The Fiddler’s Companion

ƒD 1996-2010 Andrew Kuntz

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HOME ??????? ALPHABETICAL FILES ??????? REFERENCES

WALACE MARCH. See ?Wallace March."

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WALBURN STOMP .? Old-Time. Recorded for OKeh Records in Atlanta by fiddler George Walburn and guitarist Emmett Hethcox, both of Hogansville, Georgia. The title was originally not issued. A critic in Old Time Music magazine (No. 29, Summer, 1978) believed he heard similarities between Walburn’s fiddling and that of recorded black fiddler Eddie Anthony. County 744, George Walburn ? “Georgia Fiddle Bans, vol. 2.?

WALDO . Old‑Time. USA, Missouri. A Major. Standard tuning. AABB. According to Missouri fiddler Howard Marshall, some older regional fiddlers associate this melody with a violin dealer and fiddler from Kansas City named John Jernigan. Drew Beisswenger (2008) points out similarities with ?Frisky Jim,? and says that the tune is sometimes linked to ?George Booker.? Sources for notated versions: Lymon Enloe (Mo.) [Phillips]; Dean Johnston (1919-2007, Lamar, Barton County, Mo.), learned from either Lonnie Robertson of Lyman Enloe [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 77. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 251. Marimac 9017, Vesta Johnson (Mo.) ‑ "Down home Rag." Caney Mountain Records CEP 213 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. Rounder 0436, Dean Johnston ? “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain? (2000. Various artists.

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WALDORF REEL . Old-Time, Breakdown. G Major. Standard tuning. AB. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 164.

WALK A MILE . See ?Ride a Mile.?

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WALK ALONG JOHN [1] . AKA and see ?Come Along John,? "Johnny Walk Along With Your Paper Collar On." Old‑Time, Breakdown. USA; Missouri, Arkansas, Oklahoma. G Major. Standard tuning. AAB (Thede): AABB (Christeson, Phillips): AA’BB? (Beisswenger & McCann). The regionally very popular "Walk Along John" appears to some to be a Mid‑West variant of "Ston(e)y Point [1]," although the resemblance seems strained at best to others. It 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 it was recorded in the 78 RPM era by Luke Highnight and His Ozark Strutters (1928) and Bob Miller and his Hinky Dinkers (1929). “Walk Along John? is one of the ?100 essential Missouri fiddle tunes? according to Missouri fiddler Charlie Walden, although each fiddler seems to have his own variant. A minstrel song called “Walk Along John? or “Come Along, John,? was published in 1844 (music and words attributed to J.P. Carter of the Virginia Serenaders in their published songbook, although it also states it is “an Old Sourthern Refrain?), perhaps based on an African-American ‘corn (shucking) song? called “Shock Along John.? It begins:

***

All de way from ole Car-li-na,

For to see my old Aunt Di-nah;

Says I ole lady how’s de goose,

De Jay bird jump on the Martin’s roost.

***

Refrain:

Walk Along John, the fifer’s son,

Ain’t you glad your day’s work’s done.

***

It was popular enough to be employed in the 1844 Presidential race between Henry Clay (Kentucky) and James K. Polk (Tennessee), with each side sculpting the lyric:

***

Walk along John, you can't stay,
The people's choice is Harry Clay???? [Whig]

or

Walk along John, you can't stay,
The people's choice is Jimmy K.??????? [Democrat]

***

The music is reproduced in abc format below. According to Beisswenger & McCann (2008) this song was absorbed into play-party tradition (collected in Indiana [Wolford, 1919]), and in the Ozarks in 1942 (where it had been learned in the 1880’s), although it was not musically related to the old-time breakdown called “Walk Along John.? However, a second song that developed in tradition, called “Walk Along John with your paper collar on,? which does have a melody that is similar to the breakdown “Walk Along John [1].? It has the lyric:

***

Johnny walk along with your paper collar on,

Ain’t you mighty glad your day’s work’s done.

***

Sources for notated versions: African American fiddler Bill Driver (Miller County, Missouri) [Christeson]; W.S. Collins (Pottawatomie County, Oklahoma) [Thede]; Tony Thomas and Bruce Molsky with Bob Carlin [Phillips]; Lee Stoneking (1907-1992, originally from Henry County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes), 2008; pg. 145. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 91. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 251 (two versions). Thede (The Fiddle Book), 1967; pg. 135. Graphic Recording, Lee Stoneking ? “Missouri Old Time Fiddlin’” (c. 1970’s). Heritage 060, Bud Hunt ‑ "Music of the Ozarks" (Brandywine, 1984). Rounder 0157, Art Galbraith (Springfield, Mo.) ‑ "Simple Pleasures." Rounder 0197, Bob Carlin ‑ "Banging and Sawing" (1985. Learned from Tom Fuller {Okla.} via Brad Leftwich).

X:1

T:Walk Along John (Song version)

C:J.P. Carter

S:Songs of the Virginia Serenaders? (Boston, 1844)

M:2/4

L:1/8

K:G

“verse?

A>B A>B|A>A AF|AA GG|DD FA/A/|

A>B A>B|A>A AF|AA G G/G/|DD (FA)||

“Chorus?

A/A/ B c>c|cA G2|BB G>B|DF G2||

“Instrumental fill?

d/>B/G/>B/ d/>B/G/>B/|d/>B/G/>B/ d2|c/>A/F/>A/ c/>A/F/>A/|c/>A/F/>A/ c2|

GABc|dcB z|c/>A/B/>G/ Ec|B/>G/A/>F/ G2||

WALK ALONG JOHN (WITH YOUR PAPER COLLAR ON) [2] . Old-Time, Breakdown. D Major. Standard tuning. AABB. A variant, not as well known as “Walk Along John? [1]. Seattle fiddler Stuart Williams had this tune from Earl Willis of Springfield, Oregon, originally from Mineola, Missouri. The tune reminds some of the Blue Ridge version of ?Cousin Sally Brown [1].? Source for notated version: Stuart Williams and Earl Willis [Phillips]. Phillips (Traditional American Fiddle Tunes, vol.), 1994; pg. 251.

WALK ALONG JOHN TO KANSAS . AKA and see "Little Rabbit," "Rabbit Where's Your Mammy" [2]. Old‑Time, Breakdown. USA, Arizona. A Major. AEae or AEac# tunings. AA'BB'. Arizona fiddler Kartchner identified the tune as having come from the South. Source for notated version: Kenner C. Kartchner (Arizona) [Shumway]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 193. Shumway (Frontier Fiddler), 1990; pg. 271.County 2730, Rafe Stefanini ? “Glory on the Big String.?

WALK HOME , THE. American, Jig. D Major. Standard tuning. AA’BB?. Composed by Portland, Oregon, fiddler Dan Compton. Songer (Portland Collection), 1997; pg. 207.

WALK IN THE PARLOR . See "Walking in the Parlor."

WALK JAW BONE [1] . See "Uncle Joe," "Did You Ever See the/a Devil, Uncle Joe," "Miss McLeod's/MacLeod's Reel [1]."

***

I started off from Tennessee

My old horse wouldn't pull for me.

***

He began to fret and slip,

And I began to cuss and whip;

Walk Jawbone from Tennessee (x2).

***

I fed my horse in de poplar trof,

It made him catch the whooping cough.

My old horse died in Tennessee,

And hill'd his jawbone here to me.

Walk Jawbone etc.

***

Lyrics from: Sketches and Eccentricities of Colonel David Crockett of West Tennessee, by J.S. French, 1833 (Charles Wolfe, The Devil's Box, Sept. 1982, pg. 37).

WALK JAWBONE [2] . AKA and see "Alex Dice," "Jacket Trimmed in Blue," “Din Tarrant’s? ?I Have a Bonnet Trimmed with Blue [1],? ?I have a donkey, he wouldn’t go,? ?Jawbone,? "Krakoviak" (Boehme), ?Old Joe Bone,? ?T? Boinéad agam,? “Tarrant’s.? Old‑Time, Breakdown. F Major. Standard tuning. AABB. Apparently adapted by American black‑face minstrels from an Irish melody. The title is derived from an instrument used in minstrel bands as a rhythmic accompaniment: the jawbone of a horse, mule or ox was held in one hand while a key or other piece of mental was pulled across the teeth, resulting in an odd sound. This practice may have its origins in slave communities, and may ultimately stem from African practice. See Irish version in Roche Collection, vol. 2, No. 302 (appears as "Set Dance"). Early country music recordings are by Pope’s Arkansas Mountaineers (1928) and the Mississippi group Carter Brothers and Son (1928, as “Old Joe Bone?).

***

Walk, jawbone, Jenny, come along.

In come Sally with her bootees on.

Walk, jawbone, Jenny, come along.

In come Sally with her bootees on.

***

Ford (Traditional Music in America), 1940; pg. 103. Minstrel Songs Old and New, 1879; pg. 210. County CD 3506, Pope’s Arkansas Mountaineers (reissue). Document DOCD-8009, Carter Brothers and Son (reissue). Musical Traditions MTCD321-2, Dan Tate (et al) ? “Far in the Mountains vol. 1 & 2? (2002). Rounder CD 0435, Cecil Goforth (et al) ? “Traditional Fiddle Music of the Ozarks.?

X:1

T:Walk Jawbone [2]

M:2/4

L:1/8

B:Ford ? Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:F

F|(EGB)d|cAAc|cd/c/ BG/G/|FAAF|EG Bd/d/|cA Ac/c/|

cd/c/ BG|GG A2::Bdfd|c/c/A/A/ F2|cd/c/ B/B/G/G/|

FAAF|Bdfd|c/c/A/A/ F2|cd/c/ B/B/G/G/|GF F2:|

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WALK OF THE TWOPENNY POSTMAN , THE. AKA and see "Garryowen." English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AB. The tune is the famous Irish jig "Garry Owen," collected from the Cotswold village of Fieldtown (Leafield), Oxfordshire. Bacon (The Morris Ring), 1974; pg. 160.

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WALK ON WATER REEL , THE. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AAB. The ‘B? part is slightly irregular, with a measure of 2/4 insterted prior to the last measure of the part. Source for notated version: Attwood O’Connor (b. 1923, Milltown Cross, South King’s County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 46.

