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]

 

 

 

WINCHESTER CHRISTENING. AKA and see "The London Gentlewoman," "The Sun Has Loos'd His Weary Teams," "The Hemp Dressers," "The Deil's awa wi the exciseman." English, Air. The air appears under the above title as a song in A Third Collection of New Song, the words by Mr. D'Urfey (1685) and other publications.

                       

WINCHESTER WEDDING [1]. AKA and see "When Once I Lay With Another Man's Wife."

 

WINCHESTER WEDDING [2]. AKA and see “ The Lancashire Witches.”

                       

WINCHESTER RACES. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. The Winchester Races were held at Worthy Down, where the first recorded race was run in September, 1753. “King’s Plate of 100gs. for 6 yr. olds, 12-0 each, was run for and won by Lord Strange’s Sportsman, starting alone.”

                       

WIND HAS BLAWN MY PLAID AWAY, THE. AKA and see "Over the hills and far away [2]." Scottish, Air. An early version of the song "Over the Hills and Far Away."

           

WIND OFF THE LAKE, THE.  AKA and see “Tom Cawley’s.” Irish, Jig. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996. Learned from Chicago fiddler Johnny McGreevy).

           

WIND ON THE HEATH. Scottish, Pastoral Air (6/8 time). D Major. Standard tuning. AAB. Composed by Alec Sim of Birnam, Perthshire, who for many years was the conductor of the Aberdeen Strathspey and Reel Society. The tune is based on David Young's melody "Hey to Cowpar/Couper," published in his 1734 Duke of Perth's MS. Hardie (Caledonian Companion), 1986; pg. 20.

                       

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

                       

WIND THAT BLOWS YOU AWAY, THE. AKA and see "The Darkey's Dream," "Darkey Dan." American, Reel. USA, southwestern Pa. G Major. Standard tuning. AAB. Source for notated version: John Taylor (fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 411D, pgs. 393‑394.

                       

WIND THAT SHAKES/SHOOK THE BARLEY [1], THE ("An Ghaoth a Bhogann," "An Ghaoth/Gaot a Chroitheann/Corruideann an Eorna" or "An Gaot A Biodgeas An T-Orna"). AKA and see "Duncan Davidson," “(An) Gaoth A Chroitheanna an Eorna,” "I Sat (with)in the Valley Green," "The Kerry Lasses [3],” "Rolling Down the Hill [2]." Irish, Scottish, Shetland, American, New England; Reel. D Major (most versions): G Major (Hardings): D Mixolydian (Carlin). Standard tuning. AB (Allan's, Breathnach, Cole, Harker/Rafferty, Honeyman, Mallinson, O'Neill/1850, Stanford/Petrie, Surenne, Sweet, Tubridy): AAB (Athole): AA'B (O'Neill/Krassen, 1915): AAB (Brody, Carlin, Flaherty, Hunter, S. Johnson, Kerr, Neil, Skye, Sumner): ABB (Phillips): AABB (Hardings, Miller & Perron). The Irish musicologist Father Henebry considered this tune originally Scottish (as did Breathnach), but Bayard (1981) finds almost no Scottish traditional forms; he found numerous versions in Irish and Irish‑American currency. Emmerson (1971), however, states the tune is "substantially a set of the 'Fairy Dance,'" which is definately Scottish and whose full title is "Largo's Fairy Dance," composed by Nathaniel Gow.

***

 “The Wind that Shakes the Barley” was cited as having commonly been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly)./ "The (Provance) version...contains a feature common enough in old‑country reels, but seldom encountered in American variants: namely, the 'circular' construction, which provides for the tune's going on indefinitely without coming to a complete cadence. F.P. Provance stated that he learned this set 'among the Dutch' in eastern Fayette and western Somerset Counties‑‑an interesting evidence of how the German settlers have adopted the tradition of the Irish whom they encountered on their arrival in Pennyslvania" (Bayard, 1944). It was recorded on 78 RPM disc by Beaver Island, Michigan, fiddler Patrick Bonner, who had several Irish-style tunes in his repertoire. Beaver Island was settled by a number of immigrants from Arranmore island, off the coast of Donegal, and the Donegal fiddling tradition can be heard in Bonner’s playing (he was the youngest son of immigrants from Arranmore).

***

The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

***

The tune was the vehicle for the Donegal house-dance the Barnas Mór Reel, writes Fintan Vallely in his book Blooming Meadows (1998), interviewing Donegal fiddler Vincent Broderick of the townland of Tangaveane in the Croaghs (Blue Stack Mountains). Broderick remembered: “They would let hands to, d’you see, every other bar or so…and they done this step dance every one of them on their own and then they would join hands again, go around again.”

***

Several songs have been written to the melody. One set of Irish words goes:

***

Oh, won't you rattle me, and oh, won't you chase me,
Oh, won't you rattle me, the little bag of tailors. 
Oh, won't you rattle me, and oh, won't you chase me,
Oh, won't you rattle me, the little bag of tailors.
***
I went up to Dublin, I met a little tailor,
I put him in my pocket, for fear the dogs would eat him.
The dogs began to bark, and I began a-wailin',
I threw him in the Liffey, for fear the dogs would eat him.

***

A romantic song to the tune with words by Robert Dwyer Joyce (1830-1883) commemorating the uprising of 1798 led by the Society of United Irishmen was originally published c.1880 in Ballads of Irish Chivalry. It is also called “The Wind That Shakes the Barley” and goes:

***

I sat within a valley green

I sat there with my true love

My sad heart strove the two between

The old love and the new love

The old for her, the new

That made me think on Ireland dearly

When soft the wind blew down the glen

And shook the golden barley.

***

'Twas hard the woeful words to frame

'Twas worse the tide that bound us

But harder still to bear the shame

Of foreign chains around us

And so I said "The Mountain glen

I'll seek it morning early

And join the bold United Men

While soft wind shakes the barley"

***

While sad I kissed away her tears

My fond arms 'round her flinging

The foeman's shot burst on our ears

From out the wild wood ringing

The bullet pierced my true love's side

In life's young spring so early

And on my breast in blood she died

While soft wind shakes the barley.

***

I bore her to some mountain stream

And many's the summer blossom

I placed with branches soft and green

About her gore-stained bosom

I wept and kissed her clay-cold corpse

Then rushed o'er vale and valley

My vengeance on the foe to wreak

While soft wind shook the barley

***

Then blood for blood without remorse

I've taken to Oulard Hollow

I've laid my true love's clay cold corpse

Where I full soon will follow

And 'round her grave I wander here

Now night and morning early

With a breaking heart when e'er I hear

The wind that shakes the barley.

***

Oulart Hill, referred to in the song as “Oulard Hollow,” is located in County Wexford and was the site of the United Irish rebels' first significant success. On Whit Sunday, the 27th of May, 1798, they ambushed and annihilated a body of Government troops—the infamous North Cork Militia—numbering around one hundred. There are said to have been but three survivors, despite the fact that the militia was Irish to a man. Another song set to the tune is called “The Little Bag of Tailors.” O’Neill prints the tune as “Wind that Shakes the Barley” and “I sat in the Valley Green.”

***

The title is among those mentioned in Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas of which goes:

***

Murtagh Murphy’s barn was full to the door when the eve grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls - 
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.

***

Murtagh and his vanithee had their chairs brought in to see 
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright - 
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.

***

“Off She Goes,” “The Rocky Road,” “The Tipsy House,” and “Miss McLeod,”
“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”
“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,” - 
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.”

***

The tune is mentioned in William Hamilton Maxwell’s Stories of Waterloo and Other Tales (London, 1829), in a chapter on one Frank Kennedy, of Connemara, a junior officer stationed in Ireland. In this passage he has been invited to a ball with several other officers:

***

The first dance had concluded, when the long gentleman whispered softly over my shoulder, how I liked "the heiress?" The heiress!—I felt a faint hope rising in my breast, which made my cheek colour like a peony. Rattigan's remorse for neglected opportunities rushed to my mind. Had my lucky hour come? and had I actually an heiress by the hand for nine-and-twenty couples? We were again at the head of the room, and away we went—she cutting and I capering, until we danced to the very bottom, "The wind that shakes the barley!"

I had placed Miss O'Brien, with great formality, on a bench, when Rattigan took me aside:—"Frank, you're a fortunate fellow, or its your own fault—found out all from the old one—lovely creature—great catch—who knows?—strike while the iron is hot," &c. &c &c.

***

Sources for notated versions: Kevin Burke (Co. Clare) [Phillips]; Michael Kennedy (Ireland) [Carlin]; F.P. Provance (Point Marion, Pa., 1943; learned from fiddlers playing it in eastern Fayette and western Somerset Counties, Pa.) [Bayard, 1944]: J Bryner (Pa., 1946), F King (Pa., 1960), and Shape (fiddler from Pa., 1944) [Bayard, 1981]; fiddler Sean Keane (Ireland) [Breathnach]; fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon) [Flaherty]; S. O’Daly [Stanford/Petrie]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 68, pg. 17. Bayard (Hill Country Tunes), 1944; No. 23. Bayard (Dance to the Fiddle), 1981; No. 162A‑C, pgs. 99‑100. Breathnach (CRÉ III), 1985; No. 202, pg. 90. Brody (Fiddler’s Fakebook), 1983; pg. 293. Burchenal (Rinnce na h‑Eireann), pg. 120. Carlin (Master Collection), 1984; No. 195, pg. 116. Cole (1000 Fiddle Tunes), 1940; pg. 22. DeVille, 1905; No. 74. Flaherty (Trip to Sligo), 1990; pg. 91. Greenleaf, No. 186. Hardings All‑Round Collection, 1905; No. 129, pgs. 40‑41. Harding's Original Collection, 1928; No. 130. Harker (300 Tunes from Mike Rafferty), 2005; No. 159, pg. 49. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 9. Hunter (Fiddle Music of Scotland), 1988; No. 223. Jarman (Old Time Fiddlin' Tunes); No. or pg. 15. JFSS, VII, 172 (a Manx vocal set, "Crag Willee Syl"). S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983  (revised 1991, 2001); pg. 6. Kerr, vol. 1; Set 3, No. 2, pg. 4. Levey, No. 49. MacDonald (The Skye Collection), 1887; pg. 35. Mallinson (Essential), 1995; No. 24, pg. 11. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 92. Neil (The Scots Fiddle), 1991; No. 188, pg. 243. O'Neill (Krassen), 1976; pg. 155. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 257, pg. 133. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1518, pg. 280. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 737, pg. 129. Peoples (Fifty Irish Fiddle Tunes), 1986; 32. Phillips (Fiddlecase Tunebook), 1989; pg. 52. Robbins, 1933; No. 25. Roche Collection, 1982, vol. 1; No. 199, pg. 75. Stanford/Petrie (Complete Collection), 1905; Nos. 320 & 321, pgs. 80-81. Stewart-Robertson (The Athole Collection), 1884; pg. 89. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 96 (appears as “The Wind that Blows the Barley Down”). Surenne (Dance Music of Scotland), 1852; pg. 41. Sweet (Fifer’s Delight), 1965/1981; pg. 64. Sym's Old Time Dances, pg. 27. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 24. Welling (Hartford Tunebook), 1976; pg. 26. White's Excelsior Collection, pg. 35. Columbia C 33397, Dave Bromberg Band ‑ "Midnight on the Water" (1975). Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Front Hall 014, John McCutcheon ‑ "The Wind that Shakes the Barley" (1977. Learned from the Smathers Family). Front Hall 015, Jake Walton and Roger Nicholson‑ "Bygone Days." Gael‑Linn Records CEF 022, Seamus Ennis, John Joe Gannon, Sean Keane ‑ "Seoda Ceoil II" (1969). Ghe Records GR1001, Mike Cross ‑ "Child Prodigy" (1979). Green Linnet SIF1110, Tony DeMarco ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Homespun Tapes, Kevin Burke. Rounder CD1518, Various Performers – “American Fiddle Tunes” (1971. Played by Patrick Bonner). Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977). Shanachie 79006, Mary Bergin‑ "Traditional Irish Music." Shanachie 79011, Planxty‑ "Cold Blow the Rainy Night." Shanachie 78010, Solas – “Sunny Spells and Scattered Showers.” Bob Smith’s Ideal Band – “Ideal Music” (1977). “Fiddlers Three Plus Two.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Wind that Shakes the Barley [1]

L:1/8

M:C|

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:D

A|F(AA)B AFED|B2BA B2d2|F(AA)B AFED|gfed B2d:|

e|f2fd g2ge|f2fd Bcde|f2fd g2gb|afed B2 d>e|f2fd g2ge|

f2fd Bcde|fafd gbge|afed B2d||

X:2

T:Wind that Shakes the Barley [1]

L:1/8

M:C|

K:D

A2 AB AF ED| B BA Bc d2|A2 AB AF ED|gf ed Bc dB|

A2 AB AF ED|B2 BA Bc dB|A2 AB AF ED|gf ed B2 d2:|

|:f2 fd g2 ge|f2 fd ed BA|f2 fd g2 ge|af ed B2 de|f2 df g2 eg|

f2 fd ed BA|de fg af ba|gf ed B2 d2:|

 

WIND THAT SHAKES THE BARLEY [2]. AKA and see “As I sat in the valley so green.” Irish, Air.

