw Ye a Lassie of Fifteen”). Raven (English Country Dance Tunes), 1984; pg. 56. Watson (A Rollick of Recorders and Other Instruments), 1975; No. 6, pg. 7.

X:1

T:Saw Ye a Lassie of Fifteen

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:D

A | FGA ABA | d2A A2G | FGA ABA | e2E E2A | FGA ABA | d2A e2A | fed ABc | dAF D2 ||

g | fed fed | e2A A2d | fed fed | g2f e2g | fed gfe | agf (bag) | fed ABc | dAF D2 ||

                       

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 Danube.’” Francis O’Neill links the melody to O’Carolans’s “Captain O’Kane” as printed by Hardiman in Irish Minstrelsy (1831), where it is given: “Captain O’Kane of O’Cahan of a distinguished family, a sporting Irishman well known in Antrim in his day as ‘Slasher O’Kane’”. There is no evidence to support Hardiman’s attribution to O’Carolan, however, premier O’Carolan scholar Donal O’Sullivan accepted Hardiman’s statement. The song had widespread popularity throughout Britain and Ireland. It reentered the relatively isolated Sliabh Luachra region of the Cork-Kerry border in a roundabout way (told by Tim Britton, confirmed by Paddy O'Brien). It seems that the renowned regional fiddler Padraig O'Keeffe learned the air, as he did many of his tunes, from an uncle named Cal Callaghan. Callaghan lived for several decades in a Scottish settlement in southern Ohio and picked up many tunes there, some of which he taught to his nephew Padraig on his return to Ireland. At some point the title was lost or changed, for O'Keeffe called "The Wounded Hussar" by the title "Banks of the Danube," from the first line of the lyric. Such was O'Keeffe's influence that the tune and others were absorbed into Sliabh Luachra repertoire and are now considered 'traditional' tunes of the region. The piece can be found in many print and manuscript collections, including the 1837-1840 music manuscript collection by Shropshire musician John Moore and the 1800-1802 manuscript by ship’s fiddler William Litten. It was published in America in Riley’s Flute Melodies, vol. 2 (New York, 1817-1820), in Elias Howe’s Musician’s Omnibus, and on various song-sheets. In Britain it was printed in Surenne’s Songs of Ireland without words (Edinburgh, 1854). The melody was copied by musician John Burks into his music manuscript book, dated 1821. Unfortunately, nothing is known of Burks, although he may have been from the north of England. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 93a, pg. 37. Howe (Musician's Omnibus), No. 2, pg. 129. Huntington (William Litten's), 1977; pg. 44. Johnson (Our Familiar Songs), pgs. 543-544. Knowles (A Northern Lass), 1995; pg. 7. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 47, pg. 43. Skinner (Harp and Claymore), 1904; pg. 161. Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008).

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 ||

           

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