The Fiddler’s Companion

© 1996-2009 Andrew Kuntz







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’s incredibly handy “ABC Convert-A-Matic” at 


**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 converter results in double-spacing. For’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]




W. SCOTT COLLINS.  Scottish, Hornpipe. C Major. Standard tuning. AABB. Composed by the great Scottish fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 128.


T:W. Scott Collins




C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion


(G/>F/) | E/>F/^F/>G/ (3A/G/F/ G/>c/ | A/>B/c/>^c/ (ee/d/c/ d/>=c/ | (B/>c/^c/>d ^d/>e/f/>^f/) |

(3a/g/^f/ g/>c’/ e’G/>=F/ | E/>F/^F/>G/ (3A/G/F/ G/>c/ | A/>B/c/>^c/ (ee/d/c/ d/>=c/ | (B/>c/^c/>d ^d/>e/f/>^f/) |

g/ z/ B c :: e/>f/ | g (3b/a/g/ f (3a/g/f/ | e (3g/f/e d (3.f/.e/(.d/ | c/>)(B/ c/>)(G/ A/>)(c/f/>)(a/ | g/>)(e/c/>)(e/ d).e/>.f/ |

(3.g/.^f/.g/ (3.b/.a/.g/ (3.=f/.e/.f/ (3.a/.g/.f/ | (3.e/.^d/.e/ (3.g/.f/.e/ (3.=d/.^c/.d/ (3.f/.e/(.d/ |

=c/>)(B/c/>)(G/ A/>)(c/>f/>)(a/ | g/>)(c’>b/>)(d’ c’) :|


WA’  IS ME, WHAT MUN I DO?  AKA and see “Epsom Wells.” English, Country Dance Tune (3/4 time). F Major. Standard tuning. AAB. “Wa’ is me, what mun I do?” appears in Henry Playford’s Dancing Master, supplement to the 9th edition (London, 1698) and in subsequent editions through the 13th, published in 1706. The title “Epsom Wells” (the first title in the 9th edition) is the name of a 1676 stage production by Thomas Shadwell, with music by English composer Henry Purcell. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 138.


T:Epson Wells or, Wa’ is Me, What Mun I Do?



S:Playford – Dancing Master, supplement to the 9th edition (1696)


c3 fcA|c2A2F2|d3 fdB|d2B2G2|c f2 agf|g2c2A2|

B>cdcBA|GFfe f2:||afcagf|g2c2A2|fdAfdA|=B2 (B/c/d) G2|

gecgec|d=BdB2G2g|dgegdg|ed/e/ f/e/d/c/ c2|f>e fgfe|

f3g f2|g>fgagf|g3 a g2|a>gabag|a>bag f2|f>g f/g/a gf|fgfc f2||


WABASH BLUES. Old-Time. One of the “uptown” numbers featured on Atlanta radio in the late 1920’s by the Home Town Boys, led by fiddler Clayton McMichen. It was also recorded in the late 1920’s by guitarist Hoke Rice, also an Atlanta native, for Brunswick Records (as Hoke Rice and His Hoky Poky Boys).


WABASH FOXTROT. Old-Time, Country Rag. USA, Missouri. D Major. Standard tuning. ABB’C. Source Teague, an elderly fiddler from Salem, Missouri, called this a (traditional) ‘round-dance’ tune learned from his uncle Orville Cassidy. Source for notated version: Howe Teague (1913-2005, Dent County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 150. Rounder CD 0435, Howe Teague  – “Traditional Music of the Ozarks, vol. 1” (1999. Various artisits) Rounder Heritage Series 1166-11592-2, Howe Teague (et al) – “The Art of Traditonal Fiddle” (2001).


WADDLING GANDER. Irish, Jig. G Major. Standard tuning. AAB. Learned by Bronx flute player Jack Coen (b. 1928) from his concertina-playing father in Woodford, County Galway. Green Linnet SIF 3067, Jack and Charlie Coen – “The Branch Line” (1992. Reissue of Topic 12TS337). Topic 12TS337, Jack and Charlie Coen – “The Branch Line” (1977). 

X: 1

T: Waddling Gander

S: Jack & Charlie Coen / "The Branch Line" (Topic 12TS337)

M: 6/8

L: 1/8

Q: 320

Z: Transcribed by Bill Black

R: jig

K: G

B/c/ |: BGG dGG | BGG ded | cAA eAA | cAc edc |

BGG dGG | BGG ded | c2 d e2 f | ged B2 G :|

g2 d B2 d | ged BAG | Aee ede | gee e2 d |

g2 d B2 d | ged BAG | c2 d e2 f | ged BGA |

Bdd dBG | Bdd d2 e | gee ede | gee e2 d |

Bdd dBG | Bdd d2 e | c2 d e2 f | ged B2 G ||[COMMENT1] [COMMENT2] 

[COMMENT3] [COMMENT4]               

