The Fiddler’s Companion

ƒD 1996-2009 Andrew Kuntz

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

WAMBLE MOUNTAIN RAMBLE. Old-Time, Breakdown. G Major. Standard tuning. AB. Stacy Phillips notes the name is a new one for an old tune. Source for notated version: Lynn Smith [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 161.

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WANDERER’S MUSINGS , THE. AKA ? ?The Works of the Land.? Irish, Air (6/8 time). G Major. Standard tuning. AB. Roche Collection, 1982, vol. 3; No. 34, pg. 10.

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WANDERING BOY . Old‑Time, Breakdown and Song. USA, western North Carolina. Known as a Frank Jenkins fiddle tune. Flying Fish FF‑334, The Red Clay Ramblers? ‑ “It Ain’t Right?? (1986. Learned from the playing of Tommy Jarrell and Frank Jenkins).

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WANDERING GIRL . English, Jig. D Major. Standard tuning. AABB. The melody (which may be a song air) appears in the 1840 music manuscript collection of John Rook, of the Wigton, Cumbria, area.

X:1

T:Wandering Girl

M:6/8

L:1/8

R:Jig

S:John Rook manuscript (Cumbria, 1840)

K:D

A|dcd ecA|fef age|dfA Bge|dec d2A|dcd ecA|fef afe|dfA Bge|dec d2:|

|:a|afd Ace|gec A2 B/c/|dcd fed|cBc d2A|dcd ecA|fef age|dfA Bge|dec d2:|

WANDERING HARPER , THE. AKA and see ?The Lass from Collegeland,? ?The Unfortunate Rake [1],? ?The Wee, Wee Man,? ?Bundle and Go [3],? ?The Basket of Turf,? ?The Disconsolate Buck.?

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WANDERING MINSTREL , THE (An Ceolt?ir Fánach). AKA and see ?Cape Breton Jig,? ?The Dandy Scholar,? ?Guiness is Good for You.? Irish (originally), Canadian; Double Jig. Canada; Cape Breton, Prince Edward Island. D Major. Standard. ABC (Breathnach, Moylan): AABBCC (Miller & Perron, Mulvihill, Tubridy). The tune has been paired with ?The Lark in the Morning? largely due to the influence of the great Co. Sligo/New York fiddler James Morrison. Breathnach (1963) finds versions of this jig in the first part of O’Neill’s ?Willy Walsh’s Jig? and ?The Merry Maiden [1],? although he thinks the second part differs. Famed Sligo fiddler Michael Coleman recorded “Wandering Minstrel? in a medley (with “Fasten the Leg in Her? and “Coleman’s Cross?) in New York in 1934. Sources for notated versions: Chieftains fiddler Tommy Potts (Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; Kenny Chaisson (b. c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]. Breathnach (CRƒm I), 1963; No. 36, pg. 15. Guest (A Hundred Fiddle Tunes in Down East Style), 1980 (appears as “Cape Breton Jig?). Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 40 (appears as “Coleman Jig Medley?). Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 42. Moylan (Johnny O’Leary), 1994; No. 187, pgs. 108-109. Mulvihill (1^st Collection), 1986; No. 84, pg. 82. Perlman (The Fiddle Music of Prince Edward Island) 1996; pg. 136. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 36. A & M Records 79602 2000-2, Ashley MacIsaac ? “Close to the Floor? (1992). Ace of Hearts AH 95, "Irish Dance Party." Cl? Iar Chonnachta CICD 165, John Wynne & John McEvoy ? “Pride of the West? (2007. Learned from an old recording by flute player and character Packie Duignan 1922-1992, from Arigna, County Roscommon.). Green Linnet SIF‑1110, “My Love is in America: The Boston College Irish Fiddle Festival? (1991). Green Linnet GLCD, Billy McComiskey ? “Makin? the Rounds? (1981). Nimbus NI5415, Martin O’Connor ? “Across the Waters.? RCA 09026-60916-2, The Chieftains ? “An Irish Evening? (1991). Shanachie 79093, Paddy Glackin & Robbie Hannan ? “The Whirlwind? (1995). Topic 12Ts250, Seamus Ennis ? “The Wandering Minstrel? (1974). Kitty Hayes & Peter Laban ? “They’ll be Good Yet.?

X:1

T:Wandering Minstrel, The

R:jig

L:1/8

M:6/8

K:D

B|ADD BAF|Ade fdB|ADD BAG|F3 GFG|ADD BAF|Ade fdB|AdB AFE| FDD D2:|

|:e|fdf ede|fdB AFA|~B3 Afd|AGF E2g|~f3 ede|fdB AFA|~B3 AFE|FDD D2:|

|:e|fef afd|gbe gbe|~f3 afd|ceA ceA|fef afd|gbe gbe|~f3 ede|fdc d2:|

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WANDERING TINKER , THE. AKA and see ?The Atholl Brae(s),? ?The Drinking Reel,? ?The Drunken Tailor,? ?Gallagher’s Best,?? ?Lagan Slashers,? ?League and Slasher,? ?Pigeon on the Pier [2],? ?The Pigeon on the Gate [1],? ?Reidy’s Reel,? ?The Scotch Braes.? Scottish, Reel. C Major (Athole, Hardie, Kerr/2): D Major (Kerr/1). Standard tuning. AAB (Athole, Hardie, Kerr/1): AABB? (Kerr/2). This reel first appears in Joseph Lowe’s Collection, Book 5. Source for notated version: William Hardie Jr. of Methlick, Scotland (c. 1856-1944), editor and fiddler Bill Hardie’s grandfather [Hardie]. Hardie (Caledonian Companion), 1986; pg. 35. Kerr (Merry Melodies), vol. 2; No. 91, pg. 12. Kerr (Merry Melodies), vol. 1; Set 20, No. 6, pg. 13. Stewart-Robertson (The Athole Collection), 1884; pg. 71.