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WALK OUT OF IT, HOGAN (Siubal Amac As Ua T-Ogain/h-Ogain). AKA and see ?Helvic Head.? Irish, Double Jig. G Major. Standard tuning. ABCDE (O'Neill/1850): AABBCCDDEE (O'Neill/Krassen & 1001). O'Neill (Krassen), 1976; pg. 65. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1072, pg. 202. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 274, pg. 60.

X:1

T:Walk out of it, Hogan

M:6/8

L:1/8

R:Air

S:O’Neill ? Dance Music of Ireland: 1001 Gems (1907), No. 274

Z:AK/Fiddler’s Companion

K:G

~G3 AGE|B2A AGE|~G3 AGE|GAB GED|~G3 AGE|GAB cde|dBG AGE|GAB GED:|

|:BGG AGG|BGG AGE|BGG AGE|GAG GED| BGG cAA|dBB cAA|BGG AGE|GAB GED:|

|:dge dBG|ABA ABd|e/f/ge dBG|Bgf g2a|bag agf|gfe dcB|cBA BAG|AGE FED:|

|:G2d BGd|BGd AGE|G2d BGd|Afd FED|G2d BGd|BGd ABc|BAG AGE|GAB GED:|

|:D/E/FD D/E/FD|A2 (3c/B/A/ BGE|D/E/FD D/E/FD|G2 (3A/G/F/ GFE|D/E/FD D/E/FD|ABA ABc|BAG AGE|GAB GED:|

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WALK, TALK CHICKEN . Old-Time. A cross-tuned (AEae) version of ?Farewell to Whiskey,? from the playing of West Virginia fiddler Melvin Wine.

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WALK UP GEORGIA ROW . AKA and see "Georgia Row," "Angeline the Baker," "Coon Dog." The title possible refers to a type of dance called a "walk around," or "cakewalk," and thus could mean "The Georgia Row Cakewalk."

WALKER STREET . AKA and see "Carpenter's Reel," ?The Laborer’s Reel,? "The Traveller [1],? "Traveller's Reel." Canadian, American; Reel or Hornpipe. USA; New England, Northwest. Canada; Prince Edward Island. G Major. Standard tuning. AB (Silberberg): AABB (most versions): AA'BB (Phillips): AA’BB? (Begin). In Kings County, Prince Edward Island, an alternate title is “The Laborer’s Reel,? from the French-Canadian variant “Reel des Ouvriers? (The Laborer’s Reel).? Sources for notated versions: Bill Christopherson (Conn.) [Phillips]; Archie Stewart (b. 1917, Milltown Cross, South Kings County, Prince Edward Island) [Perlman]; Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 11, pg. 24. Cole (1000 Fiddle Tunes), 1940; pg. 45. Laybourn (Kohler’s Violin Repository), 1881-5. Messer (Way Down East), 1948; No. 42. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 62, pg. 36. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 89. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 63. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 252. Ryan’s Mammoth Collection, 1883; pg. 72. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 164. Songer (Portland Collection), 1997; pg. 207. Sweet (Fifer’s Delight), 1965/1981; pg. 71. White’s Unique Collection, 1896; No. 41, pg. 8. Alcazar Dance Series ALC‑201, Jerry Robichaud ‑ "Maritime Dance Party" (1978). Folkways 3531, Jean Carignan‑‑"Old Time Fiddle Tunes." Fretless 201, JerryRobichaud ‑‑"Maritime Dance Party" (1978). Rounder LP 7007 Graham Townsend ? “Classics of Irish, Scottish and French-Canadian Fiddling? (1976). Rounder Heritage Series 1166-11592-2, Graham Townsend (et al) ? “The Art of Traditional Fiddle? (2001. Learned from one of his boyhood mentors, Billy Crawford).

X:1

T:Walker Street

M:C|

L:1/8

R:Reel or Hornpipe

K:G

G2 BG dG BG|AB cd cB AG|Bd gd eg dB|cB AG FA DF|

G2 BG dG BG|AB cd cB AG|Bd gd eg dB|cA FA G4:|

|:g2 dg Bg dg|ga bg ag ef|g2 dg Bg dg|cB AG FA D2|

g2 dg Bg dg|ga bg ag ef|gf ga gf ed|eg fa g4:|

WALKER’S COVE. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AAB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 23.

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WALKER’S REEL. American, Reel or Hornpipe. D Minor. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 58.

X:1

T:Walker’s Reel

M:4/4

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D Minor

D2 | F2A2 AGAB | c2 Ac A2d | f2 fd e2 ec | d2 AB A2G2 | F2A2 AGAB |

c2 Ac A2d2 | e2 fd e2 ec | d3d2 :: de | f2a2f2a2 | gfed c2 de | f2 fd e2 ec |

d2 AB A2G2 | f2a2f2a2 | gfed c2 de | f2 fd e2 ec | d4 d2 :|

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WALKING BY MOONLIGHT . Irish, Air (6/8 time). D Major. Standard tuning. AB. Learned by Joyce as a child in Limerick, c. 1845. Joyce (Old Irish Folk Music and Song), 1909; No. 75, pgs. 40‑41.

X:1

T:Walking by Moonlight

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D

ABc d2d|d2d dec/>A/|ABc d2d|edc BcA|ABc d2d|fef gfg|agf edc|d3d3||

a2f gfg|a3d3|e2e efd|B3A3|Bcd ede|fef gfg|agf edc|d3d3||

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WALKING CANE STOMP . American, Country Blues. The tune is from the Kentucky Jug Band.

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WALKING DOWN THE GEORGIA ROAD . Old-Time, Breakdown. D Major. Standard tuning. AB. From the playing of Angie and Tim Wooten. Source for notated version: Isla Ross [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 163.

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WALKING IN A COUNTRY TOWN . English, Ballad Air (4/4 time). D Dorian. Standard tuning. AB. The air appears in Robinson's Schoole of Musicke (1603). Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 117‑118.

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WALKING IN MY SLEEP [1] . Old-Time, Breakdown. USA; western North Carolina, southwest Virginia, east Kentucky. G Major. Standard tuning. AB (Silberberg): AABB (Phillips). The tune has been called a Blue Ridge area standard, though Tom Carter and Barry Poss (1977) believe it was a relatively late addition to the traditional fiddler's repertoire of Patrick County, Va., "though one which most of the older fiddlers learned." It is known as a Surry County, North Carolina, regional tune, and was, for example, in the repertoire of Otis Burris; a rather "powerful and pretty" version was collected from Esker Hutchins of Dobson, North Carolina.

***

Pain in my fingers, pain in my toes;

Pain in my ankle bone, I ain't a-gonna work no more.

Walkin' in my sleep, baby, walkin' in my sleep;

Just down the Dixie line, just walkin'in my sleep.

When you see that gal of mine, just tell her if you can,

..............pick up bread, and wash those dirty hands.

When you see that gal of mine, just tell her if you please,

Its whener'd you go to make up dough, roll those dirty sleeves. (Tommy Jarrell, 1981)??

***

Composition of “Walking in My Sleep? has been credited to Tennessee’s Fiddlin? Arthur Smith (e.g. S. Songer), who recorded it in 1930, but the song was recorded by several performers in the 78 RPM era. Mark Wilson is of the opinion “Walking in My Sleep? may have been derived from a Missouri tune called ?Brown Leaf Rag.? Other related melodies (listed by Jane Keefer) include Snuffy Jenkins & Pappy Shirrell’s “Boggy Road to Texas,? Ohio musician Cecil Plum’s “Trumpey’s Hornpipe,? Tommy Jackson’s “When the Leaves Begin to Turn Brown,? and Herman Johnson’s generically-titled “Just an Old Rag in G.? Source for notated version: Dudley Spangler (Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 160. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 165. Chubby Dragon CD1008, Brad Leftwich, Bruce Molsky et al ? “Mountairy.usa? (2001). County 201, The Old Virginia Fiddlers‑ "Rare Recordings 1948‑49." County 778, Tommy Jarrell ‑ "Pickin' on Tommy's Porch" (1984. Learned from Pate Martin in the late 1920's or early 30's). County CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994). Heritage 054, J.P. Fraley ‑ "Brandywine '83: Music of French America" (1984). Mountain 301, Kyle Creed‑ "Blue Ridge Style Square Dance Time." Rebel 1498, Curly Ray Cline‑ "Chicken Reel."

X:1

T:Walking in My Sleep [1]

M:C|
L:1/8

R:Reel

N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:G

GE|:”G”DGED EF G2|B3c B3A|BABc dc B2|”D”A3B A3(F|F)A B2 AB d2|

f3a f3e|fafe dB A2|1 “G”G3A G2 GE:|2 “G”G3A G3f||:”G”[Bg]agf gagf|

[B3g3\a g3f|ga g2 ed B2|”D”[F3A3]B A3(f|f)gaf agfg|a3b a3(f|f)afe dBAF|1
”G”[G3B3][Gc] [G3B3]f:|2 “G”[G3B3][Gc] [G4B4]||

WALKING IN MY SLEEP [2] . Old‑Time, Bluegrass; Breakdown. G Major. Standard tuning. AABB (Phillips): AA'BB (Brody). Source for notated version: Kenny Baker [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 284. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 160. County 719, Kenny Baker‑ "Portrait of a Bluegrass Fiddler."

WALKING IN THE PARLOR [1] . See related tune "Trude Evans." Old‑Time, Breakdown. USA; West Virginia, Virginia, North Carolina, Alabama, Arkansas. D Major. Standard tuning. AB (Silberberg): ABB (Brody): ABA'A'B'B' (Krassen). A melody with minstrel-era origins, although some hear distinct echoes of the English morris dance melody ?Shepherd’s Hey.? The tune was mentioned in an account as having been played at a LaFollette, northeast Tennessee fiddlers' contest in 1931. The title (as "Walk in the Parlor") appears in a list of traditional Ozark Mountian fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Wilson Douglas (Ivydale, W.Va.) remarks it was noted W.Va. fiddler French Carpenter's favorite tune, and says of its origins with his mentor:

***

A lady composed that. She was a fiddler and a top square

dancer. She lived during Carpenter's time, but she was old.