WADE HAMPTON'S HORNPIPE. American, Hornpipe. B Flat major. Standard tuning. AABB. The composition is attributed to Frank Livingston in Ryan’s Mammoth Collection, whose name is attached to several tunes in the collection—most having Southern titles. The title honors Wade Hampton, born in Charleston on March 28, 1818, into one of the richest families of the antebellum South. They owned and operated plantations not only in South Carolina but Mississippi as well. Hampton, who was married twice, had five children by his first wife, and when she died he wed again and had four more children. He was a politician before the war, rising to become a state senator in the years just prior to the hostilities. When war broke out he resigned and accepted a Colonel’s commission in the Confederate army. Hampton proved to be an able soldier and received several promotions. He replaced Jeb Stuart as Lee's cavalry commander after the latter was slain, and was only the second cavalryman to rise to the rank of Lieutenant General (in 1865). After the war Hampton re-entered politics and in 1876 narrowly defeated Daniel Chamberlain by 1,134 votes. Chamberlain protested the results and took the oath of office, but the South Carolina Supreme Court ruled in favor of Hampton (although Hampton was barred from the Statehouse by federal troops until April 10, 1877. He was re-elected in 1878 as Governor but resigned to become a United States Senator and served two terms. He died in 1902.


Wade Hampton (1818-1902)


Cole (1000 Fiddle Tunes), 1940; pg. 101. Kerr (Merry Melodies), vol. 2; No. 381, pg. 42. Ryan’s Mammoth Collection, 1883; pg. 138. Copley Records EP9-20 (45 RPM), Paddy O’Brien (195?).


T:Wade Hampton’s Hornpipe



C:Frank Livingston

S:Ryan’s Mammoth Collection


(3f/g/a/|ba/g/ f/e/d/c/|B/A/B/c/ d/B/F/D/|F/B/A/B/ G/B/A/B/|d/Be/d/ c/f/g/a/|

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

|:f/e/|d/D/F/B/ d/f/b/a/|g/E/G/B/ e/g/b/g/|f/=e/f/g/ f/d/B/d/|e/d/c/=B/ c/f/=e/_e/|

d/D/F/B/| d/f/b/a/|g/E/G/B/ e/g/b/g/|f/=e/f/g/ f/_e/d/c/|B/b/f/d/ B:|


WADE’S WELCOME TO GLASGOW. AKA and see “Lily Long.” Scottish, March (6/8 time). A Major. Standard tuning. AABB. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 16.


WAES ME FOR CHARLIE (Och a's ochan mo charadh). Scottish, Slow Air (3/8 time). F Minor. Standard tuning. AAB. "This is an air to which the editor's father used to repeat sterling Gaelic words, lamenting the fate of Prince Charles, after the battle of Culloden, and acquired from the gentlemen mintioned in the prospectus,‑‑the burning of MacDonell's collection of the Jacobite songs, is an event now to be regretted, when they can no longer affect the public mind" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 97, pg. 37.


T:Waes me for Charlie

T:Och a’s ochan mo chàradh




S:Fraser Collection   (1874)

Z:AK/Fiddler’s Companion

K:F Minor

C|FAc|B>AG|B/A/G/F/ c|F>EC|c>BA|c/>B/A/>G/F/>=E/|FAc|F2 z/C/|

FAc|B>AG|B/A/G/F/ c|F>EC|c>BA| c/>B/A/>G/F/>=E/|FAc|F2:|

A/B/|cc c/4=B/4c/4=d/4|eA G/A/|BB _d/4c/4d/4e/4|dcB|AGF|a>g/f/=e/|

f/c/ a/>g/f/>=e/|f2 f/g/|a/g/f/=e/f|_e>dc|B/A/G/F/c|F>EC|c>BA|



WAE'S ME FOR PRINCE CHARLIE. AKA and see "A Wee Bird Cam' To Our Ha' Door," "Lady Cassilis'/Callilies Lilt." Scottish, Air (4/4 time). A Major. Standard tuning. AA. “Wae’s Me for Prince Charlie” is a version of "Lady Cassilis Lilt" and  "Johnnie Faa," with lyrics by William Glen (1789‑1826). Taylor (1924) says the melody is “an early eighteenth-century version of a rather less organized tune, ‘Lady Cassilis’ Lilt’, that is found in the Skene MS. Of some hundred years earlier date—a collection of songs and dances (written in lute tablature) that is the oldest extent trustworthy authority for Scottish music, though it contains English tunes as well.” "Wae's Me" was included by special request of Queen Victoria in the program of a concert arranged in her honor during her 1842 visit to Taymouth Castle; the singer was John Wilson, a famous interpreter of Scots songs of the time. Her selection was politically reparative, for Glen's lyrics relate the Jacobites' sorrow at the plight of Prince Charles Edward Stuart who became a fugitive from the English after being soundly defeated at the battle of Culloden one hundred years before.



A wee bird cam' to our ha door

He warbled sweet and clearly,

An' aye the o'ercome o' his sang

Was "Wae's me for Prince Charlie".

On hills that are by right his ain

He roams a lonely stranger

On ilka hand he's press'd by want,

On ilka side by danger;

Yestreen I met him in a glen,

My heart maist burstit fairly;

For sairly changed indeed was he—

Oh! Wae's me for Prince Charlie.