X:1

T:Wandering Tinker

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

G|c2ec egec|Bddc Bdde|c2ec egec|BagB c2cKA|GFEF GABc|

Bddc Bdde|cGEF GABc|AagB c2cA|GFEF GABc|Bddc Bdde|

cedf egfa|gefd c2c ||

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WANDERING WILLY [1] (Uilliamin Seaboideac). Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O’Neill (Krassen), 1976; pg. 206. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1743, pg. 324.

X:1

T:Wandering Willy [1]

M:2/4

L:1/8

R:Hornpipe

S:O’Neill ? Music of Ireland (1903), No. 1743

Z:AK/Fiddler’s Companion

K:G

d/c/|B/G/D/G/ Bc/B/|A/^G/A/B/ cB/A/|B/g/d/g/ B/g/d/B/|cA Ad/c/|

B/G/D/G/ Bc/B/|A/^G/A/B/ cd|e/g/d/g/ B/g/A/c/|BG GK

|:B/c/|d/g/f/g/ e/d/B/d/|e/a/^g/a/ eg/a/|b/a/g/f/ g/e/d/B/|cA AB/c/|

d/g/f/g/ e/d/B/d/|e/a/^g/a/ ed|e/g/d/g/ B/g/A/c/|BG GK

WANDERING WILLY [2] .Scottish, Slow Air (3/4 time). F Major (Gow): G Major (Barnes, Plain Brown). Standard tuning. One part (Gow): AB (Plain Brown): AABB? (Barnes). Source for notated version: an 1845-47 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 49 (appears as “A Girl’s Best Friend?, the name of a dance by Fried de Metz Herman set to the tune). Gow (Complete Repository), Part 4, 1817; pg. 17. Plain Brown Tune Book, 1997; pg. 18.

X:1

T:Wandering Willy [2]

M:3/4

L:1/8

R:Air

S:Gow ? 4^th Repository

Z:AK/Fiddler’s Companion

N:”Very Slow?

K:F

c3B AG|F3G F2|G3F G2|A2d4|c3B AG|F3G A2|A3^G A2|D6|c3 BAG|F3GF2|

G3FG2|A2d4|c3B AG|F3G A2|A3^GA2|D6|A2d2^c2|~d3ef2|c3 dcB|A3B c2|

A2d2^c2|~d3e f2|A3^GA2|D6|A2d2^c2|d3e f2|c3 dcB|A3Bc2|A2d2e2|f3ga2| A3^G A2|D6||

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WANG WANG BLUES . Country Blues Tune. USA; Georgia, North Carolina, Arkansas. G Major (Beisswenger & McCann): F Major. Standard tuning. Drew Beisswenger (2008) finds that “Wang Wang Blues? (really a ragtime-style piece than a blues melody) was composed in 1920 by Gus Mueller, Buster Johnson and Henry Busse, members of Paul Whiteman’s band (who recorded it). Lyrics were added, and both song and instrumental versions were much recorded by both jazz and western swing bands, as well as by early country music groups. The tune was recorded in Atlanta by the Scottdale String Band, who named their group in honor of the mill village of Scottdale, near Atlanta, and home to the band members (Wayne W. Daniel, Pickin? on Peachtree, 1990). Their first recording was made for the OKeh studios on October 28, 1926, and between that date and 1932 the group recorded nearly thirty sides (all but two—released by Paramount—for OKeh). Bill Rattray wrote about the group in Old Time Music magazine (“Scottdale Boys,? OTM, Summer, 1971) and said the group’s records sold “well, or at least fairly well,? and that “their instrumentation was profoundly different from that of the other, more well-known Georgia bands like the Skillet-Lickers, and gave their music a more sophisticated sound that that of the ‘rough North Georgia? school.? The group’s repertoire varied more than usual for string bands from the region, and included “a wider range of material including tunes used chiefly by the jazz bands?the more traditional breakdowns, songs and ballads are hardly featured at all.? [quoted by Daniel]. It was also recorded by the Red Mountain Trio (1928), Sid Harkreader & Blythe Poteet (1928), and Texas fiddler Bob Wills (1935). The melody was in the repertoire of the late North Carolina Piedmont fiddler Lauchlin Shaw. Some versions, such as Violet Hensley’s and Seth Mize’s, stray (often far) from the original. Source for notated version: Seth Mize (1901-1977, Searcy County, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 95. Rounder CD 0435 ? Violet Hensley ? “Traditional Fiddle Music of the Ozarks, vol. 1? (1999. Various artists).?

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WANT TO GO TO MEETING AND GOT NO SHOES . Old‑Time, Breakdown. USA, Mississippi. A Major. AEac# tuning.

AABBC. The melody of the first phrase is similar to ?Johnson Gal(s).? The tune is better known as ?Calico? from the rhyme:

***

Don’t care where in the world I go,

Can’t get around for the calico.

***

Tom Rankin (1985) believes the title “Want to go to Meeting and Got No Shoes? is “almost certainly? the second line of a rhyme as well. The source, Frank Kittrell (b. 1871) of Lauderdale County, Mississippi, learned the tune from his uncle David Kittrell of the same county and recalled going to a party when he was ten years old (c. 1881) and hearing his uncle fiddle it while a cousin seconded on the straws. In 1939, when he recorded the tune, he told one of the collectors that, “Nowadays, they are playing ?Turkey in the Straw? and all this classical stuff.? Mississippi Department of Archives and History AH‑002, Frank Kittrell ? “Great Big Yam Potatoes: Anglo American Fiddle Music from Mississippi? (1985. Originally recorded for the Library of Congress in 1939).

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WANT TO GO TO MEMPHIS SO BAD . Old-Time. Rounder 0157, Art Galbraith (Springfield, Mo.) ? “Simple Pleasures.?

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WANTON BETTY’S VAGARIES .? English, Jig. G Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 44.