French said she played that tune and nobody could beat her.

That's where he learned it. Her name was Trod Evans. She

was a lady fiddler.

***

Indeed, the tune is sometimes called ?Trude Evans.? It took five years, according to Douglas, for him to learn the tune with "the proper time at the proper time, or the proper rock, or the proper swing, or the proper shuffle." Despite its minstrel beginnings Gerald Milnes found a version with topical references regarding the nature of John D. Rockefeller (Milnes, Play of a Fiddle, 1999). Sources for notated versions: Highwoods String Band (New York) [Brody, Phillips]; John Hilt (Tazewell County, Virginia) [Krassen]; Wilson Douglas (W.Va.) [Phillips]; Charlie Acuff [Phillips]; Oscar ‘Red? Wilson [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 284. Krassen (Masters of Old Time Fiddling), 1983; pg. 114‑115. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 252 (two versions). Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 164. Spandaro (10 Cents a Dance), 1980; pg. 6. Anachronistic 001, John Hilt (Va.) ‑ "Swope's Knobs." Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, Vol. 1? (reissue). Paramount 33153 (78 RPM), Dr. D. Dix Hollis (Ala., 1861‑1927), 1924. Rounder 0047, Wilson Douglas (W.Va.) ‑ "The Right Hand Fork of Rush's Creek" (1975). Lee Hammons ‑ "Shaking Down the Acorns." Rounder 0023, Highwoods String Band ‑ "Fire on the Mountain." Rounder 0089, Oscar and Eugene Wright ‑ "Old Time Fiddle and Guitar Music from West Virginia." Rounder C‑11565, Eugene Wright ‑ "Rounder Fiddle" (1990). In the repertoire of Luther Davis, Galax, Va.

X:1

T:Walkin? in the Parlour

M:4/4

L:1/8

K:D

|:f2a2e4|f2a2e3e|f2a2 abaf|gfe2 d4:|

|:fdfd A2d2|fdfd e2d2|fdfd A2d2| fee2 d4:|

WALKING IN THE PARLOR [2] . AKA and see "Rochester Schottische [1]." Old‑Time, Breakdown. USA, North Carolina. D Major. ADae tuning. The tune was known by the title "Rochester Schottische" to Tommy Jarrell, the influential old‑time fiddler from Mt. Airy, N.C., though it bears no resemblance to the "Rochester Schottishe" that is printed in older American collections, nor is it, for that matter, a schottische at all. It seems unrelated to other "Walking in the Parlor" entitled tunes. Barry Poss (1976) speculates that the tune in older printed collections as "Rochester Schottische" may have been played at one time around the Round Peak, North Carolina, area, but that the title became detached from the tune, which then fell out of the repertory, and became attached to another melody. County 756, Tommy Jarrell (N.C.) ‑ "Sail Away Ladies" (1976).

WALKING IN THE PARLOR [3] . Old-Time, Breakdown. G Major. Standard tuning. ABB'. Similar to version #1, albeit a ‘crooked? (irregular metre) version. Source for notated version: D. Dix Hollis (N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 252. Document DOCD 8032, D. Dix Hollis (et al) ? “Alabama Stringbands.?

WALKING IN THE PARLOR [4] . A fourth version??? Old‑Time, Breakdown. USA, Mississippi. D Major. Recorded for the Library of Congress by Herbert Halpert in 1939 from the playing of Lee County, Mississippi, fiddler W.E. Claunch.

WALKING JAYBIRD .Old-Time, Breakdown. From Stella Elam, who recorded the tune on the LP “Green Fields of Illinois,? put out by the University of Illinois folk music club (c. 1960’s). A different tune than ?Jaybird.?

WALKING LOVER . American, Jig. USA, southwestern Pa. D Major. Standard tuning. AA'BB'. Source for notated version: Joseph Pardee (elderly fiddler from Indiana County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 591, pgs. 520‑521.

WALKING OF THE PLAIDING , THE. Scottish, Slow Strathspey. F Major. Standard tuning. AABB'. See note for ?Waulkin? o? the Fauld? for explanation of ‘walking?. Carlin (The Gow Collection), 1986; No. 228. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 18.? Stewart-Robertson (The Athole Collection), 1884; pg. 243.

X:1

T:Walking of the Plaiding, The

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

A|F>CC>D F>CC>D|F>CC>D G2 G>A|~F<C C>D F>GA>d|

c>AG>A F2F::e|~f>c d/c/B/A/ ~f>cf>a|f>c f/g/a/f/ g2 d>e|1 f<af<c d<fd<c|

A>cG>A F2F:|2 f/e/f/a/ f>c d/c/d/f/ d>c|A<cG>A F2F||

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WALKING ON THE MOON .Scottish, Reel.A Major. Standard tuning. AA’BB. Composed by Addie Harper of Wick, Scotland. Martin (Ceol na Fidhle), vol. 3, 1988; pg. 17.

X:1

T:Walking on The Moon

C:Addie Harper

I:Sco

Q:1/4=150

M:4/4

K:A

ef|:”A”a2 a2 “E”fe ec |”A/F#”e2 e2 “E7/G#”cB Bc |”A”A2 A2 “Bbdim”ce ee |

“Bm7”fe ee “E7”ce fg |a2 a2 fe ec |e2 a2 cB Bc |A2 A2 ce ec |1

Bc cB A3/2e? :|2Bc cB A3/2|:=c|c2 c2 BA Ac |

e2 e2 fe ef |a2 a2 fe ec |fe ec B2 e2 |c2 c2 BA Ac |

e2 e2 fe ef |a2 [a2A2] fe ec |Bc cB A3 :|

??????????????

WALKIN' OWER DA RIVER. Shetland, Shetland Reel. Shetland, Whalsay.

??????????????

WALKING PLOW REEL . American, Reel. USA, North Dakota. A Major. Standard tuning. AABB. Pancerzewski explains that the walking plow was once a mainstay for homesteaders on the prairie. Originally made of wood, then metal around World War I, the plow was pulled by three large steers or horses while a man walked directly behind it to guide it. Source for notated version: the four fiddling Nelson Brothers (Grinnell, North Dakota) [Pancerzewski]. Pancerzewski (Pleasures of Home), 1988; pg. 19.

???????????????????????

WALKING THAT PRETTY GIRL HOME . Old-Time, Breakdown. G Major.

???????????????????????

WALKING THE FLOOR .AKA ? “Close to the Floor [2].?Scottish, Jig or Pipe March. The tune was composed by Cape Breton fiddler John Chisholm. Master Method for Highland Bagpipe (1953).Rounder 82161-7032-2, Bill Lamey ? “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977? (2000).

???????????????????????

WALKING THE PUPS . Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black.

X: 1

T: Walkin' the Pups

M: 6/8

L: 1/8

R: jig

C: ƒD B. Black

N: “You get a lot of time to think up tunes when you're following

N: a curious young pup or two around!?

K: G

D | GBd gfg | edB d2 B | cBc EFG | AGE D2 D |

GBd gfg | efg a^ga | gdB cAF | G3 G2 :|

A | dfa afd | cec B2 c | d2 B GAB | ABA FED |

GAB ABc | Bcd c2 e | dBG FGA | G3 G2 :|

???????????????????????

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

???????????????????????????????????????????????

WALKING UP TOWN . Canadian, American; Breakdown. USA, Arizona. D Major. Standard tuning. AA’BB?. Related to "I Don't Love Nobody." Source for notated version: Harry Lecky (b. 1929, Milburn, West Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 159. Ruth (Pioneer Western Folk Tunes), 1948; No. 101, pg. 35.

X:1

T:Walkin? Up Town

M:2/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:C

(G/F/)|EG cf|e>^d e/=d/c|A^G/A/ d/c/A|G3 (G/F/)|EGcf|

e>^d e/=d/c|d/^c/d/e/ ^f/d/e/f/|g3 (G/F/)|EGcf|e>^d e/=d/c|

A/^G/A d/c/A|G3 (G/F/)|EGcf|e>^d e/=d/c|d/e/d/c/ B/G/A/B/|c3||

g/^f/g a/g/e|c2e2|A/^G/A d/cA/|G3z|g>^f/g/ a/ge/|c2e2|

d/^c/d/e/ ^f/d/e/f/|(g2g2)|g>^f/g/ a/g/e|c2e2|A/^G/A d/cA/|

G3 (G/F/)|EGcf|e>^d e/=d/c|d/e/d/c/ B/G/A/B/|c3||

???????????????????????

WALKING WITH THE YELLOW GAL . Old‑Time, Breakdown. USA, Missouri. C Major. Standard tuning. ABC. Source for notated version: Bill Katon (Tebbetts, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 36.

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WALL FLOWERS POLKA . Scottish, Polka. D Major. Standard tuning. AABBAACC(Trio)AA. Kerr (Merry Melodies), vol. 2; No. 441, pg. 51.

X:1

T:Wall Flowers Polka

M:2/4

L:1/8

R:Polka

S:Kerr ? Merry Melodies, vol. 3, No. 441 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

ff d2|ee B2|dc Bc|BA A2|ff d2|eeB2|dc Bc|dd d2:|

|:ce e2|ed d2|df f2|fe e2|ce e2|ed d2|cAB^G|AAA:|

ff d2|ee B2|dc Bc|BA A2|ff d2|eeB2|dc Bc|dd d2:|

“Trio?

B2 G>e|d4|c2 A>e|d4|e2 f>e|d4|c2 A>e|d4|B2 G>e|d4|c2 A>e|d4|e2 f>g|B4|d2 A>B|GGGz:|

ff d2|ee B2|dc Bc|BA A2|ff d2|eeB2|dc Bc|dd d2:|

???????????????????????

WALLACE . Scottish, Slow Air. A Major. Standard tuning. ABA?. Composed by Scottish fiddle great James Scott Skinner (1847-1928), who called it a “patriotic pastoral? in honor of the hero William Wallace. Skinner (Harp and Claymore Collection), 1904; pg. 4.

X:1

T:Wallace

M:C

L:1/8

R:Air ? “Patriotic Pastoral?

N:”Slow?