X:1

T:Wind That Shakes the Barley [2]

M:4/4

L:1/4

Q:60

D:Lonely Stranded Band

Z:Naka Ishii

S:Joe Corcoran

K:EAeolian

E/F/|GE E/D/ B,|GFE>D|GGAB|A/F/D2E/F/|GGGA| BcB>A|GEFD|EE2D|

G2GA|BcB>A|GEGB|BED>F|GFGA|BcB>A|GEFD|EE3||

 

WIND THAT SHAKES THE BARLEY [3]. Irish, Air (6/8 time).

X:1

T:Wind that Shakes the Barley [3]

S:Various; Solas "Sunny Spells..."

Z:Jerome Colburn

M:6/8

K:Em

B | B2 B A2 B | G2 A F2 G | E2 E ^D^C^D |1 E G2-G2 :|2 E E2-E2 \

B, | E2 F G2 A | B2 A G2 A | B2 e e2 ^d | e2 ^d B2 \

e | e2 B A2 B | G2 A F2 G | E2 E ^D^C^D | E E2-E2 |]**

           

WIND UP [1], THE. American, Reel. D Minor (‘A’ part) & F Major (‘B’ part). Standard tuning. AABB. Howe lists the tune among the schottisches. Cole (1000 Fiddle Tunes), 1940; pg. 16. Howe (1000 Jigs and Reels), c. 1867; pg. 55. Ryan’s Mammoth Collection, 1883; pg. 38.

X:1

T:Wind Up Reel, The [1]

M:2/4

L:1/8

R:Reel

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D Minor

{^g}a2 {g}a>=g | f/e/d/f/ e/c/A | {^g}a2 {g}a>=g | f/e/d/c/ d/e/f/g/ | {^g}a2 {g}a>=g |

f/e/d/f/ e/c/A/c/ | d/e/f/g/ a/f/g/e/ | f/d/e/c/ d2 :: (F2 F)A/B/ | c/f/a/g/ f/d/c/A/ |

F/G/F/E/ F/G/A/B/ | c/B/d/c/ G2 | F{G}(F/E/) F/G/A/B/ | c/f/a/g/ f/d/c/A/ | b/c/a/c/ g/c/f/c/ | g/f/a/g/ fz :|

 

WIND-UP [2], THE. English?, Reel. G Major. Standard tuning. AABA. Hardings All-Round Collection, 1905; No. 200, pg. 63.

X:1

T:Wind-Up, The  [2]

M:2/4

L:1/8

R:Reel

S:Harding’s All Round Collection, No. 200  (1905)

Z:AK/Fiddler’s Companion

K:G

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

G/B/A/G/ E/G/D/G/|E/G/D/G/ E/A/c/e/|d/B/B/A/ G:||z|BB,/C/ (D/C/)B,|BE/F/ (G/F/)E|BD/E/ (F/E/)D|

dG/A/ (B/A/)G|e/G/c/e/ d/G/B/d/|c/B/c/A/ B/G/A/B/|A/F/G/A/ G/E/F/G/|F/d/^c/d/ e/f/g/a/||

 

WIND UP REEL, THE. American, Reel.

 

WINDER SLIDE. AKA – “End of the Lane.” Old-Time, Breakdown. A modern ‘old-time’ tune composed around 1980 by Joe LaRose, in the style of Gus and Theodore Clark, who recorded 2 sides in North Georgia about 1930 --"Barrow County Stomp" and "Wimbush Rag." Two versions are played, one from Joe’s original recording, covered by Bruce Molsky. A second version was developed by LaRose, who added to the ‘B’ part of the tune. This latter version was recorded by Rayna Gellert, learned from Bill Dillof. Kerry Blech writes: “Bruce first heard it on a tape sent to him by a friend. Joe's original recording of it was double tracked guitar and fiddle, with 78rpm surface noise overlaid. The first version he sent around was jokingly titled as by Gus and Theo. Clark. I forwarded it, as is, to many friends, and that is what Bruce apparently received in the mail. WS also was left alongside the other two real 78rpm cuts of the the Clarks, and was at the end of the taped interview with Bert Layne. Bruce later told me that what he found out from me was called "Winder Slide" was untitled on that tape and that he started calling it "The End of the Layne."

                       

WINDERMERE REGATTA. English, Reel. England, North‑West. B Flat Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 59.

                       

WINDING HILLS OF SLIGO, THE. Irish, Reel. G Major. Standard tuning. AB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 72, pg. 19. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002).

                       

WINDING ROAD. AKA and see “The Idle Road.” Irish, Double Jig. Ireland, County Roscommon. G Major. Standard tuning. AABB. Source for notated version: fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 88.

                       

WINDING ROADS OF ADVANCE, THE.  Irish, Reel. Composed by fiddler James Kelly, originally from Dublin, who emigrated to the United States in 1978. Kelly was visiting a friend, Fred Lail, a fiddler who lived in Advance, North Carolina, and took a walk along the back roads.  Capelhouse Records, James Kelly – “Tradtional Irish Music” (1996).

 

WINDING SHEEP. Old-Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AB. Jeff Titon (2001) identifies the tune as a variant of “Folding Down the Sheets” (see note for that tune for more on the tune family). Source for notated version: Alva Greene (Sandy Hook, Elliott County, Ky., 1973) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 169, pg. 195.

                       

WINDING STAIRS, THE. Irish, Slip Jig. E Dorian. Standard. AAB. Green Linnet SIF 1184, Patrick Street – “Made in Cork” (1997).

X:1

T:Winding Stairs, The

M:9/8

L:1/8

Q:124

Z:Transcribed by Paul Kinder

S:Patrick Street "Made in Cork"

R:Slip Jig

K:EDOR

|:EDE B2 G F2 G|E2 B B2 G AFD|EDE B2 G F2 B|AGA dBG AFD:|

|B2 e e2 d e2 d|B2 e e2 b afd|A2 d d2 c d2 B|AGA dBG AFD|!

Bcd e2 d e2 d|B2 e e2 a fdB|gab efg dcB|AGA dBG AFD||!

 

WINDING STREAM. AKA and see "Through the Field [1]," "Miss Thornton's Reel." New England, Reel. G Major. Standard. AABB. Jarman (Old Time Fiddlin' Tunes), No. or pg. 25. Kerr (Merry Melodies), vol. 1; pg. 34. O'Neill, 1850; Nos. 238 & 108.

                       

WINDING WAY. American (?), Jig. C Major. Standard. AABB. Howe (Complete Preceptor for the Accordeon), 1843; pg. 7.

X:1

T:Winding Way

M:6/8

L:1/8

R:Air

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:C

G2G G2G | ABc G2F | E2G c2e | e3 d2e | g2e c2G | ABc c2G |

EGc e2c | d3 c2 :: z | c2c cfe | d3 G2A | d2d dag | f3 e2e |

ede fef | gfg afd | c2G e2c | d3 c2 :|

                       

WINDMILL [1], THE. Scottish, Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 277, pg. 30.

X:1

T:Windmill, The [1]

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 277  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

Bcd G2F|E2G D2G|FAc edc|B2 A2c|Bcd G2F|E2G D2G|FAc edF|A3 G2c:|

|:Bcd d2d|cde e2e|def f2f|gfe d2c|Bcd d2d|cde efg|fed Ad^c|(d3 d2)=c:|

 

WINDMILL [2], THE. Irish, Reel. A modern composition by fiddler Ciaran Tourish, named after the Windmill Lane Studios, Dublin, where he the recorded an album called "Island Angel" with the band Altan. Green Linnett GLCD 1137, Altan - "Island Angel" (1993).

           

WINDS OF SHILOH. Old-Time. A cross-tuned piece from Kentucky fiddler J.P. Fraley. Fraley plays the tune in second position on the violin.

           

WINDSOR FOREST.  English, Country Dance Tune (whole time). B Flat Major. Standard tuning. AABB. Windsor Forest was a royal forest that at one time covered most of Berkshire, England. The melody was printed in numerous publications in the 18th century, including David Rutherford’s Choice Collection of Sixty of the Most Celebrated Country Dances (London, 1750, and in a second volume in 1760), John Johnson’s Two Hundred Favourite Country Dances, vol. 7  (London, 1756), Charles and Samuel Thompson’s 1765 country dance collection, and Niel Stewart’s Select Collection of Scots, English, Irish and Foreign Airs (Edinburgh, 1788). In addition, it appears in the music manuscipt collections of London musician Thomas Hammersley (1790), and Buckingham County, Virginia, fiddler Linnaeus Bolling (1785). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 193.

X:1

T:Windsor Forest

M:C

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Bb

BdfB AcfA|Ge/d/ cB AGFE|DFBD CEAc|{Bc}d2 FA B2 B,2:|

|:BdfB AcfA|Gf=ef (g/f/=e/d/) cB|AcfA Gf=eg|(f/g/a) c=e f2 F2|

dfbd cbac|Bg/f/ e/d/c/B/ AGFE|DFBD CBAc|{Bc}d2 FA B2 B,2:||

                                   

WINDSOR FORESTER QUICKSTEP. Scottish, Quickstep. F Major. Standard tuning. AABBCC. Carlin (Master Collection), 1984; No. 175, pg. 102.


                       

WINDSOR TARRIS. AKA and see "Windsor Terrace" [1].

           

WINDSOR TERRACE [1]. AKA - "Windsor Tarass/Tarris." English, Country Dance Tune (4/4 time). D Minor. Standard tuning. AABB. Kidson (1890) identifies this melody as the original of "Dawning of the Day" (Torried y dydd) from Welsh tradition. The title comes from a song to the tune by Thomas D'Urfey, printed in vol. 1 of his Pills to Purge Melancholy. Dance versions can be found in Walsh's 1714 Compleat Country Dancing Master, John Young’s Dancing Master, volume two (3rd edition of 1718 and 4th edition of 1728), D’Urfey’s Pills to Purge Melancholy, vol. 1 (London, 1719), and Wright’s Compleat Collection of Celebrated Country Dances (London, 1740). The melody is the vehicle for songs in the stage works The Quaker’s Opera (1728) and Fashionable Lady (1730).

***

Musing, I late, on Windsor Tarass sate,

And hot and weary, heard a merry

Amorous couple chat.   (D'Urfey)

***

Kidson (Old English Country Dances), 1890; pg. 5. Knowles (A Northern Lass), 1995; pg. 4.