X:44

T:Wanton Betty’s Vagaries

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

GAG G2e|dBG A3|c3 BAG|FGA AFD|GAG G2e|dBG {ef}g3|fed e3|d3 D3:|

|:ded b2c|cdc a2B|BcB g2G|FGA AFD|ded b2c|cdc gfe|dcB A3|G3 G,3:||

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WANTON SEASON . English, Country Dance Tune (cut time). D Dorian. Standard tuning. AB. The tune is set for lute by Anthony Holborne in an early manuscript now at the? University Library of Cambridge, although the composer is unknown. Chappell (1859) believes it to be a variant of ?Mall Sims.? Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 272.

X:1

T:Wanton Season

M:C|

L:1/8

S:Chappell ? Popular Music of the Olden Times (1859)

Z:AK/Fiddler’s Companion

K:Ddor

A4f4e4^c4 | d2f2e2d2 ^c4A4 | f2d2g2e2a2d2^c2A2 | Bc d4 ^c2d2D2 D4 ||

f2a2d4e2g2c3e | d2f2e2d2 | ^c4A4 | f2d2g2e2a2d2^c2A2 | Bcd4 ^c2d2D2 D4 ||

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WANTON TOWDIE . Scottish. The melody, whose title refers to female genitals, appears in the Gillespie Manuscript of Perth, 1768.

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WANTON WIDOW , THE. English, Reel. D Major. Standard tuning. AABB. The melody originally appeared in London publisher Charles and Samuel Thompson’s 1765 country dance volume. It was later included in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom, unfortunately, nothing is known. Seattle (William Vickers), 1987, Part 2; No. 226. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 84.

X:1

T:Wanton Widow, The

M:C|

L:1/8

R:Reel

S:William Vickers? music manuscript (Northumberland, 1770)

Z:AK/Fiddler’s Companion

K:D

a|fedf gbeg|fadf e/d/c/B/ Aa|fedf gbeg|(3fga (3ABc d3:|

|:A|FAdf eAgA|fadf e/d/c/B/ AA|FAdf eAgA|faAc d2d:|

X:2

T:Wanton Widow, The

M:2/4

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:D

a|{g}fedf|gbeg|fadf|e/d/c/B/ Aa|{g}fedf|gbeg|(3fga (3ABc|d3:|
|:A|FAdf|eAgA|fadf|e/d/c/B/ AA|FAdf|eAgA|faAc|d3:||

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WANTONESS FOR EVER MORE . Scottish, Country Dance Tune. B Minor. Standard tuning. AABBCCDD. The tune appears in Kirkmichael, Perthshire, fiddler Robert Petrie’s first collection. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 10.

X:1

T:Wantoness for ever more

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/8/04

N:Petrie's First Collection, page 10

L:1/8

M:C

K:Bm

"^Slow"

EFGA B2B2 | BAFA {A}B4 | E2FG A3d | AFEF? D3 F |

EFGA B2Bd | BAFA? B2 de | fdeB dBAF | {F2}B4 E4 :|

|: Tf3 e d2f2 | e2 de B3^c | d3B? A2d2 | AFEF? D2 de |

f3 e d2f2 | e2 de B2 de | fdeB dBAF | B4 E4 :|

"^Var."

|: (E/F/E/F/)(G/A/G/A/) BfeB | (B/c/B/A/)(F/E/F/A/) B4 |\

EB,GE AFdB | AB/A/ FE DdAF | (E/F/E/F/)(G/A/G/A/) .B(bgf) | (efg).f (ed)(cB) |\

.A(cBA) BGAF | {A}B4 E4 :: (fgfe) dDdf | efed ^cABc |\

dfdB AB^cd | AGFE DAde | (fgfe) d^cdf | efde B^cde |\

fd/f/ eB/e/ (d/^c/B/A/)(B/A/G/F/) | B4 E4 :|

WAP AT THE WIDOW MY LADDIE . See ?Wappat the Window My Lady.?

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WAPPAT THE WINDOW MY LADY . AKA ? “Wap at the Window,? “Wap at the Widow My Laddie.? Scottish, Jig. D Major. Standard tuning. AABB (McGlashan): AABBCCDD (McGibbon). The tune appears in Henry Playford’s 1700 collection of Scottish dance tunes. McGlashan erroneously designates the tune as a Scottish Measure. McGibbon (Scots Tunes, book II), c. 1746; pg. 53. McGlashan (Collection of Scots Measures), 177?; pg. 6 (appears as “Wap at the Widow my Laddie?).

X:1

T:Wap at the Widow my Laddie

M:6/8

L:1/8

R:Jig

B:McGlashan ? Collection of Scots Measures? (177?)

Z:AK/Fiddler’s Companion

K:D

G|B>AB GBG|ADB A2G|B>AB G/A/BG|G>AB g>ag|f>ed e>dB|

GdB A>ba|(g/f/e/f/g) deG|B3d2:|

|:d|g>ab abg|gdb a2g|g>ab bag|f>ed g>ag|f>ed edB|gdB Aba|

(g/f/e/f/g) deG|B3d2:|

X:2

T:Wap at the Widow my Laddie

M:3/8

L:1/8

R:Air

N:”Brisk?

S:McGibbon ? Scots Tunes, book II, pg. 53? (c. 1746)

Z:AK/Fiddler’s Companion

K:G

d | B>AB (G/A/BG) | ADB/c/ “tr”A2G | “tr?(B>AB) (G/A/B)G | B>AB g>ag | “tr”g>ed (B/c/de) |

(d<B)g “tr”A2G | “tr?(B>A)B (G/A/B)G | “tr”B3d2 :: (e/f/ | g)dB g”tr”fe | acA A(b/a/g/f/) |

g>ab abg | “tr”f>ed Bdg | f>ed edB | gdB Aaf | (g/f/e/f/g) dgG | “tr”B3d2 :: d | (B/c/d)B (G/A/B)G |

(A<D)a ({g}”tr”f2)d | (B/c/d)B (G/A/B)G | B/A/B/d/e/f/ g/f/g/b/a/g/ | f/g/f/e/f/d/ (B/c/d)e |

de/f/g/B/ Af/g/a/f/ | g/b/a/g/f/e/ d/c/B/A/B/G/ | “tr”B3d2 :: e/f/ | g/f/g/d/B/d/ g/f/e/f/g/e/ |

acA ab/a/g/f/ | g/f/g/a/b/g/ a/g/a/b/a/g/ | f/g/f/e/f/d/ Bdg | f/g/f/e/f/d/ ed/e/f/d/ | g/f/e/d/c/B/ Af/g/a/f/ |

g/f/e/f/g/e/ dgG | “tr”B3d2 :|

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WAPPINSCHAW , THE. Scottish, Reel. D Minor. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 218.