Prince Charles Edward Stuart, by Maurice Quentin de la Tour


Neil (The Scots Fiddle), 1991; No. 163, pg. 210. Taylor (History of Music in England), 1924; No. 118, pg. 328.


T:Wae’s Me for Prince Charlie



S:Taylor (1924)

Z:AK/Fiddler’s Companion

K:D Mixolydian

D|D2 DE G3F|E>D EG A3 B|D3 E GB AG|E4 D2 zG|

A2 AB d3 e|d>B AB G3 B|A3 B d2e2|B4 A3 G|

A2 AB d3 e|dB AG A3 B|D3 E GBAG|E4 D2 z||


WAFUS TWO-STEP. AKA - "Waffle Two-Step." AKA and see "Pancake Two-Step." Cajun, Two-Step (4/4 time). D Major. Standard tuning. AA(Vocal)AAAABB(Vocal)BA. Editor Raymond Francois (1990) had no explanation for the origin of the name 'Wafus.' A related song is Austin Pitre's and Milton Molitor's "Midway Two-Step." Source for notated version: Aldus Roger and Phillip Alleman (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 490-491. La Louisiane Records LL-LP122, Aldus Roger.


WAG O' THE KILT, THE. Scottish, March‑Strathspey. A Major. Standard tuning. One part. Composed by McKenzie Murdoch (1871‑1923) of Glasgow, the "Scotch Paganini." A "brilliant violinist," known for his emotive playing in general and execution of harmonics in particular, he studied with the Dutch musicain Herr Sons, leader of the Scottish Orchestra, and toured extensively with his friend Harry Lauder, perhaps the most famous Scottish vocalist of the 20th century (Hunter, 1979). Hunter (Fiddle Music of Scotland), 1988; No. 153.


WAGGONER, OR GE HO DOBBIN, THE. AKA adn see "Ge(e) Ho, Dobbin [1]."


WAGNER. AKA and see "Wagoner."


WAGNER'S HORNPIPE. Old‑Time, Breakdown. USA, Texas (Of local Texas origin according to Red Williams). C Major. Standard tuning. AABBCCDD. Bears unmistakable resemblance to the "Wagoner” family of tunes (i.e. “Johnny Wagoner,” “Tennessee Wagoner,” “Texas Wagoner” etc. Source for notated version: Red Williams (Dallas, Texas) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 39.


WAG'NER ONE STEP. AKA‑ "Crazy Wag'ner." Old‑Time, Breakdown. USA, Oklahoma. C Major. Standard tuning. AABB. Related to "Wagoner [1]." Source for notated version: Old Man Langford (Harmon County, Oklahoma) [Thede]; Skip Gorman [Phillips]; Desert String Band fiddler Ron Kane (Salt Lake City, Utah) [Songer]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 250. Songer (Portland Collection), 1997; pg. 206. Thede (The Fiddle Book), 1967; pg. 35. Sierra/Briar Records, Earl Collins – “That’s Earl” (fiddled by Reyna Gellert).


WAGON TIRE TIGHTENER. Old-Time, Breakdown. Marimac AHS #3, Glen Smith – “Say Old Man” (1990. Learned from Richard Farmer).


WAGON TRAIN. American, Schottische. USA, Arizona. G Major. In the repertory of Arizona fiddler Kenner C. Kartchner who said the name was not the real name of the tune which was "lost to antiquity." He learned the tune from fellow Arizona fiddler Pete Marker.


WAGONER [1]. AKA and see “French Jig,” "Wild Wagoner," "Tennessee Wagon," "Tennessee Wagoner (Wagoneer)," "Texas Wagoner," "Georgia Wagoner," “Oklahoma Wagoner,” "Wagner," "Wag'ner," "Jolly Wagoner Reel," "Miss Brown's Reel," "The Hero." Old‑Time, Texas Style, Bluegrass; Breakdown. USA, Widely known. C Major (most versions): G Major (Shaw). Standard tuning. ABCDEFGHIJK (Reiner & Anick): AABB (Bayard, Brody, Christeson, Krassen, Ruth, Shaw, Titon): AA'BB' (Krassen): AABBAAB'B' (Phillips). This American melody is commonly played in the Midwest among fiddlers today, although it has been popular throughout the South. It is thought by Bayard (1981) and Christeson (1973) to have been derived from the "Belle of Claremont Hornpipe," though Bayard, digging deeper, finds antecedents to "Claremont" also (see note for "Tennessee Wagoner"). The title is to be found in a number of variations, usually with a different place (state) name before "Wagoner," such as "Tennessee Wagoner," "Georgia Wagoner," "Texas Wagoner," etc. However, it also appears under non-Wagoner titles as, for example, "The Hero" in George P. Knauff's 1839 publication Virginia Reels, volume II (Baltimore), and in some later mid-nineteenth century publications where it can be found as "Miss Brown's Reel." The tune is derived from "The Belle of Claremont Hornpipe," according to both Christeson and Bayard, though Bayard further believes it to be composite in nature and traceable to older tunes. The first part he thinks derived from "Billy in the Lowland/Lowground," while the second is a strain from an old Scottish air "The Gaberlunzie‑Man" (the earliest version of which can be found in Thompson's Orpheus Caledonius, 1725, pg. 23). This second strain has an old and venerable history in folk‑process; the second half of both "Wagonner" and "Gaberlunzie" greatly resemble the Scots tune "Johnny Cope" and "Keep Off the Grass," states Bayard. Even the second half of the well‑known "Mississippi Sawyer [1]" may be derived from this element.  It was in repertoires of Uncle Jimmy Thompson 1848‑1931 (Texas, Va.) under above title and as "Wagner," and the John Lusk Band (Black string band from the Cumberland Plateau region of Ky.) as "Rolling River."  In fact, it was supposed to have been the first tune Uncle Jimmy played on Nashville’s WSM in November, 1923, in what was to become the very beginning of the Grand Old Opry (Wolfe, 1997).