N:Play ABA? (second ending)

S:Skinner ? Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

A,2 {B,/4A,/4G,/4}A>.C E.F/.G/ [AA].c/.B/ | [AA]G FE A>B {A/B/}c2 |

C2 {D/4C/4B,/4}CD EF/G/ Ae | dcBA (G/A/G/F/) E/.D/.C/.B,/ |

A,2 {B,/4A,/4G,/4}A>.C E.F/.G/ [AA]c/B/ | [.AA].G .F.E A>B {A/B/}ce |

FDD f eEE A |1 (B/d/)(c/e/) (d/c/)(B/A/) (c2 {d/c/}B) ||2 (B/d/)(c/e/) (d/c/)(B/A/) (c2B2) |

{A/}A8 || e | (a/g/).f/.e/ {g}a.A .e.A. c.A. | {B,/4A,/4G,/4}A>C EF/G/ ABce |

(a/g/).f/.e/ {g}.a.A .e.A .c.A | {D/A/}fedc (c2 {d/c/}B) e | (a/g/).f/.e/ {g}aA ec cA |

{B,/4A,/4G,/4}A>C EF/G/ ABce | {D/A/}(f/e/f/g/ a/g/f/e/) (d/c/d/e/ f/e/d/c/) |

(B/>c/)(A/>B/) (G/>A/)(F/>G/) (E/>F/)(D/>E/) (C/>D/)(B,/>C/) ||

WALLACE MARCH . Scottish, March (cut time). G Major. Standard tuning. AABB. The tune was published in Ireland in Burk Thumoth’s Twelve Scotch and Twelve Irish Airs (1743-4). John Purser believes it refers to the Scottish freedom fighter William Wallace (of Braveheart cinema fame). Redwing Music RWMCD 5410, Abby Newton ? “Castles, Kirks and Caves? (2001).

X:1

T:Walace March (sic)

S:Alexander Munro

S:Recueil des Meilleurs Airs Ecossais pour la Flute Traversiere

S:Dumont, Paris 1732

% variations and bass line omitted

M:C|

L:1/8

K:G

"Allegro"

G2g2 d2BA | TG4?? D4 | G2 g2 d2cB | fga2 TA3B |

G2g2 d2cB | cBcd e2dc| B2TAG FGAB | G4 D4 :|

B2AG c2BA | TG4?? D4? |B2 AG c2BA | fga2 A3c |

B2AG c2cB | cBcd e2dc | B2 AG FGAB | TG4 D4 :|

???????????????????????

WALLACE TOWER . Scottish, Reel. E Major. Standard. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 127, pg. 43.

???????????????????????

WALLACE TWINS , THE. AKA and see "The Flowers of Limerick [3],? "Miss Wallace [1]," "The Moving Bog(s) [5]," "An Seomra in Uachtar." Irish, Reel. G Major. Standard tuning. AA’B. Source for notated version: the Rice-Walsh manuscript, 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. 281.

X:1

T:Wallace Twins, The

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:G

BGAF G2 AF|DEFG AGGF|1DGGF GABc|d2 eg fdcA:|2DGGF GABg |fdcA BG G2||

g2 ag fgag | fdde fdcA | Gggf g2 fg | agfg agga |

bgaf gbag | fdde f2 fg | afge (3fga ge | dcde fdcA ||

???????????????????????

WALLACE'S CROSS (Crosaire de Bhail?s). AKA and see “Back of the Haggard (2), ?The Gullane (Polka) [3],? ?Tony Lowe’s Polka [2],? ?Toormore Polka [2],? ?The Tournmore,? ?Tuar M?r Polka [1].?? Irish, Polka. D Major. Standard tuning. AABB. Source for notated version: accordion player Martin Mulvihill (New York) [Breathnach]. Breathnach (CRƒm III), 1985; No. 69, pg. 35. Green Linnet Records SIF 1012, "Martin Mulvihill" (1978).

???????????????????????

WALLET OF SILK . AKA and see "The Silken Wallet."

???????????????????????

WALLEY HONEY . AKA and see ?Wully Honey.?

???????????????????????

WALLINGTON BRIDGE . English, Schottische (?). England, Northumberland. B Flat Major. Standard tuning. AABB. Composed by musician, teacher, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Wallington Hall is one of the ‘Great Houses? of Northumberland, now maintained by the National Trust. Dixon informs that the building had associations with Sir John Fenwick (see ?Sir John Fenwick’s (the) Flower Among Them All?), and afterward, the Trevelyan Family. Wallington Bridge is an elegant Georgian structure spanning the River Wansbeck on the approach to the Hall and was built by James Paine in 1760. The melody was printed in 1882 in John Stoke’s weekly column in the Newcastle Courant. Source for notated version: C. “Kit? Liddell’s 19^th century manuscript [Dixon]. Dixon (Remember Me), 1995; pg. 39.

WALLINGTON LADY , THE. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

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WALLIS' HUMOUR IN TAPPING THE ALE . Scottish. Tune appears in Henry Playford's 1700 collection of Scottish dance tunes.

???????????

WALLOP AWAY THE WATTLE O !.? Irish, Polka. A version of ?The Lancers [1].? Sean & Kevin Moloney ? “Bridging the Gap.?

???????????

WALLOP THE CAT . Irish. The tune is a variant of "Whish, Cat from under the Table." O'Sullivan (1983) reports that a field recording of the tune was made from the singing and playing of Co. Cork accordion player Conchubhar ƒ‚ Laoghaire in 1979, with the following verse learned from his father and grandmother:

***

Wallop the cat, he's fine and he's fat,

Wallop the cat from under the table.

Wallop the cat, he's fine and fat,

Wallop the cat from under the table.

???????????????????????

WALLOP THE POTLID (Slacair an Faircill). Irish, Double Jig. D Major. Standard tuning. AABBCCDDEE' (O'Neill/Krassen): AABBCCDDEEFF (O'Neill/1850 & 1001). See also “Wollop the Potlid.? O'Neill (Krassen), 1976; pg. 77. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1048, pg. 197. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 258, pg. 57.

X:1

T:Wallop the Potlid

M:6/8

L:1/8

R:Jig

S:O’Neill ? Dance Music of Ireland: 1001 Gems (1907), No. 258

Z:AK/Fiddler’s Companion

K:D

F2D DED|E2D DED|F2D DED|DFA BGE|F2D DED|E2D DED|E2C CEC|CEF GFE:|

|:DFA dcd|edc d2B|ABc d2e|fed edc|d2e fda|gec d2 (3A/B/c/|d/e/fd cAG|F/G/AF GED:|

|:f2d dfd|e2d dfd|f2d dfd|dfa bge|f2d dfd|d/e/fd d/e/fd|e2c cec|cef gfe:|

|:d/e/fd dfd|c/d/ec cec|d/e/fd dfd|dfa bge|d/e/fd dfed|c/d/ec cef|ged cde/f/|gea gec:|

|:ABc d2 c/d/|edc d2c|ABc deg|fed edc|d2e fda|gec d2(3A/B/c/|dad cAG|F/G/AF GFE:|

|:DFA d2 c/d/|edc d2c|ABc deg|fed efg|f/e/df e/d/cA|

d/c/AB cAG|c/d/ed cAG|F/G/AF GFE:|

???????????????????????

WALLOP THE SPOT (“Buail an Bal{l} Sin? or “Tabhair Leadradh don Spota?). AKA ? “Jackson’s Wallop the Spot,? “Spot the Wallop.? Irish, Double Jig. D Major. Standard tuning. AABBCC (Breathnach): AABBCCDD (O’Neill). Flaherty sees some resemblance between this tune and his "Larry the Beer Drinker.? Jackie Small, editor of Breathnach’s CRƒm V, remarks that the setting in that volume is closer to the one generally played today than is O’Neill’s version. Sources for notated versions: a recording of Paddy Mullin (Longford town) [Breathnach/CRƒm V]; whistler Joe Kilmurry [Breathnach/CICD]. Breathnach (An Cnuasacht Iomlán den Cheol Damhsa), 1977. Breathnach (CRƒm V), 1999; No. 24, pg. 14. O'Neill (Krassen), 1976; pg. 68. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1087, pg. 205. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 281, pg. 61. Cl? Iar-Chonnachta CICD 123, Seán Hernon ? “An N?ra Beag.? Coleman Heritage Center CD CC 001, Colm O’Donnell, Tommie Finn, Shane McGovern ? “The Sound of Coleman Country.? Mulligan LUN CD 052, piper Tommy Keane ? “The Piper’s Apron? (appears as “Spot the Wallop?).

X:1

T:Wallop the Spot

B:O'Neill's DMI no. 281, and MOI no. 1087

S:John McFadden

R:double jig

M:6/8

L:1/8

K:D

d2 B cAF|FEF dAF|d2 B cAF|B2 d AFD|

d2 B cAF|FEF dAF|dfd cec|B2 d AFE:|

|:c2 d ecA|eaf ecA|c2 d ecA|B2 F AFE|

c2 d ecA|eaf ef^g|agf ecA|~B2 A AFE:|

|:DFA dfd|dfd dAF|DFA dAF|B2 d AFE|

DFA dfd|dfd d2 g|f/g/af d2 A|B2 d AFE:|

|:~F2 E D2 D|DED D2 E|{G}FEF DFA|B2 d AFE|

~F2 E D2 D|DED D2 c|dcB {d}cBA|B2 d AFE:|

???????????????????????

WALLS OF ENNISCORTHY . AKA and see "Merry Old Woman [1]," "The Walls of Liscarroll [2]," "The Mouse in the Cupboard," "Tumble the Tinker," "Repeal of the Union [2]," "Wollop the Potlid," "Ballai Lios Chearbhaill," "The Rakes of Newcastle West." Irish, Jig. G Major. Standard tuning. AABB. O’Neill (1922) remarks: “An excellent setting of a Double Jig as played by Delaney, Early, and McFadden, and of which the above is a popular variant that was printed for the first time in the O'Neill Collections 1902-09 and named ‘The Merry Old Woman’”. Source for notated version: Patrick Stack (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 135.