X:1

T:Wappinschaw, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Dmin

DEFD F3c|GFED CDEC|D>EFD F2Fc|d=BcE D/D/D D2K

d>edA d/d/d f2|g>fed cdec|d>edA d/d/d f2|ed^ce d2D2|dedA d/d/d f2|

gfed cdec|decd AbcA|GecE D/D/D D2||

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WAR OR PEACE (I care not which). AKA and see ?Cogaidh no Sith.?

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WAR WHOOPS . AKA and see ?Indian War Whoops.? Old-Time, Breakdown. D Major. Standard tuning. AB. Source for notated version: Geff Crawford [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 165.

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WAR WIDOW WALTZ . See ?Valse de Calcasieu.?

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WARD ALLEN BREAKDOWN . Canadian, Breakdown. B Flat Major (‘A? part) & F Major (‘B? part). Standard tuning. AABB. Composed by Ward Allen, a one-time Canadian Champion fiddler in the middle of the last century. Condor 977‑1489, “Graham & Eleanor Townsend Live at Barre, Vermont.?

X:1

T:Ward Allen’s Breakdown

C:Ward Allen

R:Breakdown

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:Bb

B,2 DF E2 GE|F2 Ac B2 FA|B2 FB d2 cB|Ac=eg f4|

B,2 DF E2 GE|F2 Ac B2 cB|A2 FA ecAc|BdcA B2 z2K

K:F

|:c4 cBAG|FGAc f2 ef|g2 bg efge|fgaf cBAB|

c4 cBAG|FGAc f2 ef|g2 bg efge|fefg f2 z2K

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WARD’S BRAE . English, Reel; New England, Polka. G Major (Raven): F Major (Miller & Perron). Standard tuning. AABB. Miller & Perron (101 Polkas), 1978; No. 62. Raven (English Country Dance Tunes), 1984; pg. 143.

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WARD’S DROP . AKA and see ?The Drop.?

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WARD’S FANCY . English, Reel. England, North‑West. F Major. Standard tuning. AABB. Not “Ward’s Brae.? Knowles (Northern Frisk), 1988; No. 123.

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WARDS HORNPIPE (Keith). Scottish, Hornpipe. A Major. Standard tuning. AABB. Originally printed in his Harp and Claymore collection, it was composed by J. Scott Skinner. Skinner (The Scottish Violinist), pg. 43. Skinner (Harp and Claymore), 1904; pgs. 132-133.

X:1

T:Ward’s

M:2/4

L:1/8

R:Hornpipe

C:J. Scott Skinner (1843-1927)

S:Skinner ? Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

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

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

c/>d/ | (3e/f/g/ a/>b/ c?/>a/g/>a/ | f/>a/d/>f/ ({f}e)c/>e/ | d/>F/B/>d/ c/>E/A/>c/ | B/>e/ (3^d/e/f/ e(c/>=d/) |

(3e/f/g/ a/>b/ c?/>a/g/>a/ | f/>a/d/>f/ e/>a/c/>e/ | d/>F/B/>d/ c/>E/A/>c/ | B/>E/G/>B/ A ||

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WARD’S JIG . Irish, Double Jig. G Major. Standard tuning. AABB. Source for notated version: Tony Smith (County Cavan & Dublin) [Mulvihill]. Mulvihill (1^st Collection), 1986; No. 32, pg. 71.

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WARD’S PILL . AKA and see ?The Pill.?

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WARFIELD [1] . Old‑Time, Breakdown. USA; West Virginia, Kentucky. G Major. John Scotland Hannah sings:

***

C’mon boys, let’s go to Warfield;

C’mon boys, let’s go to Warfield;

C’mon boys, let’s go to Warfield;

Naugytuck’s done gone dry, dry, Naugytuck’s done gone dry.

***

Warfield and Naugatuck are two towns on opposite sides of the Tug fork of the Big Sandy River, one in Kentucky and the other in West Virginia. The Williamson Brothers & Curry who recorded the tune in the 1920’s, sang similar lyrics (see also the Henry Truvillon AFS recording.) County CO-CD-3515, Ervin and Arnold Williamson with Arnold Curry ? “Old-Time Music of West Virginia, volume 1.? Rounder CD0380, Roger Cooper (Lewis County, Ky.) ? “Going Back to Old Kentucky? (1996. His “recasting? of the tune on Rounder O376). Rounder CD 0376, Perry Riley ? “Traditional Fiddle Music of Kentucky, vol. 1: Up the Ohio and Licking Rivers? (1997).

WARFIELD [2] . Old‑Time, Breakdown. USA, West Virginia. A tune from the ?Last Chance? tune group, different than “Warfield? [1]. Heritage XXXIII, Aunt Jenny Wilson (Logan, W.Va.) ? “Visits? (1981. Aunt Jenny was a teenager when she learned the tune from an old black man.).

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WARKSBURN WALTZ . English, Waltz. England, Northumberland. G Major. Standard tuning. AABB. The tune is attributed by Christopher Liddell to Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler originally from Morpeth, Northumberland. Graham Dixon (1995) says that the tune was played for a Spanish Waltz by Liddell and source Hepple’s uncle Thomas, who were in great demand for entertaining at weddings in the early 20^th century. The Warksburn (burn = stream), notes Dixon, flows out of the Wark Forest and into the River North Tyne, near the village of Wark, Northumberland. Source for notated version: Northumbrian fiddler George Hepple, the first tune he learned as a boy on the fiddle [Dixon]. Dixon (Remember Me), 1995; pg. 69.