Arizona fiddler Kenner C. Kartchner maintained that it was written "in honor of (Texas cattleman) Dan Wagner years earlier, maybe one hundred years ago," (suggesting the Texas appellation to the title was correct) though he acknowledged that "some call it 'Tennessee Wagonner,' reason not known" (Shumway, 1990). In fact, the title honors a Tennessee thoroughbred horse that competed in a hugely popular Louisville, Kentucky, horserace in 1839 (see note for “Grey Eagle”). See also additional information in the alternate titles given above.


"Wagoner" (along with "Wagoner in B‑Flat") was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from the playing of Ozark Mountain fiddlers in the early 1940's, and by Herbert Halpert in 1939 from the playing of Lee County, Mississippi, fiddler W.E. Claunch. “Wagoner” was Kentucky fiddler John M. Salyer’s (1882-1952) favorite tune, according to his son Grover. Guthrie Meade lists 24 early recordings of various “Wagoner”-titled tunes on 78 RPM, including Uncle Am Stuart (1924), Doc Roberts & Dick Parman (1927), Reaves’ White County Ramblers (1928), Eck Robertson (1929), Gid Tanner & His Skillet Lickers (1930), and Fiddlin’ John Carson (1934).


Sources for notated versions: The Dillards with Byron Berline [Brody]; Tony Gilmore (Jefferson City, Missouri) [Christeson]; Charlie Higgins (Galax, Va.) [Krassen, 1973]; Jilson Setters {AKA J.W. Day} (Ashland, Kentucky) [Krassen, 1983]; Uncle Am Stuart (Morristown, Tennessee) [Krassen, 1983]; S.A. McReynolds (Oklahoma City, Oklahoma) [Thede]; Eddie Hulsey (Osage County, Oklahoma) [Thede]; Martin Thomas (Major County, Oklahoma) [Thede]; Marr (elderly fiddler from Missouri, 1949) [Bayard]; Mark O'Connor [Reiner & Anick]; Walter McNew (Mt. Vernon, Rockcastle County, Ky., 1990) [Titon]; John M. Salyer (Salyersville, Magoffin County, Ky., 1941-42) [Titon]; Stuart Williams (Seattle) [Silberberg]. Bayard (Dance to the Fiddle), 1981; Appendix No. 21, pgs. 580‑581. Brody (Fiddler’s Fakebook), 1983; pg. 283. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 40. Ford (Traditional Music in America), 1940; pg. 28 (two versions). Krassen (Appalachian Fiddle), 1973; pg. 76. Krassen (Masters of Old-Time  Fiddle), 1983; pg. 26 and pgs.17‑18 (two versions). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 250. Reiner & Anick (Old Time Fiddling Across America), 1989; pgs. 144‑146 (includes variations). Ruth (Pioneer Western Folk Tunes), 1948; No. 14, pg. 7. Shaw (Cowboy Dances), 1943; pg. 387. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 162. Thede (The Fiddle Book), 1967; pg. 34‑35 (three versions). Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 163A & B, pgs. 188-189. Caney Mountain Records CEP 210 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. Conqueror 7975 (78 RPM), Doc Roberts (Ky.). County 202, “Eck Robertson: Famous Cowboy Fiddler” (1991). County 527, Eck Robertson (West Texas) ‑ "Old‑Time Fiddle Classics, vol. 2". County 707, Norman Soloman‑ "Texas Fiddle Favorites." County 720, Joe Drye – “The Mountain Ramblers” (1969). Elektra EKS 7285, The Dillards with Byron Berline‑ "Pickin' and Fiddlin.'" Marimac 9060, Jim Bowles – “Railroad Through the Rocky Mountains” (1994). Missouri State Old Time Fiddlers' Association 007, Charlie Walden - "Draggin' the Bow" (1985). Missouri State Old Time Fiddlers' Association, Cyril Stinnett (1912-1986) - "Plain Old Time Fiddling." Paramount 3009 (78 RPM), Doc Roberts (1927). Rounder 0005, “Snuffy Jenkins and Pappy Sherril: Thirty Years of Pickin’ and Pluckin’” (1971). Rounder 0074, Highwoods String Band‑ "No. 3 Special" (1976). Rounder 0137, Mark O'Connor ‑ "Soppin' the Gravy." Rounder 0157, Art Galbraith – “Simple Pleasures: Old Time Fiddling from the Ozarks” (c. 1986). Vetco 506, Fiddlin' Van Kidwell‑ "Midnight Ride" (appears as "Tennessee Wagon"). Voyager 309, Benny and Jerry Thomasson‑ "The Weiser Reunion: A Jam Session" (1993). Vocalion 14840, Uncle Am Stuart (b. 1856, Morristown, Tenn.—recorded in 1924 as “Waggoner”). In the repertoire of Uncle Jimmy Thompson, 1848‑1931 (Texas, Tenn.).