X:1

T:Walls of Enniscorthy

M:6/8

L:1/8

S:Patrick Stack, Chicago

Z:Paul Kinder

K:G

B3 Bdc|B3 AGF|DGG AGF|AGG Adc|

B3 BdB|B3 AGF|FGA/2B/2 cAA|FDE FGA:|

|:"tr"B3 "tr"c3|BGG ABd|g3 gdB|dgg fdc|

"tr"B3 "tr"c3|BGG ABd|fef gdB|EDE FGA:||

???????????????????????

WALLS OF JERICHO [1] . Old‑Time, Breakdown. USA; southwestern Va., western North Carolina. A Major. AEac# tuning. According to Tom Carter and Blanton Owen (1976) the sections of the tune were considered by source Munsey Gaulney to represent scenes from Joshua's struggle at the walls of Jericho. A tune by this name was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from the playing of Ozark Mountain fiddlers in the early 1940's. Arkansas fiddler Violet Hensley’s family played a tune called ?Jericho? in the same cross-tuning, and Mark Wilson suggests both are versions of a common ancestor. Rounder 0057, Sam MacNeil (Pilot, Montgomery County, Va.) ‑ "Old Originals, vol. 1" (1978. Learned from influential Franklin County, Va. fiddler Fountain Kingrea). Rounder 0058, Munsey Gaultney (Va., originally from Ashe County, N.C.) ‑ "Old Originals, vol. 2" (1978).

WALLS OF JERICHO [2] .? AKA and see ?Bear Creek Sally Goodin'.?

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WALLS OF LIMERICK [1], THE. Irish, Set Dance (3 parts, consisting of the tunes " The White Cockade [1]," "Soldier's Joy [1]," and "Rakes of Mallow"). G Major, D Major, G Major. Standard tuning. AABBCCDDEEFF. The Walls of Limerick is the name of a céil? dance, to which, in modern times, reels are the preferred vehicle (though polkas appear in older collections). The tunes printed in Allan’s under the “Walls of Limerick? title (which refers to the dance) are "The White Cockade", "The Soldier's Joy" and "The Rakes of Mallow/Rigs of Marlow.?

***

One elderly Sliabh Luachra (a Kerry/Cork border region) resident, Tom Jim Healy of Knocknaboul, Ballydesmond, was interviewed in the 1960’s about life in the region (quoted in Donal Hickey’s Stone Mad for Music, 1999). He was asked people there ever worried, and replied:

***

Not on your life. Our only trouble was to find

out where was the next pattern or house dance.

they were jolly times and the people were much

more sociable and loyal. This coupled with hard

work and plain food kept them alive. We used

to dance ‘The Jenny Lind? and ‘The Walls of Limerick?

at weddings and patterns. All they have nowadays is

this jig-jog of a foreign dance which shouldn’t be

allowed at all!

***

?Allan's Irish Fiddler, No. 119, pg. 31.

WALLS OF LIMERICK [2], THE. AKA and see ?The Dublin Lasses [2],? "Eight and Forty Sisters,? ?Maids of Galway? [2], ?Murtough Molloy.? Irish, Long Dance. E Minor. Standard tuning. AAB. Similar to "Cooley's Reel [1]." Roche Collection, 1982, vol. 2; No. 294, pg. 38.

WALLS OF LIMERICK [3], THE. Irish, Long Dance. D Major ('A' and 'B' parts) & A Mixolydian ('C' part). Standard tuning. ABC. Roche Collection, 1982, vol. 3; No. 137, pg. 42.

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WALLS OF LISCARROLL [1] (Ballaide Lios-Cearbaill). AKA and see "Balla? Lios Chearbhaill," "Lads on the Mountain,.”Irish, Double Jig. D Mixolydian (most versions): E Dorian (Roche). Standard tuning. AABC (Miller & Perron): AABB (O'Neill {all versions}, Roche, Taylor): AABB? (Harker/Rafferty). The town of Liscarrol, meaning ‘Fort of Cearull?, is located in the county of Cork, near the border with Limerick about halfway between the cities of Limerick and Cork, and dates.from the early Middle Ages. There is a ruined castle there to which the title may refer, or it may perhaps reference a battle which occurred at Liscarroll in the 17th century. Williamson (1976) reports that one of the lords of the castle, Sir John Purcell of Hightort, “is remembered for his feat of slaying, when armed only with a carving knife, eight armed robbers as they forced their way into his bedroom.? There is a 4/4 time version of the tune in the American old‑time tradition call "Muddy Water [1]" (AKA and see). It has been suggested (by, for one, Louie W. Attebery in his article "The Fiddle Tune: An American Artifact" {1979}) that the name change from "Walls of Liscarroll" to "Muddy Water" came about in a process of naturalization due to anti-British sentiments during the War of 1812. Caoimhin Mac Aoidh, writing in the liner notes of Glackin & Hannan’s CD “Whirlwind? (1995) states the tune has a Munster provenance. Towards the end of the 20^th century, he says, musicians frequently played the tune in higher pitched keys than was formerly the custom. John Kelly, for one, always preferred the older, lower version. See also the related ?Little Black Pig? and the second part of ?Matt Teahan’s Delight.? Sources for notated versions: Chieftains (Ireland) [Miller & Perron]; John Carey, a native of Limerick [O’Neill]; set dance music recorded live at Na P?obair? Uilleann, mid-1980’s [Taylor]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 185, pg. 58. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 24. Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 41. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 149, pg. 85. O'Neill (Krassen), 1976; pg. 18. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 704, pg. 131. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 8, pg. 18. Roche Collection, 1982, vol. 1; No. 89, pg. 40. Taylor (Music for the Sets: Yellow Book), 1995; pg. 25. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 2; 9. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 79. Gael-Linn CEF 068, Martin Hayes ? “An Fhidil, Vol. 1? (1976). Shanachie 79021, “The Chieftains I.? Shanachie 79093, Paddy Glackin & Robbie Hannan ? “The Whirlwind? (1995).

X:1

T:Walls of Liscarroll [1]

M:6/8

L:1/8

R:Jig

S:O’Neill ? Dance Music of Ireland: 1001 Gems (1907), No. 8

Z:AK/Fiddler’s Companion

K:D
A|d>cA A>GE|G>EE D2E|G>EE =c>EE|GAB =c2e|

d>cA A>GE|G>EE D2E|G>EE =c>EE|D>ED D2:|

|:A|d>cd ecA|d>cd ecA|=c>dc cBA|G>AB =cGE|

A>de fed|e>dc dcA|G>EE =c>EE|D>ED D2:|

WALLS OF LISCARROLL [2] (Balla? Lios Chearbhaill). AKA and see "The Merry Old Woman [1]," "The Mouse in the Cupboard,"?? " The Rakes of Newcastle West," ?Old Walls of Liscarroll.? "Repeal of the Union [2]," "The Walls of Enniscorthy," “Wallop the Potlid,? "Wollop the Potlid." Irish, Set Dance (6/8 time). G Major. Standard tuning. AAB. No relation to “Walls of Liscarroll [1].? Source for notated version: tin whistle player Sean Potts [Breathnach]. Breathnach (CRE I), 1963; No. 10, pg 6 (appears as “Balla? Lios Chearbhaill?).

X:1

T:Walls of Liscarroll [2]

M:6/8

L:1/8

S:Breathnach ? CRE I (1963), No. 10

K:G

G/A/ | BAG AGF | DGG FGA | BAB cBc | dgg fdc | BAG AGF | DGG FGA |

BdB cAF | AGG G2 :| A | BAB cBc | dgg fdc | BAB cBc | dBG FGA |

BAB cBc | dgg fdc | BdB cAF | AGG G2A | BAB cBc | dgg fd^c |

def {a}gfg | eag fd^c | dgg bgg | {b}a2g fdc | BdB cAF | AGG G2 ||

???????????????????????

WALMER CASTLE . English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning. AABA. The tune dates to 1801. Barnes (English Country Dance Tunes), 1986.

???????????????????????

WALPOLE . AKA and see "One Evening Having Lost My Way," "Happy Clown," "Do You Fancy a Seamstress," "I'm like a skiff on the ocean tossed." English, Air. The tune appears in the second volume of Playford’s Dancing Master (1718).

???????????????????????

WALPOLE COTTAGE . English, March (cut time). D Major. Standard tuning. ABC. Composed by English collector, composer and researcher Pat Shuldham-Shaw. Page, Northern Junket, vol. 10, No. 7, March 1971; pg. 26. Front Hall FHR‑010, Bill Spence and Fennig's All Stars ‑ "The Hammered Dulcimer Strikes Again" (1977).

X:1

T:Walpole Cottage

M:C|

L:1/8

R:March

S:Page ? Northern Junket, vol. 10, No. 7? (1971)

Z:AK/Fiddler’s Companion

K:D

e3f g2f2|e2d2c2B2|A2 z2 e2 z2|a2 z2 A3G|F2A2F2A2|

F2A2 d3c|B3d c2B2|A6 A2|B3d c2B2|A2d2f2a2|a2 g4f2|e6 AG|

F2A2F2A2|F2A2 d3c|B3d c2B2|A6A2|B3d c2B2|A2d2f2a2|f2d2 e2c2|

d6||F2|B3c d2 dB|c2f4e2|d2B2 c2^A2|B6B2|c3d e2d2|c2A2B2d2|

c2A2 B2^G2|A6 A2|B3c d2 cB|A2 F4 A2|B3c d2e2|f6e2|d3e f2 ed|

e2a2f2d2|c2A2 B2^G2|A4 a3g|f3e f2d2|e2c2A2 Bc|d3c d2B2|A6 A2|

B3AB2G2|F2A2d2e2|f2a2g2f2|e6 A2|f3e f2d2|e2c2A2 Bc|

d3c d2B2|A6 A2|B3 cd B2|A2d2f2a2|f2 de c2|d8||

???????????????????????????????????????????????

WALSHE'S POLKA [1] . Irish, Polka. A Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 6, pg. 3 (appears as “Walsh’s Polka?). Green Linnet SIF‑1105, Patrick Street ‑ "Irish Times" (1989. Appears as 1st tune of "The Newmarket Polkas").

WALSHE’S POLKA [2] . AKA and see ?John Walsh’s [1]," ?The Newmarket Polka [1].?

???????????????????????????????????????????????