WARKWORTH CASTLE . AKA and see ?Hey To Couper/Cowper.?

WARLEGGAN OX DRIVER . English, Air. England, Cornwall.

X:1

T:Warleggan Ox Driver

S:RACCA 2

H:OLD CORNWALL SOCIETY MAGAZINE WRITTEN DOWN 1870

M:3/4

L:1/8

Q:180

K:D

F2G2|A2B2c2|d4F2|F2G2A2|B4B2|A2F2D2|A2F2D2|F2E2E2|

E4E2|F3EF2|G2F2G2|A2F2D2|B4B2|c3Bc2|d2F2A2|AGF2E2|D4A2||

A2F2A2|G2F2E2|D2A2A2|A4A2|A2F2A2|G2F2E2|D2A2A2|

A4A2|B2G2B2|AF3A2|B2G2B2|AF3A2|d3AF2|B3GE2|

A2G2F2|E4A2|d3cB2|A2A2G2|F2F2E2|D4||

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WARLOCK’S STRATHSPEY . AKA ? “The Warlock(‘s).? Scottish, Strathspey. E Minor. Standard tuning. AABB. Composed by Robert Lowe, this 19^th century strathspey has since become popular in Cape Breton, Nova Scotia. It was first recorded on a 78 RPM disc by Cape Breton fiddler Bill Lamey (Cranford). The tune was published in Joseph Lowe’s c. 1840 collection—Robert, the composer, was his son. Carlin (Master Collection), 1984; No. 109, pg. 72. Cranford (Jerry Holland’s), 1995; No. 137, pg. 40. Lowe (Lowe’s Collection), c. 1840’s. Green Linnett GLCD 1119, Cherish the Ladies ? “The Back Door? (1992). Rounder Records 7052, Buddy MacMaster ? “The Cape Breton Tradition? (2003).?

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WARM BROTH .? English, Reel. D Major. Standard tuning. AABB.

X:1

T:Warm Broth

M:C

L:1/8

S:John Rook music manuscript (Cumbria)

K:D

A|d2 AF d2 AF|Eeed cABc|dfef dfef|ABAG Add:|

|:f/g/|afdd dfaf|bgee egbg|afdd dfaf|Bgfe fdd:|

WARM STUFF . AKA and see ?Kelton’s Reel,? ?Old Dad,? ?Pigtown Fling,? ?Ston(e)y Point [1],? ?Wild Horse,? ?Wild Horses at Stoney Point.? The tune appears under this title in Harding’s Collection.

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WARPIPER’S DRONE , THE.? Irish, Reel. Giblin (Collection of Traditional Irish Dance Music), 1928; 31.

WARRENS VICTORY . English, Reel. D Major. Standard tuning. AABB. Huntington (William Litten’s), 1977; pg. 25.

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WARRIOR O? PERSIE , THE. Scottish, Slow Air and Strathspey. D Major. Standard tuning. AAB. Composed by J. Scott Skinner, dedicated to “W. McCombie Smith, F.S.A., Schoolhouse, Persie, by Blairgowrie.? William McCombie Smith was an author, among other things, whose works include Memoir of the Families of M’Combie and Thomas (1890) and The Romance of Poaching in the Highlands (1904). Smith also prolifically wrote about and participated in Highland Games, where he competed as a heavy athlete, although his performance has been described as “mediocre?. In fact he was far outshadowed by his brother-in-law, Donald Dinnie, called the greatest Highland champion in history, who took home a reputed 10,000 prizes and victories in his long career that included wrestling tours and appearances as a strongman. It perhaps does Smith no credit that he is recorded as having “never missed an opportunity for criticizing Donald.? Skinner(Harp and Claymore), 1904; pg. 18. Skinner (The Scottish Violinist, with ‘B? part variation), pg. 11.

X:1

T:Warrior o? Persie, The

M:C

L:1/8

C:J. Scott Skinner

R:Strathspey or Slow Air

Z:AK/Fiddler’s Companion

K:D

A,|{C}[D2D2] FD A,DFD|G/A/B/c/ dD CE E>F|{C}[D2D2] F>D B,D .G,.B|A/B/c/d/ A/F/G/E/ FD[A,D] :|

|| g|({D/A/}f>)ga.f .d.A.F.D|g>abg .e.B.G.E|f>ga.f .d.A.F.D| C/D/E/F/ G/E/A/G/ FD[A,D]g|

({D/A/}f>)ga.f .d.A.F.D | ({G,/B/}g>)abg .e.B.G.E | {C}[D2D2] f>d .B,.D .G,.B|A/B/c/d/ A/F/G/E/ FD[A,D] ||

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WARRIOR’S GRAVE , THE. Scottish, Air. D Minor. Standard tuning. AAB. From J. Scott Skinner’s collection Harp and Claymore, composed by Skinner, who called it a “Wild Melody? in his Scottish Violinist, and an “imitation of Welsh Melody? in the Harp and Claymore. Skinner (Harp and Claymore), 1904; pg. 10. Skinner (The Scottish Violinist), pg. 42.

X:1

T:Warrior’s Grave, The

M:C

L:1/8

R:Air

N:”Wild Melody?

S:Skinner ? Harp and Claymore

Z:AK/Fiddler’s Companion

K:Dmin

{^c}[E2d2] (A>G) .F.E .D2 | (B,>>D) (A,>>D) (^C>>E) A/^c/e |

{^c}[E2d2] (A>G) (FE/D/) (=CB,/A,/) | (G,>>B) (A,>>A) [D2D2] D :|

c | (f>e).d.c (=Bc) .A.F | B>AGF ED^CA | (f>e).d.^c (da) (A,>^G, |

(A,F) .F.E [D2D2] D.c | (f>e) .d.c (=Bc) .A.F | (D>^C =C>)F ^C>E) A/^c/e |

{^c}[E2d2] (A>G) (FE/D/) (=CB,/A,/) | (G,>>B) (A,>>A) {A}(D2D2) ||

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WARS IS ALL OVER . English. England, Northumberland. One of the “missing tunes? from William Vickers? 1770 Northumbrian dance tune manuscript.