T:Wagoner [1]



S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion


CE/F/ GA/B/|c/B/A/B/ c/B/c|D>D Dd|d/c/B/c/ d/c/B/A/|

CE/F/ GA/B/|c/B/A/B/ c/d/e/f/|g>^f g/a/g/=f/|ec c:|

|:(g/f/)|eccc|c/d/e/f/ g/a/g/e/|dGGG|G/A/B/c/ d(g/f/)|

eccc|c/d/e/f/ ge|a>g a/b/a/g/|ec c:|


T:Wagner [1]




Z:AK/Fiddler’s Companion


[G,D][CE] [CE]>G | c/B/A/B/ c/B/A/G/ | G,[B,D] [B,D]>A | d/c/B/c/ d/c/B/A/ | [G,D][CE] [CE]>G |

c/B/A/B/ [Ec]c/d/ | [A/e/][Bg][B/g/] [Ba]g/f/ | [A/e/][Ec][E/c/] [E2c2] || g/f/ | [Ae][Ec] [E/c/][E/B/][E/c/][E/d/] |

e/f/g/a/ [Bg]d/c/ | B[G,G] [G,/G/]F/G/A/ | B/c/d/e/ dg/f/ | [Ae][Ec] [E/c/][E/B/][E/c/][E/d/] | e/f/g/a/ gf/g/ | aa/b/ a/g/e/d/ | [Ec][Ec] [Ec] ||


WAGONER [2]. AKA and see "Tom Wagner."


WAGONER HORNPIPE. American, Hornpipe. C Major. Standard tuning. AABBCC. Source for notated version: Mark O'Connor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 232.


WAGONER ONE STEP. See "Wag'ner One Step."


WAGONER'S LAD, THE. AKA and see "Rye Whiskey," "The Drunken Hiccups," "The Cuckoo [5]," "Jack of Diamonds [3]," "Robie Donua Gorach," "Tod(d)lin' Hame," "Johnnie Armstrong," "Bacach," "Clinch Mountain." Old‑Time, Air. USA, Kentucky. C Major. The song was first printed by the English collector Cecil Sharp, who toured the Appalachians in 1908. Biograph RC6007, Ebenezer ‑ "Tell it to Me." Rounder CD0421, Bruce Molsky - “Big Hoedown” (1997. Learned from recordings of Mr. & Mrs. John Sams of Combs, Kentucky, and also Buell Kazee).


WAILING OF THE SEA. AKA and see "Iargain Cuain."


WAIST RIBBON. AKA and see "Lady's Waist Ribbon."


WAIT AWHILE (Fan Go Foil). AKA and see "Lady Wemyss." Irish, Jig. A Mixolydian. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 43. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 932, pg. 173.


T:Wait Awhile




S:O’Neill – Music of Ireland  (1903), No. 932

Z:AK/Fiddler’s Companion


B | cde eca | cAc e2d | cde ef=g | BGB d2B | cde efg | agf edc | dfd cac | BGB d2 :|

|: B | acA ecA | acA efg | acA ecA | BGB d2B | acA ecA | acA efg | agf edc | BGB d2 :|


WAIT FOR ME, BROWN HAIRED MAIDEN. See “Nionag a chuil duinn nach fhan thu.”


WAIT FOR THE WAGON. AKA – “On the Wagon,” “Waiting for the Wagon.” American, Song and Dance Tune; English, March. F Major ('A' part) & C Major ('B' part) (Ford): D Major (Callaghan). Standard tuning. AB (Ford): AABB (Callaghan). An American song tune composed by R. Buckley & George P. Knaupf in 1851. It was adopted (tongue-in-cheek) in Britain as a military march by the Royal Corps of Transport. The tune was played by old fiddler William “Jinky” Wells, fiddler for the Bampton Morris Dancers, although it was not a traditional morris tune and is almost never heard played for morris dancing today. It was recorded from the playing of East Anglia publican (of the Dennington Bell) and melodeon player Dolly Curtis in the 1980’s. Callaghan (Hardcore English), 2007; pg. 53. Ford (Traditional Music in America), 1940; pg. 119 (lyrics also printed by Ford). Beautiful Jo Records BEJOCD-28, The Mellstock Band – “The Dance at the Phoenix: Village Band Music from Hardy’s Wessex and Beyond.”. EFDSSCD13, Old Hat Concert Party  – “Hardcore English” (2007. Various artists). Firebird FBR01, Phoenix – “After the Fire.” Old Hat Records OH-1, Old Hat Band - "The Old Hat Concert Party" (1986). Veteran VT130CD, Dolly Curtis (et al) - “Who Owns the Game: Traditional Songs and Melodeon Tunes from Central Suffolk” ().