X:1

T:Windsor Terrace [1]

M:C

L:1/8

S:Frank Kidson – Old English Country Dances  (1890)

Z:AK/Fiddler’s Companion

K:Dmin

d2 Af e3A|dfed ^c3B|AdGd FdEd|Dde^c d4:||

affa g3g|affa g3f|efdf cfBf|Afge f2 z2|

af fg/a/ b/a/ b2a|gfed ^c3B|AdGd FdEd|Dde^c d4||

 

WINDSOR TERRACE [2]. Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by Washington, D.C., accordion player Billy McComiskey, who named it for his old home neighborhood near Prospect Park, Brooklyn. Black (Music’s the Very Best Thing), 1996; No. 155.

X:1

T: Windsor Terrace [3]

C: B. McComiskey

Q: 300

R: hornpipe

M: 4/4

L: 1/8

K: D

(3ABc | dAFD GFEC | DCDF Adfd | (3gfe dc BA^GB | AECE A2 (3ABc | dAFD GFEC | DCDF Adfd | gfec Acec | (3dcd (3edc d2 :|

(3ABc | dcde f2 (3def | edcB A2 EA | cAEA CA^GB | AECE ABcA |

dAFD GFEC | DCDF Adfd | gfec Acec | (3dcd (3edc d2 :||

 

WINDSOR TERRACE [3].  English, Jig. A Major. Standard tuning. AABB. This “Windsor Terrace” is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 147.

X:1

T:Windsor Terrace

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

ABA ecA|B2c def|ABA ecA|G2A BGE|ABA ecA|B^de fga|gaf ef^d|e3 E3:|
|:EGB dcB|Ace aec|EGB dcB|cec Ace|fdB Gee|cAF D[B,B]d|ecA fed|cdB A3:||

           

WINDY CITY, THE.  Irish, Reel. Composed by County Leitrim fiddler Charlie Lennon.

           

WINDY GAP [1], THE (Bearna na Gaoithe). AKA and see "Ah Surely," "Killabeg's House," "Killaghbeg House," "Bearna Gaoite," "The Boys of Twenty‑Five [2]", "The Bonfire [2]".  Irish, Reel. G Major. Standard. AABB. Source for notated version: accordionist Sonny Brogan (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 81, pg. 36.

 

WINDY GAP [2], THE. A modern composition by Pat Kilbride. John Whelan – “Celtic Crossroads.”

                       

WINDY HEIGHT, THE (Ard-Na N-Gaota). Irish, Air (6/8 time, "with spirit"). D Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 360, pg. 62.

X:1

T:Windy Height, The

M:6/8

L:1/8

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 360)

Z:AK/Fiddler’s Companion

K:D

A|d2 d def|e2d c2A|B2B BAF|A2 A ABc|d2d def|e2d cBA|B<ed cBc|d3 d2||

B|A2G FEF|A2A A2g|f2d edB|d2d d2B|A2G FEF|A2A A2A|B<ed cBc|d3 d2||

                       

WINDY LANE, THE. AKA and see “The Aughdarra,” “The Otter’s Den,” “The Otter’s Hole,” “The Otter’s Holt,” “The Water Dog’s Hole,” “The Water Hole.”

 

WINE CANNOT CURE.  AKA and see “From Night Till Morn.”

                       

WINE'S DELIGHT. AKA and see "N_____'s Delight." Old‑Time, Breakdown. A Major. Standard tuning. AABB. Probably named for West Virginia fiddler Melvin Wine. Source for notated version: Judy Hyman (Ithica, N.Y.) [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 259. Marimac 9009, Chad Crumm ‑ "Old Time Friends" (1987).

           

WINETAVERN STREET. Irish, Jig. D Major. Standard tuning. AABB. Winetavern Street is in the city of Dublin and takes its name from the fact that it was originally occupied by keepers of wine-taverns and other drinking establishments. The pub that claims to be the oldest pub in Ireland, the Brazen Head dating from the 16th century, is located nearby, about a quarter of a mile away in Bridge Street. Christ Church Cathedral is on the corner of Winetavern and Christchurch Place. McGuire & Keegan (Irish Tunes by the 100, Vol. 1), 1975; No. 32, pg. 8.

                                   

WINGS. Scottish, Pipe Tune. The regimental march of the Royal Corps of Engineers, also played by the Royal Air Force.

                       

WINGS OF A DOVE. AKA and see "Les Ailes des Hirondelles." Cajun. The original title actually refers to swallows, not doves. Rounder Records, "Cajun Music From the Southwest Praries," by Eduis Naquin. Also recorded by Zachary Ricard, and Beausoliel, for Arhoolie Records.

                       

WINIFREDA. Welsh, Air. The tune appears in Jones’s first edition of Musical and Poetical Relicks of the Welsh Bards (1784).

                       


WINIFRED’S KNOT. AKA and see “Open the Door to Three [1].” English, Country Dance Tune (6/8 time). G Major. Standard. One part. Sharp (Country Dance Tunes), 1909/1994; pg. 28.

X:1

T:Winifred’s Knot

T:Open the Door to Three

L:1/8

M:6/8

Z:AK/Fiddler’s Companion

S:Sharp – Country Dance Tunes

K:G

|:D|G2G B>cB|A2D G2G|B>cB c2c|d2d d>cB|A2D G>AG|B A2 G2||

D|G2G B>cB A2D G2G|B>cB c2c|d2d d>cB|A2D G>AG|B A2 G2:|

                       

WINK AND I'LL FOLLOW YOU. AKA and see “Whiskey and Water.” Irish, Single Jig. G Major. Standard tuning. AABB’. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 110.

X:1

T:Wink and I'll Follow You

M:6/8

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Single Jig

K:G

B2 A G3|GBA G3|B2 A G2 A|B2 A BGE|

B2 A G3|GBA G2 E|FEF d2 B|e2 B AFD:|

|:B2 e e2 d|fed e3|B2 e e2 f|g2 e fdB|1B2 ^c d2 B|edc d3|B2 ^c d2 e|

f2 e dBA:|2 B2 ^c d2 =c|B3/2c/2B/2A/2 G3|FEF d2 B|e2 B AFD||

                       

WINK AND SHE'LL FOLLOW YOU. AKA and see "Hush the Cat from Under the Table," "Last Night's Fun [2]," "Miss Brown's Fancy [3]," "Paddy be aisy.” Irish, Slip Jig. Ireland, Kerry. D Dorian. Standard tuning. AAB. The tonal base shifts between D dorian and G mixolydian. Identified in Stanford/Petrie as a “Kerry Jig”. Source for notated version: “From Father Walsh MS” (Father M. Walsh was “an enthusiastic musician” and the parish priest at Sneem, bordering on Kenmare Bay, in the early 19th century {O’Neill, 1913}) [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 956, pg. 243.

X:1

T:Wink and she will follow you

M:9/8

L:1/8

R:Slip Jig

B:Stanford/Petrie, No. 956 (1905)

Z:AK/Fiddler’s Companion

K:D Dorian

D2A A2G ABc|E2A AGE G2E|D2A A2G ABc|BAG AGE G2E:|

c2d ecA A2c|B2c dBG G2G|c2d ecA A2c|BAG AGE G2E|

c2d ecA A2c|B2c dBG G2G|g2g ecA A2c|BAG AGE G2E||

                       

WINK HER ASIDE (Sméid i Leataobh Í). Irish, Double Jig. G Major. Standard tuning. AB. Source for notated version: John and Tommy Gunn (County Fermanagh) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 21, pg. 11.

                       

WINK OF HER EYE [1], THE (Smeid N'a Suil). Irish, Air (6/8 time, "cheerful"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 227, pg. 39.

X:1

T:Wink of Her Eye, The [1]

M:6/8

L:1/8

R:Reel

N:”Cheerful”

S:O’Neill – Music of Ireland (1903), No. 227

Z:AK/Fiddler’s Companion

K:G

g/a/|b2g {a}gfe|d>cB cde|dBd gfe|dBG A2 g/a/|b>ag {a}gfe|dcB cde|

dge dcB|cBA G2||f/g/|a2b {d’}c’ba|gfe d3|cBA Bcd|age d2 f/g/|

a2b {d’}c’ba|bd’b g2 e|dge dcB|cBA G2||

 

WINK OF HER EYE [2], THE. AKA and see "Bold John O'Leary." Irish, Double Jig. D Major. Standard tuning. AABB. Composition improbably credited to one J. Hand in Cole's 1000. Cole (1000 Fiddle Tunes), 1940; pg. 56. Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.”

 

WINK OF HER EYE [3], THE. Irish, Reel. G Major. Standard tuning. AB. Source for notated version: the Rice-Walsh manucript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 266.

X:1

T:Wink of Her Eye, The [3]

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:G

BGFG EGDG|BGFG AGEG|BGFG EGDG|Bged BdAc|

BGFG EGDG|BGFG AGEG|BGFG EGDG|Bged Bdef||

g2 gf gbag|egde Bdef|gfef gbag|(3efg de BA A2|

GABd gbag|(3efg dB G2 ga|bgaf gefd|(3efg (3fga gedc||

                       

WINK THE OTHER EYE. Old‑Time, Breakdown. USA; Kentucky, Tennessee, Missouri. G Major. Standard tuning. AABB (Beisswenger & McCann, Christeson): AA'BB' (Phillips). The tune is meant to be played at a tempo slower than that for a standard breakdown. Charles Wolfe says it is a "fine old Sequatchie Valley (Tenn.) fiddle band tune known to area fiddlers as diverse as Tom Douglas and Curly Fox" (Charles Wolfe, The Devil's Box, vol. 15, No. 4, Dec. 1981, pg. 56). Early recordings (Meade, 2002) are by Theron Hale & His Daughters (1928), Jess Young’s Tennessee Band (1929) and Hack’s String Band (1930). It appears to be well‑known in those states just west of the Mississippi River, as it is in Tennessee and Kentucky. Guthrie Meade (1980) associates the title with songwriter W.T. Lytton, who penned “When You Wink the Other Eye” in 1890 (popularised by Marie Lloyd), a slightly risqué variety piece which begins:

***

Say boys, what do you really mean when you wink the other eye?

Why, when you tell us where you’ve been do you wink the other eye?

You tell your wives such stories, you can give them just a few,

“Just met an old acquaintance” or “The train was over-due.”

And when the simple wife believes that every word it true,

Then you wink the other eye.

***

CHO:

Say, boys, now is it quite the thing?

Say, should we let you have your fling?

Oh! When you’ve got us on a string

Then you wink the other eye.

***

Sources for notated versions: Lonnie Robertson (Ozark County, Missouri) [Christeson]; William Garett with Hack's String Band [Phillips]; Art Galbraith (1909-1993, near Springfield Missouri), who learned it from Lonnie Robertson [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes), 2008; pg. 42. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 82. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 172.  Recorded by Jess Young (Chattanooga, Tenn.) for Columbia in 1929, but never issued. Heritage 060, Art Galbraith ‑ "Music of the Ozarks" (Brandywine, 1984). Morning Star 45003, Hack's String Band (Muhlenberg County, Ky.) ‑ "Wink the Other Eye: Old‑Time Fiddle Band Music from Kentucky" (1980. Originally recorded in 1930).

See also listings at:

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

                       


WINNICK'S FAVORITE. American, Dance Tune (2/4 time). D Major. Standard tuning. AABB. The tune is listed as a 'jig' in Ryan’s Mammoth Collection, referring not to the familiar Irish 6/8 jig but rather a type of syncopated, duple-time, old-time banjo tune. Cole (1000 Fiddle Tunes), 1940; pg. 82. Ryan’s Mammoth Collection, 1883; pg. 114.

X:1

T:Winnick’s Favorite

M:2/4

L:1/8

R:’Straight’ Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(A/B/c/d/) | fd f/<d/ z/f/ | zd/f/ e2 | ec e/<c/ze | zc/e/ d :|

|: D | D/F/A/c/ d/>f/z/(d/ | e/)(c/d/)B/ A/F/E/D/ | A,/C/E/F/ G/BG/ | A/F/G/E/ D :|

                       

WINNIE DEAR [1]. AKA and see "Una A Ruin." Irish, Slow Air (4/4 time). F Major. Standard tuning. One part. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 622, pgs. 318‑319.

 

WINNIE DEAR [2]. AKA and see "Dear Oona," "Dear Winnie."