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WARST CARLE IN A THE WORL?, THE. Scottish, Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 248, pg. 28.

X:1

T:Warst Carle in a the Worl?, The

M:6/8

L:1/8

R:Jig

S:Kerr ? Merry Melodies, vol. 3, No. 248? (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

f|ecA ABc|d2c B2A| ecA AcA|B2c d2f|ecA AcA|d2c B2A|

cec BdB|AAA A2::g|fdf ece|fdf ecA|AAA (f2e)|

fBB Bcd|efg afe|fac B2A|cec BdB|AAA A2:|

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WARWICK COURT . English, Country Dance Tune (2/4 time). The melody was originally published by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773). As with numerous other tunes from the Thompson’s 1773 collection, it was entered into the 1788 music manuscript collection of fiddlers John and William Pitt Turner (Norwich, Conn.). It is also one of the “missing tunes? from William Vickers? c. 1770 Northumbrian dance tune manuscript. Warwick Court, Holburn, was once the site of Warwick House, the city residence of the Earls of Warwick in the 17^th century, but replaced by the court in 1708. There was a College of Physicians nearby in the 18^th century. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 131.

X:1

T:Warwick Court

M:2/4

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

E|A e2 c|d f2 B|G B2 G|A[Ec][Ce][A,a]|A e2 c|G B2 d|cAGF|E3:|
|:B|GEBE|D B2 D|[Cc] A2 [Cc]|[B,B]DGB|FdEc|DB[Cc]f|edcB|A3:||

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WARWICKSHIRE LADS . English, March. G Major. Standard tuning. ABB. A British march from the Revolutionary War period. Howe catagorizes it with his ‘Scotch Airs?. Howe (1000 Jigs and Reels), c. 1867; pg. 143.

X:1

T:Warwickshire Lads

M:6/8

L:1/8

R:March

S:Howe ? 1000 Jigs and Reels

Z:AK/Fiddler’s Companion

K:G

(d/e/4f/4) | (gd).d (ec).c | (dB)z z2 (d/e/4f/4) | gdd ecc | dBz z2B | {c}BAB G2B | d^cd A2G |

FAd GBe | Adf Beg | fed ^cBc | d2d d2 |: B/c/ | (dcd) e3 | (dcd) e3 | (dB)B (cA)A | (BG)G G2 :|

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WARWICKSHIRE WILL . English, Country Dance Tune (whole time). B Flat Major. Standard tuning. AABB. The melody was first published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). “Warwichshire Will? is one of the “missing tunes? from Northumbrian musician William Vickers? music manuscript collection, begun in 1770. The title is from a song called “The Warwickhshire Lad,? probably penned by actor David Garrick, performed at the Stratford Jubilee in 1769 (see note for ?Stratford Jubilee?). It goes, in part:

***

Old Ben, Thomas Otway, John Dryden,
And half a score more we take pride in,
Of famous Will Congreve we boast too the skill,
But the Will of all Wills, was a Warwickshire Will,

Warwickshire Will,
Matchless still,
For the Will of all Wills, was a Warwickshire Will.

***

Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 125.

X:1

T:Warwickshire Will

M:C

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:Bb

g|fdBF G B2d|F A2 c BFD[B,B]|fdBF GBdg|fedc (B2B)::F|AFcA ecgf|edcB BAGF|

Egab fdcB|Aced “tr”d2c2|bfdB gfed|edcB AGFE|GEBE FDce|dcBA (B2B):||

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WAS EVER A MAN SO TOST IN LOVE . AKA and see ?Sir Guy.?

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WAS YOW AT THE WEDDING . AKA and see ?Dick a Dollis,? ?Lady Jane Stuart’s Rant,? ?Stewart’s Rant,? ?Stuart’s Rant.? Scottish. John Glen (1891) finds the earliest appearance of the tune in Joshua Campbell’s 1778 collection (pg. 22).

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WASH WOMAN , THE. AKA and see ?The Irish Washerwoman.?

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WASH YOUR FACE . Irish, Air (6/8 time). E Flat Major. Standard. AB. “From A.P.’s MS. Book? (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 738, pgs. 365‑366.

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WASHDAY . See ?Washing Day [1], The.?

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WASHERWOMAN , THE (Yr Hen Olchyddes).AKA and see ?The Irish Washerwoman.? Irish, Jig. From the manuscript of Welsh Triple Harper Thomas D. Llewelyn ‘Llewelyn Alaw?, from Aberdâr, a 19^th century collector of Welsh music. Flying Fish FF70610, Robin Huw Bowen ? “Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp? (1996).

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WASHING DAY [1], THE. AKA and see ? There’s Nae Luck Aboot the Hoose (There’s Nae Luck Ava) [1],? ?Up and Waur Them A?, Willie [1].? English, American; Schottische. USA, northern New York. G Major (Bohrer): A Major (Kennedy, Raven). Standard tuning. AAB (Kennedy, Raven): AA’BB? (Bohrer). A version of “Nae Luck about the House,? titles from another song sung to the tune. Musicians in southern England apparently often paired the tune with ?Old Mrs. Huddledee? and ?The Keel Row?; Norfolk area concertina player Scan Tester (1887-1972) and fiddler Walter Bulwer (1882-c. 1972) both indepently knew the medley. Source for notated version: a “family tune? learned by fiddler Vic Kibler (Hamilton County, New York) from his uncle Echtor Fountain (b. 1887); “I remember him specifically teaching me that tune. Grandpa and everyone played it? [Bohrer]. Bohrer (Vic Kibler), 1992; No. 17, pg. 17. Howe (Complete Preceptor for the Accordeon), 1843; pg. 26. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 41, pg. 21. Raven (English Country Dance Tunes), 1984; pg. 162.Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer ? “English Country Music? (2000. Originally recorded 1962).