T:Wait for the Wagon



B:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion


F|f>f F>F|A c2c|c>d B>c|A3 c|f>f F>F|A c2 c|d>f e>d|e3 e|

f>f F>F|A c2 c|c>d B>c|A3c|a2 ag|f d2c|df eg|(f2 f)z||


e2 e>d|c A3|B2 B>A|G E3|e2 e>d|cA GG|Ac Bd|[E2c2] [E2c2]||


WAIT IN THE KITCHEN (TILL THE COOK COMES IN). AKA and see "Duck's Eyeball [1]," "Richmond Cotillion," "Old Richmond," "Hanging Around the Kitchen (Till the Cook Comes Home)," "Run Them Coons in the Ground," "Jackson's Breakdown." Old-Time. Silly verses are sung to the tune, one of which explains the alternate title. For example, Charlie Acuff sang:


Wait in the kitchen till the cook comes in,

The cook comes in, the cook comes in.

Wait in the kitchen till the cook comes in.


Stuck my finger in the ducks eyeball,

The ducks eyeball, the ducks eyeball.

Stuck my finger in the ducks eyeball.


See also the related "Sally Put a Bug on Me" and Lymon Enloe’s “Hanging Around the Kitchen (Till the Cook Comes In).” CA-01, Charlie Acuff - "Left Handed Fiddler" (1990. A privately issued cassette of 70 year old fiddler Charlie Acuff of Alcoa, Tennessee).


WAIT TILL YOU HEAR THIS ONE, BOY. Old‑Time, Country Rag. USA, Missouri. G Major ('A' part) & C Major ('B' part). Standard tuning. ABB. The title may simply have been a routine statement made by Christeson's source, Tony Gilmore, prior to each time he played the piece. Gilmore was the only central Missouri fiddler Christeson ever heard play this piece. Sources for notated versions: Tony Gilmore (Jefferson City, Missouri) [Christeson]; Greg Canote (Seattle) [Silberberg]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pgs. 167‑170. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 163.  Missouri State Old Time Fiddlers' Association, Tony Gilmore - "Old Time Fiddler's Repertory" (1976).


WAITING FOR NANCY. Old-Time, Breakdown. D Major. Standard tuning. AABB. Susan Songer (The Portland Collection) says the tune was composed by Curt Bouterse of San Diego, California, while waiting in Squibob Square in that city’s Old Town Historical Park for his eponymous Nancy. He told SOnger it was originally written as a fretless banjo tune in the key of ‘C’, published in his Nixon's Farewell and Nine Other Tunes for Clawhammer Banjo, a small mimeographed pamphlet. Songer (Portland Collection), 1997; pg. 206. Reed Island Rounders - “Wolves in the Woods” (1997).


WAITING FOR THE FEDERALS. AKA and see “Running from the Federals,” "Seneca Squaredance." Old‑Time, Breakdown. G Major. Standard tuning. AA'BB'. Bain (50 Fiddle Solos), 1989; pg. 22. WHR 01, Aly Bain – “First Album” (learned either from fiddler Jay Ungar or singer/songwriter Jim Ringer, Ungar’s source. Ringer would sing or play on the harmonica the melodies of fiddle tunes he had learned when growing up in Arkansas).


T:Waiting for the Federals

T:Seneca Square Dance




B4 B2AB|d2B2 BAG2|B4 d3B|ABAG E2D2|

B4 B2AB|d2B2 BAG2|ABAG E2F2|1 G3A G2DG:|2 G3A G2Bd||

|:g4 gage|d2B2 BAG2|g4 gfga|b(ee)f e3f|gaba g2 ge|dged BAG2|

ABAG E2F2|1 G3A G2Bd:|2 G4G4||


WAITING FOR THE WAGON. See “Wait for the Wagon.”


WAITING FOR SNOW. American, Waltz. E Minor. Standard tuning. AA'BB'. Composed in 1990 by Julie King (Seattle, Washington), frustrated by the lack of snow when she went skiing in the Cascades. Matthiesen (Waltz Book II), 1995; pg. 72. Julie King & Claude Ginsburg - "Contra & Blue."


WAITING IN THE KITCHEN. AKA and see “Hanging Around the Kitchen (Till the Cook Comes Home),” "Wait in the Kitchen (Till the Cook Comes In)," "Richmond Cotillion."