WALSH'S FAVOURITE . AKA and see "Fairy Hurlers," "The Galway Rambler," "Lord Wellington [1]," "Tiarna Wellington," "Paddy Finlay's Favourite."

???????????????????????????????????

WALSH'S FROLICS . Irish, Jig. G Major. Standard tuning. One part. Source for notated version: Francis E. Walsh (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 89.

X:1

T:Walsh's Frolics

M:6/8

L:1/8

S:Francis E. Walsh, San Francisco

Z:Paul Kinder

K:G

d/2c/2|B2 G BdB|"tr"B2 G Bdg|e2 A Aag|f2 d def|

g2 d gfe|d2 c Bcd|edB d2 A|GBA G2 d|

b2 g {b}agf|"tr"g2 f efg|e2 d efg|"tr"d2 c Bcd|

e2 A Adc|B2 G BdB|"tr"B2 G Bdg|ed^c d2 B|GBA G2||

???????????????????????

WALSH'S HORNPIPE (Cornuphiopa an Bhreathnaigh). AKA ? “Willy Walshe’s Hornpipe.? Irish, Hornpipe. A Mixolydian. Standard tuning. AABB. Jackie Daly says the tune was a great favourite of Sliabh Luachra fiddler Denis Murphy's and came from the playing of Philip Walsh, a fiddle player from Maol Mountain in the Sliabh Luachra region of Cork/Kerry. Sources for notated versions: fiddler Denis Murphy, 1970 (Co. Kerry, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Breathnach (CRƒm II), 1976; No. 312, pg. 159. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 83. Cranitch (Irish Fiddle Book), 1996; No. 90, pg. 161. Moylan (Johnny O’Leary), 1994; No. 119, pg. 69. Gael-Linn CEF092, Julia and Billy Clifford - “Ceol as Sliabh Luachra.? Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper? (1989). Globestyle Irish CDORBD 085, Jackie Daly - “The Rushy Mountain? (1994. Reissue of Topic recordings). Topic 12T358, “Jackie Daly.? Kevin Burke & Micháel O’Domhnaill ? “Promenade? (the order of the parts is reversed from the abc’s below). “Kevin Burke in Concert.?

X:1
T:Walsh's Hornpipe
B:Ceol Rince na hE/ireann II, Breanda/n Breathnach
S:Denis Murphy, fiddle, Gneeveguilla, November 1970
R:hornpipe
M:4/4
L:1/8
K:A
E2|(3ABc EF Acec|(3def Bd de {e}f2|{a}fece aecA|
BecA {d}BA F2|(3ABc EF Acec|(3def Bc de {e}f2|
{a}fece aecA|BecB A2:|:
(3ABc|aece {fg}fece|aece {fg}fece|Aece aecA|
BecA {d}BA F2|(3ABc EF Acec|(3def Bc de {e}f2|
{a}fece aecB|(3ABc Bc A2:||

???????????

WALSH’S JIG . See ?Merry Maiden [1],? ?Willy Walsh’s Jig.?

???????????

WALSH’S JIG [2].? AKA and see ?Castletown Conners [1],? ?Condon’s Frolics,? ?Digging for Gold,? ?Paddy Carty’s Jig,? ?The Thatcher.?

WALSH’S POLKA [1] . See ?Walshe’s Polka.?

WALSH’S (POLKA) [2] . AKA and see ?Bill the Waiver’s,? ?Bill the Weaver’s? [3], ?Din Tarrant’s,? ?Lackagh Cross [2].?

???????????

WALSH'S REEL (R?l an Bhreathnaigh). Irish, Reel. G Major. Standard tuning. AB. Source for notated version: fiddler Denis Cronin/Donncha ƒ‚ Croinin (Ireland) [Breathnach]. Breathnach (CRƒm I), 1963; No. 70, pg. 33.

???????????????????????

WALSINGHAM . English, Ballad Air (3/2 time). A Minor. Standard tuning. AB. The air appears in the Fitzwilliam Virginal Book, Lady Neville's Virginal Book, Dorothy Welde's Lute Book, Barley's New Book of Tabliture (1596), and Holborne's Cithren Schole (1597). Chappell (1859) states that, although the ballad and air in its earliest versions date from the latter 16th century, it is probable "they originally were composed before 1538, the years in which the Priory of Walsingham was disolved."? Our Lady of Walshingham was a once famous shrine in England, and attracted pilgrims from throughout the land from the reign of Henry III on. Chappell goes on to say that the tune is frequently mentioned in 16th and 17th century accounts, and, curiously, was commonly taught to singing birds.

***

As I went to Walsingham, to the shrine with speed,

Met I with a jolly palmer, In a pilgrim’s weed.

***

Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 69.

X:1

T:Walsingham

M:3/2

L:1/8

S:Chappell ? Popular Music of the Olden Times

Z:AK/Fiddler’s Companion

K:Amin

c2d2 e4 d4|c4 A4 E4|c2d2 e4 d4|c6||B3 c d2d2 e2 d2|c4 A4 E4|B2 ^c2 d4 ^c2 B2| A6||

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WALT THE FIDDLER . Irish, Reel. D Major. Standard tuning. AABB?. Composed by Boston, Massachusetts, musician Brendan Tonra. Black (Music’s the Very Best Thing), 1996; No. 253.

X:1

T: Walt the Fiddler

C: Brendan Tonra

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: D

BcdB AFDE | FEDB, A,DFA | BcdB AFAB | defd efdA |

BcdB AFDE | FEDB, A,DFA | defd efdB | AFEG FD D2 :|

fdef dfbf | afdf edBd | BAFB AFAB |1 defd efde |

fdef dfbf afdf edBA | defd efdB | AFEG FD D2 :|

|2 defd edfb | bddd addd | gece dAFA | defd efdB |AFEF FD D2 ||

???????????

WALTER BULWER'S POLKA [1] . English, Polka. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. The tune was recorded from the playing of fiddler Walter Bulwer (1888-1968, Shipdham, Norfolk) in 1962 by Bill Leader. Callaghan (Hardcore English), 2007; pg. 53. Carlin (Master Collection), 1984; No. 11, pg. 20. EFDSS CD13, Mark Bazeley & Jason Rice ? “Hardcore English? (2007. Various artists). Free Reed Records, The Old Swan Band ? “No Reels? (1976). Free Reed FRDC31, The Old Swan Band ? “Still Swanning.? Topic Records TSCD 607, Walter Bulwer ? “English Country Music? (2000. Originally recorded 1962 and appears as untitled polka). Topic TSCD 752, The Old Swan Band ? “Stepping Up? (2004. Originally recorded 1976). Veteran VT139CD, Mark Bazeley & Jason Rice ? “Moor Music.?

X:1

T:Walter Bulwer’s Polka [1]

M:4/4

L:1/8

K:G

|:Bc|dcBd g3f|e2A2A3B|cB A2f2e2|d2B2B3c|

dcB g3f|e2A2A2G2|FGAB cdef|g2 gg g2:|

K:D

|:fg|a2 fg a2 fg|ag fg e4|e2a2 gf e2|dcde fefg|

a2 fg a2 fg|agfg e4|e2a2 gf e2|d4 d2:|

WALTER BULWER'S POLKA [2] . English; Polka, Morris Dance Tune. G Major ('A' part) & D Major ('B' part): F Major. Standard tuning. AABB. This polka first surfaced in a solo fiddle recording made by Bill Leader in 1959 of the playing of Walter Bulwer, first released in 1965. It is the most played of the several polkas associated with his name. Bulwer (1888-1968) was a multi-instrumentalist from the village of Shipdham, Norfolk, who had a life-long career playing for dances, pub events and weddings, along with his wife Daisy (b. 1892) and friends. Reg Hall notes that Daisy Bulwer’s mother’s relatives were musical and that she remembered this tune being played by her uncle. He was aged around 80 at the time, while she was young. The tune has been employed for a polka step in the North‑West (England) morris dance tradition. Bulwer played the tune on the fiddle in three parts in the keys of ‘F?, ‘C? and ‘B Flat’major on the recording, AABBAABBAACAABB. In sessions the tune (often paired in a set with “Walter Bulwer’s Polka [1]?) is sometimes played nowadays in D major, A major and G major (to accommodate melodeon players). Two part versions, rather than Bulwer’s original three-part version, seem to be the rule, and, indeed, some believe Bulwer’s ‘C? part (which belongs to a tune called “On the Green?) may have been a mistake or a playful or stray wandering in his particular rendition at the time of the recording. To confuse matters more, Bulwer’s second part shares the first three notes with the second part of a tune called ?The Quaker [1],? with the result that the latter is sometimes substituted for Bulwer’s part; thus creating a hybrid tune. Callaghan (Hardcore English), 2007; pg. 53. Carlin (Master Collection), 1986; No. 12, pg. 20. Wade (Mally's North‑West Morris Book), 1988; pg. 29.Free Reed Records, The Old Swan Band ? “No Reels? (1976). Free Reed FRDC31, The Old Swan Band ? “Still Swanning.? Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer ? “English Country Music? (2000. Originally recorded 1962). Topic TSCD 752, The Old Swan Band ? “Stepping Up? (2004. Compilation CD. Originally recorded 1976. Omits the ‘C? part).

X:1

T:Walter Bulwer’s Polka [2]

M:2/4

L:1/8

R:Polka

N:Played AABBAABBAACAABB

Z:AK/Fiddler’s Companion

K:G

DG GF/G/ | AE E2 | F/G/A F/G/A | BG G2 | D/E/G GF/G/ |

AE E2 | F/G/A DE/F/ |1 GG GF/E/ :|2 GG G2 ||

K:D

|: AA B2 | AA F2 | GG E/F/G | AA F/G/A/B/ | AA B>B |

AA F2 | GG E/G/F/E/ | DD D2 :|

K:C

E3F | G3A | G3E | GF F2 | D3E | F3G | F3D | FE E2 |

E3F | G3E | G2 c2 | cA A2 | AA c>A | GG B>G | GE FB, | CC C2 ||

X:2

T:Walter Bulwer’s Polka [2]

M:2/4

L:1/8

K:G

DG GF/G/|AE E2|F/G/A A/B/A|BG GF/E/|

DG GF/G/|AE E2|F/G/A DE/F/|GG G2:|

K:D

AA B2|AA F2|GG E/F/G|AA F/G/A|

AA B2|AA F2|GG E/G/F/E/|1 DF D2:|2 D4||

???????????