X:1

T:Washing Day, The [1]

M:C|

L:1/8

K:A

|: e | afec defg |afec B2 Be | afec defa | edcB (A2A) :|

B | c2cA d2dB | c2 cA B2 Be | cccA defa | edcB A2 AB |

(3cdc cA (3ded dB | (3cdc cA B2 Be | (3cdc cA defa | edcB (A2A) ||

WASHING DAY [2] . English, Morris Dance Tune (6/8 time). F Minor. Standard tuning. AB. In the Cotswold village of Adderbury, Oxfordshire, these words are sung during the dance:

***

Thump! Thump! Scrub! Scrub! Scrub, scrub away!

The devil a bit of peace I git upon the washing day!

***

Bacon (The Morris Ring), 1974; pg. 10.

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WASHING WOMAN, THE. AKA and see ?The Irish Washerwoman.?

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WASHINGTON AND LEE SWING [1] . American, March (cut time). A Major. Standard tuning. One part. A chromatic swing tune. Source for notated version: Cecil Brower and Cliff Bruner with Milton Brown’s Musical Brownies (Texas) [Phillips]. Marimac 9017, Vesta Johnson (Mo.) ? “Down Home Rag.?

WASHINGTON AND LEE SWING [2] . AKA and see “Washington County.? “Washington and Lee Swing? is a swing tune popular in the “big band? era, although it is said to have been derived from like Glen Miller, and that tune was derived from a marching band tune.

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WASHINGTON COUNTY . AKA and see ?Washington and Lee Swing? [2]. Bluegrass, March (cut time). USA. A Major. Standard tuning. One part (Phillips): AB (Brody). A bluegrass double-stop show-piece “composed? by bluegrass fiddler Kenny Baker, although it apparently is based on “Washington and Lee Swing.? Baker was Bill Monroe’s fiddler with the Bluegrass Boys for twenty years. Kenny Baker [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 285. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 163 (appears as “Washington and Lee Swing? [B]). County 719, Kenny Baker‑ “Portrait of a Bluegrass Fiddler.? County 2705, Kenny Baker ? “Master Fiddler.? Rounder 0086, Butch Robbins‑ “Forty Years Late.?

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WASHINGTON FUNERAL DIRGE . American, Slow Air or March (4/4 time). USA, southwestern Pa. D Major. Standard tuning. AB. Bayard identifies this tune as a development of the wedding march in “Lohengrin,? though he is unsure whether the tune is named for the Pennsylvania town or the first president. Source for notated version: Mount Pleasant Tablatures (a fife MS from southwestern Pa., 1950’s) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 24, pg. 27.

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WASHINGTON HORNPIPE . AKA and see ?Good for the Tongue,? ?Jenkin’s Hornpipe,? “Na Cois Céimeanna,? ?The Stoney/Stony Steps.? Scottish, Hornpipe. B Flat Major (Honeyman, Kerr): A Major (‘A? part) & D Major (‘B? part) {Brock}. Standard tuning. AABB (Honeyman): AA’BB (Kerr). An early recording of the tune is by accordion player William McElligot in New York in 1934. McElligot was from Newcastle West, County Limerick, but spent most of his life in the United States. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 51. Kerr (Merry Melodies), vol. 1; No. 31, pg. 46. Ryan’s Mammoth Collection, 1883; pg. 127. Gael Linn 155, Paul Brock ? “Mo chairdin.? Sue Richards ? “Hazel Grove.?

X:1

T:Washington Hornpipe

M:4/4

L:1/8

K:A Major

ABcd eA (3AAA | fAgA aA (3AAA | fAeA dBcA | (3BcB GB AGFE |

ABcd eA (3AAA | fAgA aA (3AAA | fAeA dBcA |1 (3BcB GB A (3EFG :|2 (3BcB GB A (3F_G^G ||:

AD (3DDD BD (3DDD | dcBA BAFD | dcBA BAGF | E2 CE DCB,A, | AD (3DDD BD (3DDD |

dcBA BAFD | dcBA BAGF |1 (3EFE CE D (3FG^G :|2 (EFE CE D2 ||

WASHINGTON HORNPIPE [2].? AKA and see ?Tumbler’s Hornpipe [1].?

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WASHINGTON QUICKSTEP . AKA and see ?Steamboat Quickstep.? American, Quickstep (6/8 time). A Major. Standard tuning. AABB. Sanella (Balance and Swing); CDSS.

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WASHINGTON QUADRILLE . AKA and see ?Up and Down Old Eagle Creek,? ?Taylor’s Quickstep [2].? Old‑Time, Breakdown. USA, Kentucky. C Major (‘A? part) & G Major (‘B? part). Standard tuning. AA’BB?. Source for notated version: fiddler Andy Palmer of north-central Kentucky group Jimmie Johnson’s String Band [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 164. Morning Star 45003, Jimmie Johnson’s String Band ? “Wink the Other Eye: Old Time Fiddle Band Music from Kentucky? (1980).

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WASHINGTON’S GRAND MARCH. AKA and see ?(General) Washington’s March [3],? ?The President’s New March.? American, March (2/4 or 4/4 time). USA; southwestern Pa., New Hampshire. G Major. Standard tuning. AABB (Bayard): ABC (Miller) AABBCC (Keller/Bush, Mattson & Walz). The melody appears to stem from the period of George Washington’s presidency. Linscott (1939) calls it one of New England’s favorite tunes for beginning the country dance. Although there were numerous “Washington’s March? it is perhaps this popular tune that was the ?Washington’s March? played by U.S. President John Tyler, reputedly a good fiddler. Like many good airs, the melody was adapted to shape‑note hymns of the 19^th century. Although there is some speculation that “Washington’s Grand March? was composed for his inauguration in 1789, the earliest published version, that of Glasgow publisher James Aird, in his Selections of Scotch, English Irish and Foreign Airs, vol. 3, (1788), predates that event. Keller (1992) believes it was in circulation in America prior to even Aird’s publication. The melody (as ?Washington’s March?) is in the music manuscript copybook of Henry Livingston, Jr. ?Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3^rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County, New York. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3^rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. “Washington’s Grand March? also appears in numerous other American musicians? manuscripts of the end of the 18^th century and beginning of the 19^th. It was included in the music copybooks of John Curtiss (1800, Cheshire, Conn.), James Hosmer (1799, East Hartford, Conn.), H. Canfield (Hartford, 1823), the Bellamy band (1799, Hartford), Daniel Henry Huntington (1817, Onondaga, N.Y.), Luther Kingsley (1795-1815, Mansfield, Conn.), George White (c. 1790-1830, Cherry Valley, New York) and Morris Woodruff (1803, Litchfield, Conn.).