WAKE JIG, THE. AKA and see "My Love in the Morning," "Jemmie the Gom," "Sorry to Part," "Happy to Meet {and Sorry to Part}," "You'll go a hunting no more." Irish, Jig. Music was an integral part of many old Irish wakes, as were other activities. This passage is from Reverend James Hall’s “Tour Through Ireland” (1813):


On enquiring what they did at the wakes? A girl told me, while she

lay abed, that some go there with their faces blacked, and men in

women’s clothes; that various amusements are introduced, even

where they have no whiskey. At one of these amusements, which

they call mending the old coat, a girl told me that a coat is spread

on the floor, and that two persons, a young man and woman, sit down

and pretend to mend it, while the rest are dancing in a ring around

them, wheeling sometimes one way, and sometimes another. At

length, the young man and woman get up, then kiss, and join in the

dance; that another couple sit down and do the same; and so on, till

all have mended the old coat.


Though they have no manner of acquaintance, or relationship to the

dead person, young people, she tolk me, sometimes comes a dozen

miles to a wake. The priest, having given to the dead the extreme-

unction, and prayed for the repose of the soul; they think that all

will be well with their departed friend, and that grief would be im-

proper. Hunt the slipper, and blind-man’s-bluff, are also common

amusements. On some occasions, where there is plenty of whiskey,

the singing and music stop, and the old women set up a howling

for the dead in general; at which, if they please, young women may

learn to howl.


WAKE ROBIN. Old-Time. DDad tuning. From western North Carolina fiddler Marcus Martin.


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


WAKE SUSAN. See "Wake Up Susan."


WAKE UP, CHICKEN. Old-Time, Breakdown. D Major. From the playing of Roscoe Parish, Coal Creek, Virginia.


WAKE UP FARMER. Old‑Time, Breakdown. Marimac 9008, The Lazy Aces String Band ‑ "Still Lazy after all These Years" (1986).


WAKE UP JACOB. AKA and see “Wild Horse.” Old‑Time, Breakdown. Harry Smith (Folkways FA2951) writes: “An even more elaborate complex of accent variations occur in this Texas violin-guitar performance than took place with similar instrumentation by (Jilson Setters, 1928). Relative freedom with the melody took place earlier in Texas and Louisiana than in the more northern states, probably because of a greater diversification of cultures along the Gulf Coast. A small local area of a somewhat similar style (of which the recording by ‘Uncle Jimmy’ Thompson {Columbia 1928} are excellent examples) developed quite early in Tennessee. The well known tune given here is sometimes known as ‘Wild Horse’, particularly in North Carolina, Kentucky and other central eastern states.” The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph, from the playing of Ozark Mountain fiddlers in the early 1940's. OKeh 45375 (78 RPM), Prince Albert Hunt’s Texas Ramblers {1929}. Folkways FA2951, Prince Albert Hunt’s Texas Ramblers (1952. A reissue).


WAKE UP SUSAN [1]. AKA‑ "Wake Susan." AKA and see  "Belcher's Reel," "The Breakdown,"  "Hell on the Potomac [1]" (Pa.), "Hell on the Wabash [1]," "Hell on the Rappahanock" (Pa.), "Hop Up, Susan," "Up Jumped Susie."  Old‑Time, Breakdown. USA; Tennessee, Kentucky, West Virginia, Missouri, Texas, northern N.Y. A Major. Standard tuning. AB (Bayard, Silberberg): AABB (Christeson, White): AABBCC (Brody): AABBAAB'B" (Phillips). R.P. Christeson (1973) states that "Wake Up Susan" is in most of the older American collections in two-part settings, and Tommy Thompson (1974) states it is a "fairly common American fiddle tune." Samuel Bayard (1981) thinks "Wake Up Susan" to be of American black‑face minstrel origin using strains from the British Isles, but he is unable to find it in any old‑country sources. This is curious and perhaps a rare lapse for Bayard, for Alan Jabbour (1971) has associated this family of tunes (there are several related airs in American fiddle tradition) with the very popular Irish reel "Mason's Apron," while Hans Nathan thinks the Irish reel "The Night We Made the Match" has contributed melodic material to the tune family. 