                       

WINNIE GREEN'S FAVORITE. AKA and see "Winnie Green's Reel," "The Graf Spee." Irish, Reel. C Major. Standard tuning. ABBCCDD. Cole (1000 Fiddle Tunes), 1940; pg. 25. Ryan’s Mammoth Collection, 1883; pg. 50.

X:1

T:Winnie Green’s Favorite

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

(E/C/)~C (EG)~G | .A/.c/.G/.A/ (A/G/).c/.G/ | (E/C/)~C (E/G/)~G | .A/.c/(G/F/) (E/D/).D |

(E/C/)~C (EG)~G | .A/.c/.G/.A/ (A/G/).c/.G/ | (E/C/)~C (E/G/)~G | .A/.c/(G/F/) (E/D/).D ||

|: e>c d>c | (A/c/)(G/c/) (A/G/)(c/G/) | .e/.e/.e/.c/ d>c | (A/c/).G/.c/ (E/D/).D |

e>c d>c | (A/c/).G/.c/ (A/G/).c/.G/ | e>c d>c | (A/c/)(G/c/) (E/D/).D :|

|: (e/g/)~g .g(g/=f/) | (e/a/)~a .a(a/=g/) | .e(d/B/) (c/B/).c/.d/ | (e/a/)(a/g/) (f/d/).d :|

|: e>(c d>)c | (A/c/)(G/c/) (A/G/)(c/G/) | .e/.e/.e/>c d>c | (A/c/)(G/c/) (E/D/).D :|

                       

WINNIE GREEN'S REEL. See "Winnie Green's Favorite."

                       

WINNIE HAYES’. Irish, Jig. Similar to “The Cordal Jig.” Shanachie 78030, Danú – “Think Before You Think” (2000).

                       

WINNIFRED. AKA ‑ "Una." Irish, Air or Planxty (4/4 time). D Minor. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). O'Neill (Krassen), 1976; pg. 232. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 644, pg. 116.

X:1

T:Winnifred

M:C

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 644

Z:AK/Fiddler’s Companion

K:D Minor

DE | G2 G>A GEDE | G2 G>A GEDE | A2 A>B c2 E>F | G3E D2 E>G | A2 A>B c2A2 |

d2 d>e f2 ed | cAGE CDEC | D4 D2 ||  AB | c2 cd cAGA | d2 de f2 ed | d>CAG E2 DE |

CcGE C2 DE | F2 EF G2 ^FG | Ad{e}de f2 ed | cAGE CDEC | D4 D2 ||

                       

WINNIFRED FOLEY. Canadian, Jig. F Major. Standard tuning. AA’BB’. Traditional. Source for notated version: Winnifred Foley (New Brunswick) via Jerry Holland (Inverness, Cape Breton) [Cranford]. Cranford (Jerry Holland’s), 1995; No. 254, pg. 73. BM-91, Buddy MacMaster – “Glencoe Hall.”

                       

WINNING TICKET, THE. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by fiddler, editor and lighthouse-keeper Paul Stewart Cranford. Cranford (Jerry Holland’s), 1995; No. 269, pg. 77. Cranford Publications CP-R2, “Jerry Holland Solo” (1988).

                       

WINNIPEG REEL. Canadian, Reel. Canada, western Canada. D Major. Standard tuning. AABB. The tune appears in Messer’s 1948 publication as the fourth change of the Atlantic Polka set. Messer (Don Messer’s Way Down East Fiddlin’ Tunes), 1948; No. 51. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 84, pg. 59. Folkways FG 3531, "Old Time Fiddle Tunes played by Jean Carignan" (1968).

X: 1

T:Winnipeg Reel

R:reel

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

AG|FA2F ABAF|GB2B B2ed|cAce aece|defd A2AG|

FA2F ABAF|GB2B B2ed|cAce aece|d2f2 d2:|

|:fg|a2f2 dcde|gfed B4|gfed cABc|defd A2fg|

a2f2 dcde|gfed B4|gfed cABc|d2f2 d2:|

                       

WIN(N)YADEPLA. See "Winyadepla."

                       

WINONA ECHOES. AKA and see "Over the Waves [1]." Source: Willie Narmour and Smith (Mississippi). An "unusual version" of the standard "Over the Waves."

                       

WINONA RAG. The Ray Brothers were fiddler Will Ray with his brother Vardman on guitar. Document 8028, The Ray Brothers – “Mississippi String Bands, Vol. 2” (reissue).

                       

WINSLOW, THE. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 51.

                       

WINSOME WIDOW, THE. AKA ‑ "An Baintreabac Eireacdamiul." Irish, Air (2/4 time, "with spirit"). G Mixolydian. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 312, pg. 54.

X:1

T:Winsome Widow, The

M:2/4

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 312

Z:AK/Fiddler’s Companion

K:G

D|G>G B>d|=f>f eg|d>B AG|EG G<D|G>G Bd|=f>f eg|d>B AG|E<G G:|

|:d/e/|=f>f ed|e>^f ge|e>d BG|AG E/D/ z/ D/|D>E GA|B>c de|d>B AG|E<G G:|

                       


WINSTER GALLOP. English, Country or Morris Dance Tune (4/4 time). G Major. Standard tuning. AB (Barnes): AABB (Raven, Sweet, Wade). Both dance and tune were originally collected by Cecil Sharp at Winster, Derbyshire, in 1911. The tune is used for either a polka or a single step in the North‑West (England) morris dance tradition. It is frequently the first tune learned by beginning Northumbrian pipers, and indeed, in modern English sessions in general it is considered a ‘beginner’s tune’. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 143. Northumbrian Pipers Society Tune Book One. Raven (English Country Dance Tunes), 1984; pg. 183. Sweet (Fifer’s Delight), 1965/1981; pg. 60. Wade (Mally’s North West Morris Book), 1988; pg. 15. Dave Swarbrick – “Lift the Lid and Listen.”

X:1
T:Winster Gallop
S:Claire McLaughlin, Edinburgh 9/4/03
Z:Nigel Gatherer
M:2/4
L:1/8
K:G
GB GB | GB d2 | AB/c/ BA  | GB d2   |
ce fe | dB d2 | Ab/c/ BA  | G2 G2  :|
gf ed | gf ed | gf    ed  | cB A2   |
fe d2 | fe d2 | d2    A>c | BG G2 :|]

                       

WINSTER MORRIS REEL. AKA and see "Derbyshire Morris Reel." English, Morris Dance Tune (6/8 time). A Major. Standard tuning. AABB,AABB,A (Bacon). The first part resembles the Pennsylvania‑collected "Mule Song." Bacon (The Morris Ring), 1974; pg. 318. Sharp (Morris Dance Tunes), 1909‑51, Set VI, pg. 4.

                       

WINSTER MORRIS DANCE/MARCH. AKA ‑ "Winster Processional." English, Morris Dance Tune (2/2 time). G Major. Standard tuning. AB (Plain Brown): AABB (Bacon). The tune was used for a processional dance in the village of Winster, Derbyshire, England. It has since become the standard processional tune for many morris teams in the United States. This ditty is sometimes sung before the dance:

***

This is it and that is it

And this is morris dancing,

The piper fell and he broke his neck

And he said it was a chance Sir.

***

Bacon (The Morris Ring), 1974; pg. 318. Plain Brown Tune Book, 1997; pg. 31 (appears as “A Morris Tune”). EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

X:1

T:Winster Processional

M:4/4

L:1/8

R:March

K:G

g2d2d2 ef | g2d2d2 ef | g2d2d2c2 | B2A2G2z2 | g2d2d2 ef | g2d2d2ef |

g2d2d2c2 | B4G2z2 || c3e2e2 dc | B2d2d2 cB | A2B2c2d2 | B2G2G2z2 |

c2e2e2dc | B2d2d2 cB | g2d2d2c2 | B4G2G2 ||

                       

WINSTER PROCESSIONAL. See "Winster Morris Dance/March."

                       

WINSTON. Old‑Time. USA, Alabama. Tune identified as distinct to the Rocky Ridge, Alabama, region.

                       

WINSTON AT THE GLENVILLE HALL. Canadian, Jig. Canada, Cape Breton. F Major. Standard. AA’BB’. Paul Stewart Cranford (1995) identifies this tune as coming from a reel-to-reel tape of Inverness fiddler Winston ‘Scotty’ Fitzgerald recorded at a dance in the 1950's. He believes it to be related to the Irish jig “Happy to Meet, Sorry to Part.” Cranford (Jerry Holland’s), 1995; No. 250, pg. 72.

                       

WINSTON IN THE 50's. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AAB. The tune is a Cape Breton reel setting of Niel Gow’s “Miss Erskine of Torry [1].” The title refers to influential Cape Breton fiddler Winston ‘Scotty’ Fitzgerald. Cranford (Jerry Holland’s), 1995; No. 160, pg. 46. Boot Records, Jerry Holland - “Master Cape Breton Fiddler” (1982).

                       


WINSTON "SCOTTY" FITZGERALD'S JIG. Canadian, Jig. Canada, Cape Breton, Nova Scotia. G Major. Standard tuning. AA'BB'. Composed by Cape Breton fiddler Sandy MacIntyre (who now lives in Etobicoke, Ontario) in honor of the master Cape Breton fiddler Winston "Scotty" Fitzgerald. Fitzgerald once told Jerry Holland, originally from Massachusetts but who became immersed in Cape Breton fiddling and eventually moved to Cape Breton, "There's already on Winston, there's actually no need for another one--create your own style." Fiddler Magazine, vol. 3, No. 2, Summer 1996; pg. 14. Sandy MacIntyre - "Island Treasure, Vol. 1."

                                   

WINSTON SCOTTY’S REEL. AKA and see “(A) Winston Tune.”

                       

WINSTON TUNE, A. AKA - “Winston Scotty’s Reel.” Canadian, Reel. Canada; Cape Breton, Prince Edward Island. F Major (Cranford/Holland): G Major (Perlman). Standard tuning. AABB (Perlman): AA’BB’ (Cranford/Holland). Recorded and popularized by the great Cape Breton fiddler Winston ‘Scotty’ Fitzgerald. Source for notated version: Sidney Baglole (b. 1912, Freetown, West Prince County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland’s), 1995; No. 155, pg. 44. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 54 (appears as “Winston Scotty’s Reel”). Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991. Appears as “Winston Tune”). Jerry Holland – “Crystal Clear” (2000).

                       

WINSTON’S STRATHSPEY. Canadian, Strathspey. Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AAB. Cape Breton fiddling great Winston Fitzgerald recorded this tune. Perlman (1996) notes that the melody is probably a hybrid tune and that the ‘B’ part resembles Skinner’s “The Miller o’ Hirn.” Source for notated version: Francis MacDonald (b. 1940, Morell Rear, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 197.

 

WINTER APPLES [1] ("Uballide Geimread" or "Uballa Geimrid"). AKA and see “Boston Rattlers',” "Connemara Stockings," “Hobb’s Favorite,” "Galway Reel [1]". Irish, Reel. G Major. Standard tuning. AB. See also P.W. Joyce’s “Typrid Lasses,” a close variant. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 247, pg. 130. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1513, pg. 280. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 732, pg. 128. Copley Records 9-195 (78 RPM), Frank Nelson with Paddy Cronin, (195?. Appears as “Galway Reel”). John Vesey – “Sligo Fiddler” (appears as “Apples in Winter”).