WALTER BULWER’S POLKA [3] .? English, Polka. G Major. Standard tuning. AB. The tune was recorded from the playing of fiddler Walter Bulwer (1888-1968, Shipdham, Norfolk) in 1962 by Bill Leader. Callaghan (Hardcore English), 2007; pg. 54.

WALTER BULWER’S POLKA [4] .? English, Polka. G Major. Standard tuning. AABB. The tune was recorded from the playing of fiddler Walter Bulwer (1888-1968, Shipdham, Norfolk) in 1959 by Mervyn Plunkett. Callaghan (Hardcore English), 2007; pg. 54.

WALTER DOUGLAS . Scottish, March (4/4 time). A Dorian. Standard tuning. ABCD.

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WALTER SAMMON’S REEL .AKA and see ?Mary Staunton’s.?

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WALTER'S FANCY . AKA and see "Topsfield Hornpipe."

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WALTHAM ABBEY . See “Walton Abbey.?

WALTON ABBEY . AKA ? “Waltom Abbey,? “Waltham Abbey.? AKA and see ?My Lady’s Courant.? English, Country Dance Tune (2/2 time). F Major. Standard tuning. AABB. The melody appears first in print in Henry Playford’s Dancing Master, second part, 9^th edition (1698) and in all subsequent editions of the long-running series until the end, with the 18^th edition of 1728. It was also published by John Walsh in the first and subsequent editions of his Complete Country Dancing Master (London, 1718, 1731 & 1754). London musician Thomas Hammersley included it in his 1790 copybook, giving the title as ?Devil in the Bush,? with “Walton Abbey? as an alternate title. Waltham Abbey, Essex, dates from pre-Norman times, having been founded by King Harold Godwinson (Harold II). It was a favorite stopping-place for the gentry who hunted Waltham Forest, and was the last abbey to be dissolved in England, in 1540. Barlow (The Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 391, pg. 91. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 139 (appears as “Waltham Abbey?).

X:1

T:Waltham Abbey

M:C|

L:1/8

S:Playford ? Dancing Master, Part II, 9^th edition (1698)

K:F

f2g2a2 ga|bagf e2c2|d2B2G2c2|A2F2c4|f2g2a2 ga|

bagf e2c2|d2B2G2c2|A2 F6::G2E2 GEGE|c2G2A2F2|

c2B2 dBdB|g2d2e2c2|ag f2 g2 fe|defg e2c2|dcBA G2c2|A2 F6:|

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WALTZ? The date of the appearance of this dance form is given as 1781 by the Oxford English Dictionary. Paul Gifford believes the dance did not become popular for rural dances until around the 1870’s, and communicates that he has seen a 1909 interview with a upper Midwest fiddler, born in 1824, who said he had quit playing for dances because he had gotten disgusted with waltzes. Captain Gronow, a Guards officer stationed nearby Almack’s Assembly Rooms, King Street, St. James, London, attended dances during the 1814 season and remembered:

***

The “mazy waltz? was also brought to us about this time [ed. at the same time the

quadrille was introduced]; but there were comparatively few who at first ventured

to whirl round the salons of Almack’s; in course of time Lord Palmerston might,

however, have been seen describing and infinite number of circles with Madame

de Lieven. Baron de Neumann was frequently seen perpetually turning with the

Princess Esterhazy; and, in course of time, the waltzing mania, having turned the

heads of the society generally, descended to their feet, and the waltz was practiced

in the morning in certain noble mansions of London with unparalleled assiduity.?

[Grego, Joseph ? The Reminiscences and Recollections of Captain Gronow 1810-1860 (London, 1889)]

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WALTZ, A. English, Waltz. G Major. Standard tuning. AA'BB'CC'. A very early waltz, circe 1800, when the new form was considered, in some circles, inappropriately intimate. It is generally accepted that the waltz was introduced in English society circles around the year 1812. The Prince Regent danced it at a ball in London in 1816, when it was still relatively new, making it acceptable for society recreation. As Matthiesen (1995) and others have pointed out, the popularity of the waltz as a couple dance shifted the emphasis away from the larger social group and the community-type round and line dances. Source for notated version: English country dance leader Christine Helwig (Conn.) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 73.

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WALTZ ABER-NANT . See ?The Aber-nant Waltz.?

???????????

WALTZ CLOG . American, French-Canadian; Dance Tune. The waltz clog was a late 19^th century variety stage dance form that, according to Edward B. Marks (They All Sang, 1934, pgs. 64-65), grew out of American clog dancing style.

***

Minstrel men had conventions, traditions. All passed through the same species

of apprenticeship. They went with the minstrels as boys, for eight or ten dollars a

?week. Under the unrelenting taskmastership of the Gormans, or Fagan himself,

they learned the minstrel dance technique. A man danced clog or “song-and-dance?

(soft shoe). If clog, he specialized in either Lancashire, American, or trick.? Waltz

clog grew out of American clog, statue out of the Lancashire style. “Buck and wing,?

says old Tom Barrett, as he reclines on the N.V.A. club mezzanine, “started all the

trouble. Buck-and-wing is a bastard dance, made of clogs and jigs and song-and-

dance together, and it makes for faking. In a clog, or a sand jig like the one Paddy

Hughes did you can spot faking in a minute. Well, now they’ve got no dancing at

all, only acrobatics.?

***

Green Linnet SIF-1051, Jackie Daly, Seamus and Manus McGuire - "Buttons and Bows" (1984).

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WALTZ COUNTRY DANCE - THREE 'WALTZ - ONS .' English, Waltz. G Major ('A' and 'B' parts) & D Major ('C' part). Standard tuning. ABC. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 75; pg. 37.

???????????

WALTZ DINEFWR . See ?The Dinefwr Waltz.?

WALTZ FOR A GLASS ARMONICA .? American, Waltz. A Minor. Standard tuning. AA’BB?. Composed by Alstead, New Hampshire, fiddler and composer Randy Miller. The glass armonica was perfected by Benjamin Franklin in 1761. The instrument is a series of glass bowls or goblets of graduated size, arranged end to end, which when spun are touched by dampened fingers, which friction produces a tone. Mozart, Beethoven, Donizetti and Richard Strauss all wrote pieces for the instrument, although its popularity dropped off in the 19^th century as concert venues became larger and instruments louder. Franz Mesmer played the instrument, whose sounds he used pursuant to Mesmerism, and Marie Antoinette took lessons on it as a child. It was rumoured that the tones of the glass armonica led to insanity, and that those prone to melancholy should avoid it. Miller (Fiddler’s Throne), 2004; No. 375, pg. 221.

???????????

WALTZ FOR EARL. Old-Time, Waltz. D Major. Standard tuning. AA’BB?.

X:1

T:Waltz for Earl

M:3/4

L:1/8

Q:144

Z:transcribed by David Marcus

R:Waltz

K:D

c de |: "D"f2 e2 d2 | "A(F#m)"c2 A3 A | "G(G6)"Bd3 G2 | "D(A)"A3 GFE |

"G(Gmaj7)"D2 G2 F2 | "A(Bm7)"E2 A3 B | "A7(D)"A3 "(Dsus4)"G "D"FG |"A(Asus4)"E4? (3FGA |

"G"B2 A2 G2 | "Bm"F2 B,2 d>c | "D"de fe "(Dmaj7)"cA | "G"B3 def |"Em"g2 f2 e2? | "D"d2 A3 A

|1 "G(Bm)"B d3 f2 | "A"e4 (3cde :||2 "G(Bm)"B d3 {ed}"A(A7)"c2 | "D"d2 z.d.d.c | |:

"D(Bm)"B2 F2 B2 | "G"B2 G2 B2 | "D(Em7)"BAGF "G"DE | "Bm"F2 z.F.B.d |

"F#m"c2 F2 cd | "G(A7)"c2 G2 cd | "Em(D)"fedc "G(Bm)"Bc |"D(F#m)"dcAF"Bm(G)"Bd |

"D(Bm)"B2 F2 (3Bcd | "G"B2 G2 Bd | "F#m"cBAFGA | "G"B3 cde |"Em" g2 f2 e2 | "D"d2 A3 A |!

|1 "G(Bm)"Bc de fg | "A"e2 z."Bm"d.d.c :||2 "G(Bm)"B d3 {ed}"A(7)"c2 | "D"d4 (3"da capo"cde ||

?"G"Bc "Em"de "C#dim"f"(A7)"a | "D"d'6 ||

???????????

WALTZ FOR JANE . American, Waltz. Composed by New Hampshire fiddler Rodney Miller for his wife. Smithsonian Folkways SFW CD 40126, Rodney Miller ? “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire? (1999).

???????????

WALTZ FOR MARY KAY , A. American, Waltz. F Major. Standard tuning. AB. Composed in 1989 by country dance musician Liz Donaldson (Bethesda, MD), dedicated to Mary Kay Friday, in thanks "for all her contributions to the Washington, D.C. dance community, especially as FSGW Dance Chair 1987-89." Matthiesen (Waltz Book II), 1995; pg. 75. Elke Baker & Liz Donaldson - "Terpsichore."

???????????

WALTZ FOR THE LITTLE GIRLS , THE. AKA and see "(La) Valse Pour Les Petites Juenes Filles."

???????????

WALTZ FOR THE VALETA . English, Waltz. C Major. Standard tuning. AA’BB. From the playing of melodeon player Percy Brown. Topic 12TS229, “English Country Music from East Anglia.?

X: 1
T: Waltz for the Valeta
S: Percy Brown
M: 3/4
L: 1/4
K: C
C E G | G2 A | A3 | G3 | C E G | G2 A | A3 | G3 |
c G c | B3 | A F A | G3 |1 C2 E | D2 C | G A G | F E D :|2 F E A | E2 D | CE G | c3 ||
|: c/c/ c c | B/B/ B B | A/A/ A A | G3 | F/F/ F F | E/E/ E E | D d c | B A G |
c/c/ c c | B/B/ B B | A/A/ A A | G3 | F E A | E2 D | C E G | c3 :|]

???????????????????????