In addition to melody appearing under the alternate titles listed above, melodic themes from "Wake Up Susan" appear in other American fiddle tunes.  For example, Howe (1864) published "Mountain Dew" (also in the key of A but having four parts), and Christeson says he heard mixtures of the two over the years. Similarly, the first part of Picnic Romp" in Ira Ford matches the first part of "Wake Up Susan." Guthrie Meade and Mark Wilson contrast two versions of the tune, calling Tommy Jackson's rendition typical of Southern versions which emphasize the chordal basis of the melody, while Ed Hayley's version has modal qualities which characterize West Virginia traditional fiddle music. In fact, the tune has been called an Ed Hayley ‘showpiece’. Some fiddlers play the tune featuring pizzicato notes. Under the title “The Breakdown” it is a favorite in Scottish Country Dancing, according to Nigel Gatherer. See also related tunes "Carton's Reel," "Fiagai an Mhada Rua," "Gallagher's," "Lady Carbury," "Mason's Apron,"  "The Mason's Cap,"  "The Mason Ladie," and "Jack of Diamonds." Sources for notated versions: Red Clay Ramblers (North Carolina) [Brody]; Lee Vatty (Callaway County, Missouri) [Christeson]; Bradley Grimshaw (northern N.Y., 1958) [Bayard]; Bud Snow (Putnam County, New York) [Kuntz]; Elmer Barton and Pete Sutherland [Phillips]; Glenn Berry [Silberberg]. Bayard (Dance to the Fiddle), 1981; No. 353, pgs. 349‑350. Brody (Fiddler’s Fakebook), 1983; pg. 283. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 5. Cole (1000 Fiddle Tunes), 1940; pg. 21. Kerr (Merry Melodies), vol. 4; pg. 29. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 250. Ryan’s Mammoth Collection, 1883; pg. 45. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 163. White’s Unique Collection, 1896; No. 52, pg. 10. County 762, Lyman Enloe‑ "Fiddle Tunes I Recall." Folkways FTS 31039, "Red Clay Ramblers with Fiddlin' Al McCanless" (1974. learned from West Virginia fiddler Frank George). June Appal 014, John McCutcheon‑ "The Wind That Shakes the Barley" (1977. Learned from Richard Blaustein). Rebel 1552, Buck Ryan‑ "Draggin' the Bow." Rounder 1010, Ed Haley (northeastern Ky.) ‑ "Parkersburg Landing" (1976). Rounder CD 0371, Mac Bendord and the Woodshed All-Stars - “Willow” (1996). Rounder 0437, Jess Silvey  – “Traditional Fiddle Music of the Ozarks, Vol. 3: Down in the Border Counties.” Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977).


T:Wake Up Susan



S:Bud Snow

Z:AK/Fiddler’s Companion


eg|a2 A2 ABcA|E2 GB ABcA|d2 B2 BcBA|GABc defg|a2 A2 ABcA|

E2 GB ABcA|Bcde gfed|cABG A2:|

|:A,2 E2 C2 E2|A,EAc BAGA|B2 B2 GBGB|EBGB edcB|

A,2 E2 C2 E2|A,EAc BAGA|B2 BB GBGB|edcB A4:|


T:Wake Up Susan



N:From a transcription by John Lamancusa, by permission

Z:AK/Fiddler’s Companion


(3efg|”A”a2 A2 AcBA|E2A2 AcBA|”Bm”d2 Bc (dc)BA|”E”(GA)Bc (de)fg|

“A”a2A2 AcBA|E2 A2 AcBA|”E”GABc defg|”A”(ag)ab a2 (3efg|

“A”a2 AA (Ac)BA|E2 AA (Ac)BA|”Bm”(dc)BA (Bc)BA|”E”(GAB)(c de)fg|

“A”({g}a2) AA (Ac)BA|E2 AA (Ac)BA|”E”(GAB)(c de)fg|”A”(af)ec A3 (F||

“A”E2) (EF) E(D E2)|”D”F2 FE (F(A A2))|”E”E3A G2B2|”A”Ac)BA ((c(e e2))|

“A”E2 (EF) E(D E2)|”D”(FG)FE (FA2) (A|”E”ABc)(A Bc)AB|”A”(cA)”E”BG A2 “A”(AF|

“A”E2) EF (ED)EE|”D”F2 FE ((F(A A2))|”E”(B3A) (GA)B(B|”A”Ac)BA c(e e2)|

“A”E2 (EF) E(D E2)|”D”(FG)FE ((F(A A2))|”E”e4 (e=g2)(g|”A”ef)ed “E7”(ce)eg||


WAKE UP SUSAN [2]. Old-Time, Breakdown. A Major. Standard tuning. AABBCCBB. No relation to the melody usually going by the name “Wake Up Susan.” Source for notated version: Armin Barnett [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 159.


WAKE UP TO CAPE BRETON. Canadian, Canada, Cape Breton. E Mixolydian (‘A’ part) & E Dorian (‘B’ part). Standard tuning. AA’BB. The tune was composed by Cape Breton fiddler Brenda Stubbert, and has gathered some currency in modern Cape Breton sessions. Cranford (Jerry Holland: The Second Collection), 2000; No. 150, pg. 57. Songer (Portland Collection, vol. 2), 2005; pg. 217.  Jerry Holland – “Fiddler’s Choice” (1998).

See also listing at:

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

Alan Snyder’s Cape Breton Fiddle Recording Index


WAKEFIELD JIGG. English, Jig. England, North‑West. G Minor. Standard tuning. AB. The melody was published in Walsh’s third collection of Lancashire tunes (Lancashire Jiggs, Hornpipes, Joaks, etc.) published around the year 1730. Knowles (Northern Frisk), 1988; No. 12.


T:Wakefield Jigg





d| g2 a bag|^fga dcB|ABc BAG|^F2 G AFD|g2 a bag|^fga dcB|ABc BAG|G2 ^F G3::\

f g2 fed|cde dcB|ABc def|c3 B3| bag ^f2 g| a3 ABG| b g2 b g2|dg^f g3:|


WAKEFIELD HUNT. English. The melody appears in the South Riding Tune Book, vol. II.


WAKING O' THE FAULD, THE. See "Waulkin' o' the Fauld."




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