X:1

T:Winter Apples [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 732

Z:AK/Fiddler’s Companion

K:G

(3def|g2 fd edBA|GABG AGEF|GFGA BABd|(3efg af gfed|g2 fd edBA|

GABG AGEF|GFGA BABd|(3efg af g2||ef|(3gab eg b2 ag|(3fga df a2 gf|

(3gab eg b2 ag|(3fga df e2 ef|g b2 b b2 ag|f a2 a a2 gf|(3gag bg (3fgf af| edef gbaf||

 

WINTER APPLES [2]. AKA and see "The Ball (Humours) of Ballynafeidh," "The Banks of Lough Gowna," "The Clare Jig [1]," "Delaney's Drummers," "The Kitten and the Frog," "Kitty in the Fog," “Mug of Brown Ale,” “Old Man Dillon,” "One Bottle More," "Paddy in London [2],” “The Raffle Jig,” "The Rambler From Clare [1]," "The Stonecutter's Jig," "Tom Billy's Jig," "Young Tom Ennis." Irish, Jig. Ireland, Sliabh Luachra region of the Cork-Kerry border. A Dorian. Standard tuning. AA’BB. Source O’Leary liked to pair this jig with “Brendan Begley’s Jig.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded in recital at Na Piobairi Uilleann, November, 1990 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 39, pg. 24. Topic 12T309, Padraig O’Keeffe, Denis Murphy, Julia Clifford - “Kerry Fiddles.”

 

WINTER DREAMS. English, Waltz. G Major. Standard tuning. AB. The tune begins with the first full measure on the subdominent chord. Composed by Jonathan Jensen. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 143.

 

WINTER FLOWER POLKA. American, Polka. G Major. Standard tuning. AABB. The provenance of the polka is unknown, however, it has been associated with Ozark and Texas fiddlers. Sources for notated versions: Forrest Daugherty (Texas) [Phillips]; Lester Bennet (1913-1988, Scotland County, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; gp. 170. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 357.

 

WINTER GARDEN JIG. American, Dance Tune. D Major. Standard tuning. AABA. The tune is labelled a ‘jig’, meaning a kind of solo dance tune, not the 6/8 Irish jig. The ‘new’ Winter Garden theater on Broadway was originally built in 1911 and continues as a major venue to this day for popular stage productions. It was preceeded, however, by another Winter Garden, also famous as a New York City theater in the mid-19th century. The older Winter Garden had been built as Tripler Hall, a concert auditorium in Greenwich Village, then a residential area that began to be urbanized with the as a result of the growth of the city in the 1840’s. Tripler Hall was destroyed in a fire in 1854, but was rebuilt and reopened under various names, until finally becoming the Winter Garden in 1859.  It was at the Winter Garden that the famous Shakespearean actor Edwin Booth starred in Hamlet in the early 1860’s, giving an unprecedented 100 consecutive performances due to demand. He was again playing the Winter Garden in 1865 when his brother, John Wilkes Booth, shot and killed President Abraham Lincoln at Ford’s Theater in Washington, D.C.  Edwin had to be escorted from his hotel to his dressing room in the theatre to protect him from the angry crowds that gathered. The old Winter Garden was destroyed in a fire in 1869 and was never rebuilt. Howe (1000 Jigs and Reels), c. 1867; pg. 62.

X:1

T:Winter Garden Jig

M:2/4

L:1/8

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D

D/F/A/A/ BA | BA BA | D/F/A/A/ BA | B/d/c/e/ d2 :| Fd cd | d2 AF | A>F D>A | B/A/B/c/ B2 ||

 

WINTER GARDEN QUADRILLE. Irish, Quadrille Set. Compare with “The Basket of Turf,” “Bundle and Go” [1], and “Unfortunate Rake [1]” family of tunes. Source of notated version: manuscripts in the possession of Chicago Police Sergeant James O’Neill, Francis O’Neill’s ‘scribe’ and collaborator [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), No. 82

X:1

T:Winter Garden Quadrille

M:6/8

L:1/8

S:Sergt. James O'Neill manuscripts

Z:Paul Kinder

K:D

"NO. I"

fdB AFA|BGB AFA|fdB AFA|B2 c d2 e|!

fdB AFA|BGB AFA|fdB AFA|B2 c d2 e||!

f2 a e2 f|dcd A2 g|f2 a e2 f|gfg a3|!

bbb aaa|gfg ede|fdB AFA|B2 c d2 e||!

K:G

"NO. II"

FAA Afe|dBB BAG|FAA d2 e|fdd dAG|!

FAA Afe|dBB BAG|FAA d2 e|fdd d2||!

e|fef afe|dBc d2 e|fgf ede|fdA Bde|!

fef afe|dBc d2 e|fgf ede|fdA BAG||!

"NO. III"

E2 B BAG|F2 d AFD|E2 B BGB|AGF e2 f|!

gfe dcB|AFd AFD|E2 B BGB|AGF E3||!

eBe gab|aga faf|eBe gbg|afd e2 f|!

gfe dcB|AFd AFD|E2 B BGB|AGF E3||!

"NO. IV"

GBB dBB|gBB dBB|cAA fef|gfa gdB|!

GBB dBB|gBB dBB|cAA fef|g3 g3||!

afd dcd|edc BAB|dBG GFG|AcB A2 c|!

Bdg gdB|dfa afd|def def|g3 g3||!

 


WINTER (IT) IS PAST, THE (Ta An Geimread Tart). AKA and see "Curragh of Kildare." Irish, Air (4/4 time). D Major (O'Neill): G Major (Joyce): F Mixolydian (Stanford/Petrie). Standard tuning. One part. "I took down the words and air of this song about 1852 from Kate Cudmore of Glenosheen, Co. Limerick: and I gave both to Dr. Petrie, who published them in his Ancient Music of Ireland. The air re‑appears in Stanford‑Petrie. There is a Scotch version of the words: but the Scotch air‑‑which appears modern‑‑is different from ours, as given here. The words originated in Ireland" (Joyce). In fact, the 'Scotch version' referred to by Joyce can be found in James Oswald's 18th century Caledonian Pocket Companion, while Robert Burns, the Scots national poet, rewrote the lyrics "The Winter It is Past" in the publication The Scots Musical Museum in the early 19th century. Burns retained the tune used by Oswald which, while no relation to Joyce's melody, is one of a family of melodies that also includes "Bonnie May," Cazden's (et al, 1982) Catskell Mountain collected "Fare You Well, My Own True Love," and the sacred harp hymn "Tribulation."

***

The rose upon the brier

By the water running clear

Gives joy to th linnet and the bee;

Their little hearts are blest,

But mine is not at rest,

Since my truelove is absent from me. (Joyce)

***

Joyce (Old Irish Folk Music and Song), 1909; No. 427, pgs. 238‑239. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 300, pg. 52. Stanford/Petrie (Complete Collection), 1905; No. 439, pg. 111.

X:1

T:Winter is Past, The

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 300

Z:AK/Fiddler’s Companion

K:D

A|AFAB d2 g>f|edBA A2 cd|e2fg a2gf|(e4 e2)(ef)|gefg a2 gf|edBA A2 AB|

D2 gf edB>A|(A4 A2) ef|gefg a2 ba|gfed B2 AB|d2 gf edB>A|A4 A2 z||

 

WINTER MEMORIES.  English, Country Dance Tune (2/2 time). D Major. Standard tuning. AA’BB’. The name of a dance and tune composed by Colin Hume in 1996. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 144.

 

WINTER('S) NIGHT SCHOTTISCHE. AKA and see “Duck’s Eyeball [2],” "Right Foot, Left Foot," "Rainbow Schottische," “Stephen Baldwin’s Schottische,” “Tom Bhetty’s Hornpipe.”  C Major (‘A’ part), A Minor (‘B’ part) & F Major (trio section). Standard tuning. ABB’C (Trio). A member of a large and wide-spread schottische family. Orchestral arrangements for “Winter’s Night Schottische” date from about the 1860’s, and can be found in London publisher Hopwood and Crew’s Orchestral Journal, No. 16 where either the composition or arrangement is attributed to Charles Coote (1808-1880). Hopwood and Crew specialized in popular songs during the latter 19th century, half-owned by Coote, a composer of popular pieces for the ballroom, concert hall and bandstand. Coote was also the director of Coote & Tinney’s Band, the premier London dance orchestra, involved in the musical programmes of Queen Victoria’s State Balls at Buckingham Palace where he was court band director. Coote’s son, also Charles (1831-1916), himself became a composer of popular songs, and was so successful he was able to purchase in 1875 the remaining interest in Hopwood and Crew for the family. Coote the elder appears to have been a fan of Charles Dickens, as a few of his compositions have titles from Dicken’s works, such as “Mugby Junction” (the name of a story by Dickens). The “No Thoroughfare Galop” by Charles Coote 'as performed nightly at the Adelphi Theatre' (1867-1868) is  'By Kind Permission of Charles Dickens Esq.', and “Coote’s Lancers” and “Somebody’s Luggage” were dedicated to the famous writer. Coote wrote to Dickens in the early 1850’s to inquire for permission to use some of his poems as lyrics for songs he would write. Dicken’s reply of January 24, 1853, survives in which he politely but firmly informs Coote that his publisher withholds permission for whatever Coote’s request had been. He suggests Coote look through older volumes of poetry for inspiriation, but ends, “Mrs. Dickens and her sister send their kind regards,” so they must have been social acquaintances. Source for notated version: fiddler Stephen Baldwin, recorded by Russell Wortley in 1954  [Callaghan]. Callaghan (Hardcore English), 2007; pg. 90 (appears as “Stephen Baldwin’s Schottische”). Kerr (Merry Melodies), vol. 2, No. 439, pg. 50. Familiar Records FAM 47, Pyewackett ‑ "7 to Midnight" (1985). Musical Traditions MTCD 334, Stephen Baldwin – “Here’s One You’ll Like, I Think” ().

X:1

T:Winter Night Schottische

M:C

L:1/8

R:Schottische

B:Kerr – Merry Melodies, vol. 2, No. 439  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:C

c’2 e>f g2 c>d|e>Bc>A G4|G>AB>c d>ef>g|a2 g>^f g2 c>d|c’2 e>f g2 c>d|

e>Bc>A G4|G>AB>c d>ef>B|c2 ({d}c>)B c2z2||A A>^G A>Bc>d|

e2 e>^d e2a2|e2a2e2d2|c>dc>B A2E2|A2 A>^G A>Bc>d|

e2 e>^d e2a2|e2 d>e c>dB>c|A2 z2 a2 a2:|2 a2 z2 [B2g2] z2||

K:F

f2 fa cfAc|FAcf a4|g2 gb egce|Gceg b4|

f2 fa cfAc|FAcf a3f|efga bcde|f2f2f2:|

 

WINTER NIGHTS ARE LONG. Scottish, Air. The name of the tune appears in a 1721 poetic address by Allan Ramsay addressed to the Edinburgh Musical Society.

***

While vocal tubes and consort strings engage

To speak the dialect of the Golden Age,

Then you whose symphony of souls proclaim

Your kin to heaven, add to your country’s fame,

And show that musick may have so good fate

In Albion’s glens, as Umbria’s green retreat:

And with Corelli’s soft Italian song

Mix Cowden Knows, and Winter Nights are long. 

 

WINTER WALTZ. AKA and see "Valse D'Hiver."

 

WINTER WAS CAULD, AND MY CLAITHING WAS THIN. Scottish, Air. The meldoy was used by Allan Ramsay for his ballad opera The Gentle Shepherd (1725).

 

WINTON'S FROLIC. English, Jig. England, Northumberland. D Major. Standard. AABB. Seattle (William Vickers), 1987, Part 3; No. 465.

 

WINYADEPLA. Shetland, Air (2/4 time) or Shetland Reel.

Shetland, Fetlar. A Major. Standard. AAB. A norse name for a tune apparently indigenous to the Shetland island of Fetlar. Anderson & Georgeson (1970) relate the story of the tune:

***

It was one winter in 1803 that Gibbie Laurenson, living at

Norderhoos, Gruting, set out with a mare's load of dried corn

for grinding at the Fir Vaa water‑mill. After he had filled the

hopper and started the mill, he lit a peat fire in a fire‑kettle

and sat down on a stool to rest. Aware of voices outside,

Gibbie pretended to be asleep as he knew then that the trows

were about.  The door opened and a troop of peerie folk came

in. A woman took off the nappie from her baby and hung it on

Gibbie's leg, near the fire, to dry. Then one of the trows said,                    

"What'll we do ta da sleeper?" "Lat him aleen," replied the

woman, "he's no a ill body. Tell Shanko ti gie him a ton." Said

Shanko, "A ton he sall hae, an we'll drink his blaand." After                  

drinking, they trooped out of the mill, and danced on the green

nearby. When the footfalls and music ceased, Gibbie looked

out from the mill door and saw the trows going up the hill towards            

Stackaberg, and a boat with two rowers pulling away from the

shore. He concluded that this had landed his visitors.