WALTZ FROM BODA . AKA ? “Bada Waltz,? “Bodavalsen.? Swedish, Waltz. E Minor. Standard tuning. AABB. The tune is called “Waltz after Soling Anders? in Sweden, but the “Waltz from Boda? title is the one it is generally known by in the United States, Boda being a town in the Dalarna region of western Sweden. Matthiesen (Waltz Book), 1992; pg. 17. Front Hall Records, "Fourgone Conclusions." Sonet SLP‑2047, "Bodalatar i Laggar Anders Kok" (Boda Tunes in Lager Ander's Kitchen).? Vandy, Cammy & Edward Kaynor ‑ "Contrablessings."

X: 1
T: Waltz from Boda
M: 3/4
L: 1/8

R:Waltz
N: ?Bob Cuda, as played around the Bay Area (SF) c. 1980
Z: Lani Herrmann

K:E Minor
B3 cBA | B3 cBA | B4 e2 | B3 Bef | g4 g2 | f4 e2 | f3 gf2 | B5 z |
e4 e2 | d4 c2 | B3 cBA | G3 FGA | B3 AGB | A3 GF2 | E6 | E6 :|
|: e4 e2 | g3 fe2 | d6 | B6 | A3 Bc2 | D2 E2 F2 | G3 FGA | B5 z |
e4 e2 | g3 fd2 | d6 | B6 | A3 Bc2 | D2 D2 F2 | G3 FGA | G5 :|

???????????????????????

WALTZ FROM MILLER COUNTY MISSOURI . Old‑Time, Waltz. USA, Missouri. C Major. Standard tuning. ABB. Source for notated version: black fiddler Bill Driver (Miller County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 153.

???????????

WALTZ FROM ORSA . Scandinavian, Waltz. Green Linnet SIF 1051, Seamus & Manus McGuire ‑ "Buttons & Bows" (1984). Green Linnet SIF 1101, Seamus & Manus McGuire ‑ "Playing with Fire: the Celtic Fiddle Collection" (1989).

???????????

WALTZ I LIKE , THE (La Valse Que J'aime). See "Chere Petite."

???????????

WALTZ IN DER FRIESHUTZ (sic.). English, Waltz. England, Shropshire. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. The 'B' part is a repeat of the first strain, transposed to the key of D Major. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 37a, pg. 12.

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WALTZ NO. 4 . Old-Time, Waltz. Missouri State Old Time Fiddlers' Association, Casey Jones (1910-1967) - "Rocky Road to Jordan."

???????????

WALTZ OF LOVE , THE. AKA and see "La Valse d'Amour."

???????????

WALTZ OF THE BIG PINES . AKA and see "Valse des Grands Pins."

???????????

WALTZ OF THE FLOATING BRIDGE . American, Waltz. A Dorian. Standard tuning. AA'BB'. Composed in 1991 by Jeremiah McLane (East Randolph, VT), named after a bridge that floats in Brookfield, Vermont. Matthiesen (Waltz Book II), 1995; pg. 74.

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WALTZ OF THE LITTLE GIRLS (La valse pour les petites juenes filles). French, Waltz. F Major. Recorded by Scottish accordion player Phil Cunningham and Shetland fiddler Aly Bain. The first part of the tune is French Traditional, the second part supplied by Terry Rassmussen of Colorado. Flying Fish FF‑266, Malcolm Dalglish & Grey Larsen ‑ "Thunderhead" (1982).

X:1
T:Waltz of the Little Girls, The
D:The Pearl, Phil Cunningham/Aly Bain
C:Trad/Rasmussen
N:Originally in Eb
Z:Nigel Gatherer
M:3/4
L:1/8
K:D
dc BA|F2 FE DE|F2 dc BA|F2 FE DF|G2 GF GA|B2 BA GF|E2 EF GA|
B2 BA Bc|BAdc BA|F2 FE DE|F2 dc BA|F2 FE DF|G2 GF GA|B2 BA GF|
E2 EF GA|Bd/B/ Ac Ac|d2::DF Ad|c2 cB AF|DF BF AF|E3 A Ec|
d2 DF Ad|c2 cB AF|DF BF AF|E3 A Ec|d2:|]

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WALTZ OF THE ORPHANS . Cajun, Waltz. USA, Louisianna. Heritage 054, Dewey Balfa's Cajun Band ‑ "Brandywine '83: Music of French America" (1984).

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WALTZ OF THE PAST . AKA and see "Valse du Passe."

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WALTZ OF THE OZARKS [1] . Old‑Time, Waltz. USA, Arkansas. D Major. Standard tuning. AB (Christeson): AA’B (Beisswenger & McCann). Source for notated versions: Kermit Moody (1909-1977, Mountain View, Stone County, Arkansas) [Beisswenger & McCann, Christeson]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 99. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 142. Rimrock LP 278, Kermit Moody ? “Rackensack, vol. 1? (1972).

WALTZ OF THE OZARKS [2] .? Old-Time, Waltz. USA, Missouri. G Major. Standard tuning. AB. A different tune that “Waltz of the Ozarks [1].? The ‘B? part, as played by Bob Walsh, is ‘crooked? or irregular with several measures getting added beats. Source for notated version: Bob Walsh (1929-1990, Shannon County, Missouri) [Beissenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 161.

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WALTZ OF THE REED MARSHES . AKA and see "Valse des Meches."

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WALTZ OXFORD . Old‑Time, Waltz. USA, Nebraska. B‑Flat Major. Standard tuning. ABC. "This was a popular ballroom dance years ago," says collector R.P. Christeson. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 152.

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WALTZ QUADRILLE [1] . American, Waltz. G Major. Standard tuning. ABCD. A generic-titled medley for a dance form called the waltz quadrille. Paul Gifford knows the waltz-quadrille as a singing call from the 1920’s, and believes it may have been one of the first of the genre. See the similar "Waltz Quadrille" [3]. Source for notated version: Zeke Holdren (Lincoln, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory), 1973, vol. 1; No. 245, pg. 204.

WALTZ QUADRILLE [2] , THE. Canadian, Waltz. F Major. Standard tuning. ABC. A generic title, with tune credited to John Burt by Jarman. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 26‑27.

WALTZ QUADRILLE [3] . American, Waltz. USA, Wisconsin. G Major. Standard tuning. AB or AABB. The tune bears some resemblance to a Nebraska waltz quadrille in Christeson (1973, Vol. 1, No. 245, pg. 204). These words were collected with the tune:

***

Give me‑ee that man that'll never get drunk,

That'll never go out on a spree;

That'll stay the whole night, what'll stay with the wife,

And right rock the baby to sleep.

***

Source for notated version: Gustav Erdmann {b. ca. 1882} (Wisconsin) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 127.

WALTZ QUADRILLE [4] . AKA and see "Valse-Quadrille." Yet another piece in this composition dance form.

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WALTZ THAT CARRIED ME TO MY GRAVE , THE. Cajun, Waltz. See also related tunes "Valse des Grands Chemins" (Highway Waltz) and "Mon Coeur est Barre dans l'Armoire." USA, La. Columbia 15275 (78 RPM), accordion player Joseph Falcon and Cleoma Breaux, 1928.

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WALTZ THE HALL . Old-Time, Waltz. Document 8043, Doc Roberts.

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WALTZ VIENNA , THE. See ?Varsoviana.?

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WALTZ YOU SAVED FOR ME , THE. Old‑Time, Waltz. USA; Mo., Pa.? F Major. Standard tuning. In the repertory of Buffalo Valley, Pa., region dance fiddler Archie Miller. Missouri State Old Time Fiddlers Association 001, Pete McMahan (Mo.) ‑ "Ozark Mountain Waltz."

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WALTZING ARMADILLO , THE. Irish, Jig. G Major. Standard tuning. AABBCC. Composed in 1992 during a trip to Texas by Falmouth, Massachusetts, musician and writer Bill Black (who dedicates it to the musicians of the sessions at Houston’s former Red Lion). Black (Music’s the Very Best Thing), 1996; No. 156, pg. 82.

X:1

T: Waltzing Armadillo

C: ƒD B. Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: G

A | Bcd gdd | BGF G2 A | Bcd eBA | GED E2 A |

Bcd ede | fdf g2 a | bag egd | BGF G2 :|

A | BAG EB,B, | DEF G2 A | Bcd ged | BAG A2 A |

BAG DB,D | ECA, G,2 e | bag egd | BGF G2 :|

e | fdf fdf | gba gfe | fdf fdA | BGF G2 e |

fdf ece | dBd efg | bag egd | BGF G2 :|

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WALTZING OVER THE WATER .? AKA and see ?’Italian? Waltz,? ?Step Waltz.?

WALTZING THROUGH THE LEAVES . Canadian, Waltz. Composed by the late Ontario fiddler Graham Townsend. (150 Canadian Fiddle Tunes).

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WALTZING WITH THE ONE I LOVE . Old‑Time, Waltz. USA, Pennsylvania. D Major. Standard tuning. One part. Source for notated version: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 (composed by herself) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 27.???????

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WALTZING WITH YOU . American, Waltz. D Major. Standard tuning. AB. Composed in 1992 by Molly Mason (West Hurley, N.Y.) as part of the score for the film "Brother's Keeper." Matthiesen (Waltz Book II), 1995; pg. 76. Angel Records, Jay Unger & Molly Mason - "Brother's Keeper."

WALY WALY . Scottish, Air (3/4 time). D Major. Standard tuning. AABB. McGibbon (Scots Tunes, book III), 1762; pg. 87.

X:1

T:Waly Waly

M:3/4

L:1/8

R:Air

N:”Slow?

S:McGibbon ? Scots Tunes, book III, pg. 87? (1762)

Z:AK/Fiddler’s Companion

K:D

D | FG A3d | e>f ({f}e3E | F>GA2de2 | ({f}e)(d/c/) d2 :: =c | (B>A) G3A | (BA) =c3 (B/A/) |

Bd A2g2 | ({a}g)”tr?(f/e/) d3d | (BA) ({G}F3) d | “tr”BA E3=c | BA (B>^cd)F | ({G}G)(F/E/) D2 :|

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