***          

Gibbie's fiddler son, to whom he whistled the tune, called it

"Faider's Ton", but it was later named "Winyadepla" after a

loch near the Fir Vaa watermill.

***

Source for notated version: Walter Shewan (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 13. Maggie’s Music MMS 209, Bonnie Rideout – “Celtic Circles.”

           

WIR LINDA'S MEDLEY (REEL). Shetland, Reel. F# Minor. Standard tuning. AB. See note for "Wir (Our) Linda's Strathspey." Anderson (Ringing Strings), 1983; pg. 57.

           

WIR LINDA'S MEDLEY (Strathspey). Shetland, Strathspey. F# Minor. Standard tuning. AAB. 'Wir' means 'Our'. "A Strathspey and Reel in the Scottish Northeast Style. Written (by Tom Anderson) in 1978, in the early hours of the morning having woken up with the melodies in my head, in fact, I seemed to think I'd heard them on the morning radio. Dedicated to Linda Keen, a student from the USA, who was studying with me at the time" (Anderson). Anderson (Ringing Strings), 1983; pg. 56.

 

WIR MAY. Shetland, Reel. D Major. Standard tuning. AAB. "May Gair (nee Smith) was the double bass player for the Shetland Fiddler's Society for some years. She was affectionately known by the fiddlers as Wir (our) May. This was composed (by Tom Anderson) in 1973" (Anderson). Anderson (Ringing Strings), 1983;d pg. 90.

           


WISE MAID [1], THE (An Ghearrchaile Chríonna). AKA and see “All Around the World,” “Cooley’s (Reel) [2],” “The Connemara Rake,” “Doherty’s (Reel) [2],” “Grehan’s,” “John Doherty’s Reel[2],” “Johnny Doherty’s Reel [1],” “Jolly Beggar [2],” “The Knotted Chord” [2], “Matt Molloy’s [1],” “The Mistress,” “Mot Malloy,” “Tinker Doherty.” Irish, Reel. D Major. Standard tuning. AAB (Miller & Perron): AABB (most versions): AA'BB (Breathnach). Taylor (1992) remarks the tune "probably ranks amongst the top twenty most widely-known Irish reels." The tune is associated with Donegal fiddler John Doherty, though he probably did not compose it (despite its being attributed to him by Larry McCullough in his Whistle Tutor, and by accordionist Luke O’Malley in his Collection of Irish Music {1976}). The melody was popularized by Galway accordion player Joe Cooley (after whom its sometimes called), according to both Caoimhin Mac Aoidh and Peter Wood, as well as by its appearance on an album by the band Planxty. Sources for notated versions: Galway accordion player Joe Cooley (Ireland) [Breathnach]; fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon) [Flaherty]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in concert at Na Píobairí Uilleann, November, 1990 [Moylan]; set dance music recorded at Na Píobairí Uilleann in the 1980’s (Taylor/Yellow); flute player Jack Coen (Bronx, N.Y., originally from Woodford, County Galway) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ III), 1985; No. 158, pg. 73. Brody (Fiddler’s Fakebook), 1983; pg. 293. Cranitch (Irish Fiddle Book), 1996; No. 52, pg. 145. Flaherty (Trip to Sligo), 1990; pg. 89. Harker (300 Tunes from Mike Rafferty), 2005; No. 104, pg. 32. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 12 (appears as “Mot Malloy”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 110. Moylan (Johnny O’Leary), 1994; No. 168, pg. 97. Mulvihill (1st Collection), 1986; No. 200, pg. 54. Taylor (Crossroads), 1992; No. 36, pg. 26. Taylor (Music for the Sets: Yellow Book), 1995; pg. 2. Treoir II, 4; pg. 11 (appears as untitled tune). Green Linnet 1022, Garrai Eon II Ceili Band‑ "Irish Music: The Living Tradition, vol. 2." Green Linnet SIF‑1067, The Tannahill Weavers ‑ "Land of Light" (1986). Gael‑Linn Records CEF 044, Joe Cooley ‑ "Cooley" (1975). Nimbus NI 5320, Ciaran Tourish et al. - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991). Polydor 2383 397, Planxty‑ "Planxty Collection." Shaskeen - "My Love is in America." ‘Ón tSean-Am Anall’ {Danny O’Donnell} (learned from Donegal fiddler John Doherty).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Wise Maid, The [1]

T:Doherty's

R:reel

C:trad

B:The Fiddler's Fakebook

M:C|

L:1/8

Q:1/2=90

K:D

|:"D"~F3G FEDE|FAAB AFED|d2 (3efg fdec|"A"dBAF BEED|

"D"~F3G FEDE|FAAB AFED|d2 (3efg fdec|[1"A"dBAG "D"FDDE:|

[2"A"dBAG "D"FDDA||"D"d2AG FDFA|dfaf "A"gfeg|"D"fAdf "A"eAce|

"D/Bm"dfed "A"cAAc|"G"BEGB "D"ADFA|dfaf "A"gfed|"G"(3Bcd "A"ce "D"dBAG|

[1"A"FAEA "D"D3A:|[2"A"FAEA "D"D4||

X:2

T:Wise Maid, The [1]

M:C|

L:1/8

N:Slurs by Brian Conway

S:Mulvihill – 1st Collection  (1986)

K:D

(DE) | F3 (G F)ED(E | F)AAB A(FE)D | d2 (3efg f(de)c | {e}d(BA)F BE {F}(3EDE |

F3G FEDE | FAAB A(FE)D | d2 eg f(de)c | d(BA)F D2 || A | d2 A(G F)DFA | dfa(f {a}g)feg |

f2 df e(Ac)e | dfe(d c)AAc | B2 GB A(DF)A | dfa(f {a}g)fed | (3Bcd ec d(BA)G | FGEF D2 ||

 

WISE MAID [2], THE. AKA and see “The Humours of Swanlinbar,” “The Pinch of Snuff [1].” Scottish, Reel. D Major. Standard tuning. AABBCCDD. An up-to-nine-part Irish reel, popular in County Donegal, called “The Pinch of Snuff” appears to be derived from this tune. Not related to “Wise Maid [1].” Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 200, pg. 46. Kerr (Merry Melodies), vol 4; No. 79, pg. 11.

X:1

T:Wise Maid [2]

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 79

Z:AK/Fiddler’s Companion

K:D

D2 (3FED (AD) (3FED | D2 (3FED EGFE | D2 (3FED (AD) (3FED | G2 (BG) EFGE :|

|: (3ABA (FA) (3ABA (FA) | (3ABA (FD) (EF)(GE) | (3ABA FA (dA)FA | GEFD EFGE :|

|: e2 (ge) bege | e2 (ge) fagf | e2 (ge) bege | b2 (ge) fagf :: d2 (cA) BcBA | dBcA EFGE |

d2 (cA) BcBA | GEFD EFGE :|

                       

WISE NORA (Nóra Chríonna). AKA and see “"Nóra Críona"

           

WISEMAN'S FAVOURITE. AKA and see "Bob Thompson's Favourite," "The Coravat Jig [1]," "The Mountain Lark [5]," "Jackson's Trip to Limerick," "Jackson's Walk to Limerick," "Jackson's Coola," "The Geese in the Bog [2]," "The Green Meadow [2]," "Tuhy's Frolic," "Twice Tricked." Irish, Jig. The tune appears in a manuscript from A. Casey (Cork).

           

WISH, THE. English, Country Dance Tune. Published in Playford’s English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 37.

           

WISH(ED) I HAD MY TIME AGAIN. Old‑Time, Breakdown. USA, Kentucky. A Major. Standard tuning. One part. Another variant of the "Sally Ann [1]"‑"Great Big Taters"‑"Sandy Land"‑"Sail Away Ladies [1A]" tune family. One of only two tunes (along with "Hook and Line") recorded for Gennett Records in 1933 by the Bath County, northeastern Kentucky duo of the Hatton Brothers. Soon after the session the brothers gave up music, and Jess, the younger brother (b. 1895), became a full‑time minister in the Mormon Church. Source for notated version: Vertner Hatton [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 260. Kicking Mule 213, Susan Cahill, Bob Carlin & Bill Schmidt - "Southern Clawhammer Banjo." Morning Star 45004, Hatton Brothers - "Wish I Had My Time Again."

           

WISHAW'S DELIGHT. AKA and see "Ligrum Cush," "The Marquis of Granby," "Over the Water to Charlie," "Pot Stick," "Shambuie." Scottish, Jig. D Major. Standard tuning. AAB. The Gow’s label the tune “Dancing Set. Or Wishaw’s Delight,” and include another setting right above it, under the title “Original Set of O’er the Water to Charlie.” Wishaw is a town in Lanarkshire, east-southeast of Glasgow. Frank Kidson (Groves) says the earliest version of the tune he found was in John Johnson’s Collection of 200 Country Dances, vol. iv, 1748, under the title "Pot Stick" (see note for that tune). Gow (Third Collection of Niel Gow’s Reels), 1792; pgs. 12-13 (3rd ed.).

X:1

T:Whishaw’s Delight

M:6/8

L:1/8

R:Jig

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pgs. 12-13  (orig. 1792)

Z:AK/Fiddler’s Companion

K:D

D2(A A)FA|(B/c/d).F “tr”E2D|(DF)A (AF).A|”tr”B>AB def|dFA AFA|

B>cd AFD|dfd ecA|”tr”B3 {A/B/}d3:||dfd ecA|({B/c/}d2)F “tr”E2D|

dfd ecA|”tr”B3 {A/B/}(.d2.A)|dfd ecA|({B/c/}d2)F “tr”E2D|D(A A)FA|

“tr”B3 {A/B/}d2A|dfd ecA|B>cd AFD|dfd ecA|”tr”B3 {A/B/}d2 f/g/|

agf edc|d>cB AFA|DFA AFA|”tr”BAB d3 {e/f/}||

           

WISHING WELL, THE. Irish, Slip Jig. A Minor. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 88 , pg. 21. Kerr (Merry Melodies), vol. 4; No. 235, pg. 26.

X:1

T:Wishing Well, The

M:9/8

L:1/8

R:Slip Jig

S:Kerr – Merry Melodies, vol. 4, No. 235  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

EFE A2B c3 | G2G B2c dBG | EFE A2B c3 | dfe dcB A3 :|

|: GAG c2d e3 | d2e fdc BAG | GAG c2d e3 | dfe dcB A3 :|

           

WISP ON THE LOFT, A. See “Sop air an Lochda.”

                       

WISSAHICKON DRIVE. Irish, Reel. A Major. Standard tuning. AABB (Cranford, Perlman, Songer): AA’BB’ (Black). Composed by Chicago Irish-style fiddler Liz Carroll and named for a famous windey city drive in northwest Philadelphia, Pennsylvania, which leads to the Commodore Barry Club, the site of many Irish music events in the city. Perlman (1996) notes it is one of the few contemporary tunes from the United States in circulation on Prince Edward Island. Sources for notated versions: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]; Kenny Chaisson (b. c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]. Black (Music’s the Very Best Thing), 1996; No. 296, pg. 159. Cranford (Brenda Stubbert’s), 1994; No. 14, pg. 6. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 107. Songer (Portland Collection), 1997; pg. 210. Brenda Stubbert - “House Sessions” (1992).Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990).  Shanachie, Liz Carroll – “Cherish the Ladies” (1985).

X:1

T: Wissahickon Drive

C: Liz Carroll

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: A

EFAB cBAB | f2 ef ecBA | F2 dF eFde | feef edBA |

EFAB cBAB | f2 ef eAce | fagf eAcA |1 BEGB A2 FA :|2 BEGB A2 ce ||

a2 ga baga | fAde fagf | eAce aece | aedc BEGB |1

a2 ga baga | fAde fagf | eAce aedc | BEGB A2 ce :|2

A2 ce ac'ba | fAde fagf |eAce aedc | BEGB A2 ||

           

WITCH OF THE GLEN. AKA and see "The Kerry Reel [1]," "The Green Banks of Rossbeigh," "Pairceanna Glasa Ros Beithe."

           

WITCH OF THE WAKE. AKA and see "Witch of the Waves."


           

WITCH OF THE WAVE(S). AKA - "Witch of the Wake." American, Scottish; Reel. G Major ('A' part) & D Major ('B' part). Standard. ABB (Kerr): AABB (Cole, Phillips, Sweet). The Witch of the Waves was the name of a renowned American clipper ship, built in 1851 for the China trade. An extreme clipper ship of 1,498 tons, she was built by George Raynes, Portsmouth, New Hampshire, at a cost of $80,000, and sported a figurehead of a female figure in flowing white garments. In 1855 she was sold to owners in Amsterdam and was renamed Electra, and in 1871 was still listed with Amsterdam owners.

***

The tune is in the repertoire of Missouri fiddler Kelly Jones (b. 1947) who, having the ability to read music, learned this and similar tunes from Cole's 1000 Fiddle Tunes, as previous generations of sight-reading mid-western fiddlers learned tunes from both Cole's 1000 and its predecessor, Ryan's Mammoth Collection. Source for notated version: Kelly Jones [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 3. Kerr (Merry Melodies), Vol. 3; No. 56, pg. 8. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 260. Ryan’s Mammoth Collection, 1883; pg. 24. Sweet (Fifer’s Delight), 1965/1981; pg. 63. Missouri State Old Time Fiddlers' Association, Kelly Jones - "Authentic Old-Time Fiddle Tunes."

X:1

T:Witch of the Wave

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

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

G/A/B/c/ d/e/d/B/ | c/d/e/f/ g/f/g/a/ | b/a/g/f/ g/f/e/d/ | ^c/d/e/f/ g :: (f/g/) |

a/f/d/f/ g/f/e/d/ | ^c/A/B/c/ d/e/f/g/ | a/f/d/f/ g/f/e/d/ | ^c/A/B/c/ d(f/g/) |

a/f/d/f/ g/f/e/d/ | ^c/A/B/c/ d/e/f/g/ | a/f/d/f/ g/f/e/d/ | ^c/A/B/c/ d :|

 

WITCHES, THE. Scottish, Reel. E Dorian. Standard tuning. AAB. Composed by Joseph Lowe, who produced a collection of dance music in the 1840's. Cranford (Jerry Holland’s), 1995; No. 136, pg. 39.

 

WITCHES HILL, THE.  Scottish, Slow Air (whole time). A Minor. Standard tuning. AAB. Composed by Abraham Macintosh, appearing in his Thirty New Strathspey Reels Etc. (Edinburgh, c. 1792). Johnson (A Twenty Year Anniversary Collection), 2003; pg. 16.

X:1

T:Witches Hill, The

M:C

L:1/8

R:Slow Air

C:Abraham Macintosh

S:Macintosh – Thirty New Strathspey Reels (1792)

K:Amin

E|A>BcB .A.E.E.^F|G>DB,>.D G>A.B.E|A>B.c.d e>de>g|dB (e/d/)(c/B/) A2A:||

B|(c/d/e/f/ g>)a .g.e.c.e|dgd>c .B.G.G.B|(c/d/e/f/g g>)a .g.e.c.e|dB (e/d/)(c/B/) A3B|

(c/d/e/f/ g>)a .g.e.c.e|dgdc BGG>B|A>Bc>d e>d.e.g|dB (e/d/)(c/B/) {B}A2||

 

WITH A FADING. AKA and see "The Fading."

 

WITH A HUNDRED PIPERS. AKA and see "A Hundred Pipers."

 

WITH ALL MY HEART (Lem Toil Go Leir). AKA and see "Ask my Father," "Fiafraigh de m'Athair e." Irish, Single Jig (12/8 time). D Mixolydian. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 201, pg. 108. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 368, pg. 75.

X:1

T:With All My Heart

M:12/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 368

Z:AK/Fiddler’s Companion

K:D

A2G|F2D DED F2D D2G|A2c BAG A3 A2G|F2D DED F2D D2F|G2B AGF G3 A2G|

F2D DED F2D D2G|A2c BAG A3 f2g|agf gfe fed cAF|G2B AGF G3:|

|:F2G|A2d d2e f2d cAG|A2c BAG A4 F2G|A2d d2e f2d cAF|G2B AGF G3 F2G|

A2d d2e f2d cAG|A2c BAG A3 f2g|agf gfe fed cAF|G2B AGF G3:|

 

WITH BIDDY BY MY SIDE ('S Brigidin Le Mo Taob). Irish, March? (4/4 time). E Minor. Standard tuning. AA'B. Source for notated version: Kennedy [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1842, pg. 346.

X:1

T:With Biddy by My Side

M:C

L:1/8

R:March

S:O’Neill – Music of Ireland (1903), No. 1842

Z:AK/Fiddler’s Companion

K:E Minor

EFGA BcAc|B>A (3GAB AGED|EFGA BcAc|1 Bee^d e2 z2:|2 Bee^d e2 ef||

gefd edB^c|d2 ed B<d d2|gefd edBA|(3B^c^d ef e2 ef|gefd edB^c|d2 ed B<d dg/a/|

bgaf gefd|Bee^d e2 z2||

           

WITH EARLY HORN. English, Air (6/8 time). G Major. Standard tuning. One part. The song was sung by the tenor John Beard (1717-1791, an ex-chorister from the Chapel Royal) at the Theatre-Royal in Covent Garden, in 1734. Beard managed the theatre from 1761-1774. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 30.

X:1

T:With early horn

M:6/8

L:1/8

R:Air

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipes (c. 1745-46)

Z:AK/Fiddler’s Companion

K:G

F | BGd d2g | BGd d2g | gfe dcB | A3 z2d | (f/g/a)a a2d | (e/f/g)g g2a | (fe)d (ed)^c |

de/d/c/B/ A3 | A3 A3 | A3 g3 | fed ed^c | de/d/^c/d/ e/f/e/d/e/ | fg/f/e/f/ ga/g/f/g/ |

a3a3g | fed efd | d3 d2z | z3 z2d | (dB)G G2d | (dB)G G2d | ecB Aag | f3 z2d |

(e/f/g)g g3 | z3 z2e | (f/g/a)a a3 | z3 z2A | (B/c/d)d d3 | z3 z2g | dcB cBA | G3 GdB |

GdB GdB | G3 G3 | G3G3 | G3 GdB | GdB GBd | g3g3 | g3g3 | g3 g3 | ga/g/a/g/ fg/f/g/f/ |

ef/e/f/e/ de/d/e/d/ | cd/c/d/c/ Bc/B/c/B/ | A3 z2B | (ce)a d2c | (B/d/)g c2B | (AB)G DGF |

(GBd gfe) | d2g BcA | G3 z3 | z3 z2B | e/f/gf e2^d | e3 z2B | ged ^c2A | (fd)c B3 |

g3 z3 | f3 z2B | (gf)e (d^c)B | f3 z2F | B/c/ec B2A | B3 z2F |

d/e/f/e/c2B | (d/e/fe d2z | g3 z3 | f3 z2e | (d^c)B (FB)^A | B3 z3 ||

 

WITH HER DOG AND GUN. Irish, Air (3/4 time). Ireland, Mayo. G Major. Standard tuning. One part. Petrie identifies this as a Mayo tune. Stanford/Petrie (Complete Collection), 1905; No. 380, pg. 96.

X:1

T:With Her Dog and Gun

M:3/4

L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 380

Z:AK/Fiddler’s Companion

K:G

GAB | c2 (bc)(dB) | (GE) DE (3GAB | “tr”(AG/A/) G2G2 | G4 (3def |

(g2f2) (ed) | e2G2 (Bc) | d2 (eg) (fe) | {e}d4 (3def | g2f2 (ed) |

(e2G2) (Bc) | d2 (dg) (3fed | {d}g4 (3edB | (c2B2) (dB) | (GE) DE (3GAB |

“tr”(AG/A/) G2G2 | G4 ||

           

WITH MY DOG AND GUN. Irish, Air (4/4 time). A Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 366, pg. 93.

X:1

T:With My Dog and Gun

M:C

L:1/8

S:Stanford/Petrie (1905), No. 366

Z:AK/Fiddler’s Companion

K:A_

E | A2 AB AE CE | EA AB A3B | cB cd ec BA | GA Bc B3 :: B | cA Ac dB Bd |

ec BA E3A | BA GA B e2 d | cA A>B A3 :|

           

WITH MY LOVE ON THE ROAD. Irish, Air (3/4 time). F Major. Standard tuning. One part. See also “Banks of the Bann,” “Be Thou My Vision,” “Slane.” Source for notated version: "Mr. J. M'Kenzie of Newtownards, a great lover of Irish Music and of the corresponding folk songs," c. 1879 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 323, pg. 151.

X:1

T:With my love on the road

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:F

F2F2 GF|D2C2 CD|F2F2G2|A4 cA|G2G2G2|G2A2c2|d2c2A2|c4 zc|

D2 de fe|d2c2A2|c2F2E2|D4 zC|F2A2c2|dc A2 FA|G2F2F2|F4||

 

WITH OURSELVES. Irish, Reel. E Minor. Standard tuning. AABB’. Composed by Chicago tin whistle player Johnny Harling. Bill Black says the title has nothing to do with Sinn Fein (Among Ourselves). Black (Music’s the Very Best Thing), 1996; No. 36, pg. 18.

X:1

T: With Ourselves

C: J.Harling

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Edor

D | EDEB GE (3EDE | DEFD GFFD | EDEB GEEA | Bded e3 f |

gB (3B=cB gedB | AF (3FFF dBAF | EDEB GE (3EDE | DEFD E3 ||

d | edef g2 af | ge e2 dBAF | D2 (3FED ADFD | defd gfed |

edef g2 af | ge e2 dBAF | D2 (3FED ADFA | dBAF E3 ||

d | edBd edBd | gBfB eBdA | D2 (3fed ADFD | defd gfed |

edef g2 af | ge e2 dBAF | D2 (3FED ADFD | dBAF E3 ||

 


WITHERED GROWLING OLD WOMAN, THE (Sean-Bhean Chrion An Dreanntain). Irish, Air (6/8 time). D Major. Standard tuning. AABBCCDD. "In O'Daly's 'Munster Poets' there is a very incorrect version, which is in 2/4 time instead of 6/8 as it should be. The setting in Stanford‑Petrie is correct so far as it goes; but it is curtailed. I give the full and correct version here as I found it in one of the Pigot MSS. I may add that I have known the tune all my life. Compare with 'The Beardless Boy', in Bunting" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 713, pg. 356.

 

WITHIN A MILE [1]. AKA and see "Within a Mile of Edinburgh (Toon)." AKA ‑ "The Cumberland Long Eight." English (originally Scottish?), Reel. D Major. Standard tuning. AABB. Kennedy  (Fiddlers Tune Book), Vol. 1, 1951; No. 15,  pg. 8. Raven (English Country Dance Tunes), 1984; pg. 176. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 56 (appears as "Within a Mile of Edinburgh" in Strathspey form).

X:1

T:Within a Mile [1]

M:C|

L:1/8

R:Reel

K:D

fg | a2 af d2 fd | BdAF A2 FG | AGAB ABde | f2e2e2fg | afdf Adfd |

BdAF A2 FG | AGAB ABde | f2d2d2 :: (3ABc | defg afdf | efga bgeg |

dedB AFAd | f2e2e2 fg | afdf Adfd BdAF A2 FG | AGAB ABde | f2d2d2 :|

 

WITHIN A MILE OF CLONBUR ("Mile As Cluain-Burris" or "I Ngoire Mile o Cluain-Burris"). AKA and see “Burn’s Reel,” "Byrne’s Reel.” Irish, Reel. G Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). The tune appears in Ryan’s Mammoth Collection, but was not included when the publication was transformed into Cole’s 1000. It is printed in The Northern Fiddler under the title “Byrne’s Reel.” O'Neill (Krassen), 1976; pg. 138. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1435, pg. 266. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 672, pg. 119. Ryan’s Mammoth Collection, 1883; pg. 51.

X:1

T:Within a Mile of Clonbur

L:1/8

M:C|

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 672

Z:AK/Fiddler’s Companion

K:G

Bddg egdg|egdB BA A2|Bddg edgd|BdAc BGGz|Bddg egdg|egdB BAAz|

Bgaf gedc|BdAc BGG||(3efg dg agbg|(3efg dg ea a2|(3efg dgagbg|

edef ag g2|(3efg dg agbg|(3efg dg ea a2|bgaf gedc|BdAc BG G2||

           

WITHIN A MILE OF DUBLIN [1] ("Mile Ua Baile-Ata-Cliat," "I Ngoire Mile o Baile-Ata-Cliat" or "I bhFoisceacht Mile do Bhaile Atha Cliath"). AKA and see "An Giobarach," "The Meadow in Bloom," "Through the Fields [3]," "The Club Reel," "The Kerry Lasses [2]," "Sarah's Reel," "You're a long time a courting," "The Road to Dublin," "A Mile from Dublin." Irish, Reel. D Mixolydian. Standard tuning. AB (Breathnach, O'Neill/1850 & 1001): AAB (O'Neill/Krassen). Breathnach (1976) finds the tune under the title “An Giobarach” in a manuscript from Waterford. He lists one (of several) alternate titles as “The Maid of Ballintra,” however, Paul de Grae thinks this is incorrect. As “The Meadow in Bloom” it is printed in the (James) Goodman manuscripts. The title “Within a Mile of Dublin” appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Source for notated version: piper Pat Mitchell, 1970 (Dublin, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 179, pg. 93. Breathnach (Folk Music and Dances of Ireland), 1971; 6. Fiddler Magazine, vol. 11, No. 3, Fall 2004; pg. 53. Kerr (Merry Melodies), Vol. 2; pg. 27 (appears as “Irish Reel”). O'Neill (Krassen), 1976; pg. 153. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1511, pg. 279. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 730, pg. 128. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 3; 20.

X:1

T:Within a Mile of Dublin [1]

M:C|

L:1/8
R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1903), No. 730

Z:AK/Fiddler’s Companion

K:D Mixolydian

(dB)|ADDE FEFG|A>D (3DDD cABG|ADDE FEFG|AdcA GcBc|ADDE FEFG|

A>D (3DDD cABG|ADDE FEFG|AdcA G2||(FG)|Addc AGFG|Adde fdec|
Addc AGFG|ABcA G2 FG|Addc AGFG|Adde f2 (3efg|afge fdec|dcAF G2||

 

WITHIN A MILE OF DUBLIN [2]. Irish, Reel. D Mixolydian. Standard tuning. ABC. Source for notated version: students of New York fiddler and accordion player John McGrath (1900-1955, originally from County Mayo) [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 31, pg. 16.

X:1

T:Within a Mile of Dublin [2]

M:C|

L:1/8

R:Reel

S:O’Malley Collection

K:D Mix

(3ABA ^GB A2 dB | cBcG EFGB | (3ABA ^GB A2 dB | (3ABc GE {F}ED D2 |

AD (3FED A2 dB | cBcG EFGB | AFAc BGBd | cAGE {F}ED D2 ||

ed ~d2 ABcd | ed ~d2 ea {b}ag | e2 dg ecdc | AcGc Ad d2 |

e2 dg edd>c | ABcd efge | a2 ge dgec | ABcd ed d2 || efge d2 (3B^cd |

ea{b}ag ed^cd | efge dged | cAGE {F}ED D2 | gage d2 (3B^cd |

ea{b}a^g a=gef | ged^c dged | cAGE D2 z2 ||

 

WITHIN A MILE OF EDINBURGH [1]. Scottish, Strathspey. B Flat Major. Standard tuning (fiddle). AB. Howe (1000 Jigs and Reels), c. 1867; p. 136.

X:1

T:Within a Mile of Edinburgh

M:4/4

L:1/8

R:Strathspey

S:Howe – 1000 Jigs and Reels (c. 1867)  pg. 136  an odd 6 measure ‘b’ part.

Z:AK/Fiddler’s Companion

K:Bb

(d>e) | (f<d) (c>d) B2 (dB) | G<B F>D F2 B>c | (d<f) (.gb) (f<d) (.cB) | (d2c2)z2(d>e) |

(f<d) (c>d) B2 d>B | (G<B) (F>D) F2 (B>c) | (d<f)(g<b) (f<d) (c>d) | B4 z2 ||

(B>cd>e) fd b2 | (B>cde) fd b>B | (B>cB>G) FD F>B | (dB/)(d/f) .g3 b |

(f<d)(d<B) (G<B)(F<B) | (d<f) (c>d) B2 || 

 

WITHIN A MILE OF EDINBURGH (TOWN) [2]. AKA and see "Within a Mile [1]," "The Cumberland Long Eight." Scottish; Air, Strathspey or Highland Schottische. A Major: D Major (Huntington, Raven). Standard tuning (fiddle). AABB (Huntington, Kennedy, Raven, Williamson): AA'BB' (Kerr). In Gems of Scottish Song (pgs. 32‑33) there is a note stating that the song goes back to the close of the 17th century. In fact, the tune was written by the English dramatist Thomas D’Urfey (1652-1723), who wrote plays and songs.  While his most famous publication is the several-volume Pills to Purge Melancholy, the song “Within a Mile of Edinburgh Town” first appeared in Delicae Musicae (1696). It begins:

***

'Twas within a furlong of Edinborough Town,
In the Rosy time of year,
when the Grass was down,
Bonny Jockey Blith and Gay,
Said to Jenny making Hay,
Let's sit a little (Dear) and prattle,
'Tis a sultry Day:
He long had Courted the Black-Brow'd Maid,
But Jockey was a Wag
and would ne'er consent to Wed;
Which made her pish and phoo,
And cry out it will not do,
I cannot, cannot, cannot, wonnot,
monnot Buckle too.

***

The melody has been attributed to several composers, notably Henry Purcell (1659-1695), a frequent collaborator with D’Urfey, and Jeremiah Clarke. Emmerson, however, states that the tune is a successful imitation Scots air and was actually composed by James Hood (1746‑1827), whom he designates a prolific composer of ballads and catches. Williamson tells the tale of a tavern wager in which the principals decided to a walking race between Edinburgh and the next No. 325, p. 161. O'Neill (Krassen), 1976; pg. 206. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1742, p. 324. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 918, p. 157. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; p. 82‑83.

X:1

T:Within a Mile of Edinburgh

M:C

L:1/8

R:Air

B:William Mackie manuscript collection (Aberdeen, early 19th century)

Z:AK/Fiddler’s Companion

K:D

f>g|(a<f)(e>f) d2 f<d|B<d A<F A2 d>e|f<a b<d’ a<f d>f|(f2 e2) z2 f>g|

a<fe>f d2 fd|B<d A<F A2 d>e|f<ab<d’ a<fef|d4 z4||

|:d>ef>g a>f d’2|d>ef>g a>f d’3d|d>edB AFAd|

fdfa bd’/4c’/4b/4c’/4d’ b|a<f f<d B<d A<d|f<a e>f d2:||


           

WITHIN THIS VILLAGE DWELLS A MAID [1] (Annsa Baile Seo Comnaideann Aindear). AKA and see "When I Breathe A Fond Adieu," "Ar A' mBaile Seo Ta an Chuilfhionn" (In this village dwells the fair lady), "Cuilfhionn Brocach." Irish, Slow Air (3/4 time). G Major (O'Neill's): E Major (O'Sullivan/Bunting). Standard tuning (fiddle). One Part (Bunting): AB (O'Neill's). The melody can also be found in Crosby's Irish Musical Repository (pgs. 164‑165) under the title "Within this Village Dwells a Maid." O'Sullivan (1983) prints Gaelic words to the tune, whose origin is in Connacht Irish, "probably the same as that of the tune." Source for notated version: the air was noted by the Irish collector Edward Bunting at Deel Castle, Ballina, County Mayo, in 1792. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 446, p. 78. O'Sullivan/Bunting, 1983; No. 15, pp. 22‑23.

X:1

T:Within this Village Dwells a Maid [1]

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 446

Z:AK/Fiddler’s Companion

K:G

B>c|d2g2 g>a|b2d2 B>c|d2 d>e d>c|B2G2 B>c|d2g2 g>a|b2 d2d2|e2 e>g f>e|d4||

B>c|d2d2 d>f|g2 dg/a/ bg|d2 B>c d>c|B2G2 B>c|{^c}d2 b2a2|g>a b2d2|Bd cB A>B|G4||

 

WITHIN THIS VILLAGE DWELLS A MAID [2] (Annsa Baile Seo Comnaideann Aindear). Irish, Air (4/4 time). G Major. Standard tuning (fiddle). AB. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 447, p. 78.

X:1

T:Within this Village Dwells a Maid [2]

M:C

L:1/8

N:”Moderate”

R:Air

S:O’Neill – Music of Ireland (1903), No. 447

Z:AK/Fiddler’s Companion

K:G

de/f/|g3a g2f2|e3d B2d2|g3f g2a2|b3a g2 de/f/|g3a g2f2|

e2d2B2 zd|e3g f2a2|{a}g6||GA/B/|c3d e2 dc|B3c d>cBA|

G3A B2d2|e3d B2 de/f/|g3a bagf|e2f2g2 dc|B3G {B}A3G|G6||

 

WITTLE DEAN. English, Hornpipe. A Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 2. Raven (English Country Dance Tunes), 1984; pg. 159.

 

WIVES OF KILWINNIN, THE. Scottish. John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 1768 2nd collection (pg. 111).

 

WIVES OF TORPHICHAN, THE. Scottish, Jig. D Major. Standard tuning. AABB. John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 1757 collection. Bremner (Scots Reels), c. 1757; pg. 42-43.

X:1

T:Wives of Torphichan, The

M:6/8

L:1/8

R:Jig

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:D

A | “tr”F2D DFA | E=CE G2E | “tr”F2D DFA | DED f2d | (ga/g/f/e/) (fg/f/e/d/) |

eEE E2A | “tr”F2D A(d/c/B/A/) | FDD D2 :: f | (f>ef) def | gaf efg | “tr”(f>ef) def |

(ab/a/)g “tr”f2d | g(a/g/f/e/) f(g/f/e/d/) | eEE E2A | “tr”F2A B(d/c/B/A/) | dDD D2 :|

 

WIVES’ VICTORY, THE.  English, Jig. G Minor. Standard tuning. AABB. Composed by Thomas Bray (1658-1730) in 1699, appearing in his Country Dances. Bray was a dance and dancing master who dedicated his volume to Prince William, Duke of Gloucester. According to Diana Cruikshank, he also worked as a choreographer and dancer for the theatre where he sometimes worked with professional dancers from France. She believes several dances in his collection may have specifically been composed for the English stage. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 145.

 

WIZARD, THE. Canadian, Clog. B Flat Major. Standard tuning. AABB. Source for notated version: Winstons Fitzgerald (Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 15, pg. 6.

 

WIZARD’S WALK, THE. American, Reel. E Minor. Standard tuning. ABDD. Composed by West Hurley, New York, fiddler Jay Ungar, whose daughter Ruth (presently of the group The Animals) composed a dance matched to it at the age of twelve (she is now a fiddler and singer). Songer (Portland Collection), 1997; pg. 211. MCO 301, Moving Cloud Orchestra - “The Moving Cloud” (1993).

 

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