***

Printed American versions appear in Daniel Steele’s New and Complete Preceptor for the German Flute (Utica, N.Y., 1815), John Ashton’s New and Complete Preceptor for the Clarionet (Boston, 1825), and Firth and Hall’s Newly Improved Instructor for the Clarinet (New York, 1832). Sources for notated versions: Smith Paine (Wolfeboro, N.H.) [Linscott]; Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1060) [Bayard]; the manuscript collection of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the Revolutionary War [Keller]. Aird (Selections of Scotch, English Irish and Foreign Airs), vol. 3, 1788, No. 557. Bayard (Dance to the Fiddle), 1981; No. 366, pg. 359. Howe (Diamond School for the Violin), 1861; pg. 25. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 23. Linscott (Folk Songs of Old New England), 1939; pg. 81. Mattson & Walz (Old Fort Snelling Instruction Book for the Fife), 1974; pg. 88. Miller (Fiddler’s Throne), 2004; No.359, pg. 209. Riley’s Flute Melodies, vol. 1, 1815; No. 83.

X:1

T:Washington’s Grand March

T:General Washington’s March

M:C

L:1/8

S:Captain George Bush MS.

K:G

D2 | G2 G>A G>B d>B | AG AB A2 GA | B>A B>c B>c d>c | B>G G>G G2 :|

|: gf | e2 c>c c2 a/g/f/e/ | d2 BB B2 G/B/d/g/ | c2 AA A>e d>c |

B2 G>G G>e d>c | (3Bcd (3efg B2 A2 | G2 GG G2 K

|: ga | b2 G>G G2 ga | (3gab G>G G2 gf | e>f g>a g2f2 | e2 ee ef a/g/f/e/ |

dc de dg bB | cB cd ce dc | BA Bc B2A2 | G2 GG Gg d/c/B/A/ | G2 G>G G2 :|

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WASHINGTON’S MARCH [1]. AKA and see ?Exhibition March No. 1,? ?Matelotte,? ?The Black Horse,? ?Morning Fair,? ?Texarkana Hornpipe,? ?The Golden Farmer,? ?Tomorrow Morning.? American, March (4/4 time). USA, southwestern Pa. C Major. Standard tuning. AA’BB. Bayard (1981) identifies this as an international tune (usually played as a march, but sometimes a dancing tune) with numerous titles, “most of them being ‘Somebody’s March? or ‘Some Regiment’s March’” (pg. 252). It appears in Boehme (1886, No. 345) as a Dutch Dance, in Forestier & Anderson (Norway Music Album, 1881, No. 5, pg. 114) as a wedding march, and in the Journal of the Welsh Folk Song Society (Vol. 2, Pt. 1, pg. 40) in a vocal set. Distanced versions appear as a hornpipe called “Tomorrow Morning? in O’Neill’s Music of Ireland and in Roche as “The Black Horse.? As ?Washington’s March? the melody appears in the manuscript collection of the American painter William Sidney Mount (Stony Brook, Long Island, New York), dated August 20^th, 1843. Source for notated version: Samuel Losch (fiddler from Juniata County, Pa., 1930’s) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 297, pg. 252.

X:1

T:Washington’s March [1]

M:C

L:1/8

S:William Sidney Mount (1807-1868) manuscripts

N:Mount dates his manuscript page for this tune “Stony Brook (Long Island, New York).

N:August 30^th 1843.? At the top right of the page is the note “Old Music.? Professor

N:Samuel Bayard (1981) describes this tune as an “international tune? often played as a

N:march, although sometimes utilized for dancing. He finds that it appears twice in

N:Glasgow publisher James Aird’s Selections of Scotch, English, Irish and Foreign Airs

N:782), Vol. II, No. 152 (the tune does not seem related to my ear), and Vol. III, No.

N:544. Kennedy (vol. 2) gives it as “The Golden Farmer.? Somewhat distanced Irish

N:hornpipe versions appear in O’Neill’s Music of Ireland as “Tomorrow Morning? and in

N:the Roche Collection (Vol. II) as “The Black Horse.? Continental versions can be

N:found in Boehme (1886, No. 345) given as a Dutch Dance, in Forestier & Anderson

N:Norway Music Album, 1881, No. 5, pg. 114) as a wedding march, and in the Journel

N:of the Welsh Folk Song Society (Vol. 2, Pt. 1, pg. 40) in a vocal set. Bayard’s own

N:version was collected in the field from a Juniata County, Pennsylvania, fiddler named

N:Samuel Losch in the 1930’s. Other American versions are printed in Ford (“Exhibition

N:March No. 1?) and in Ryan’s Mammoth Collection (1883) as the hornpipes “Morning

N:Fair? and “Texarkana.???????

Z:Transcribed and annotated by Andrew Kuntz

K:D

AB/c/ | d2 dd d2 (f>d) | e2 e>e e2 g>e | f2 ff fagf | edcB AGFD |

dAFA dfed | ecAc egfe | (f/g/a fd e/f/g ec | d2 d>d d2 || fg |

agfg aagf | gfef ggfe | fede fagf | edcB AGFE | dAFA dfed |

ecAc egfe | (f/g/a) fd (e/f/g) ec | d2 d>d d2 ||

WASHINGTON’S MARCH [2]. American, March (2/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. Source for notated version: St. Clair (elderly fifer from Greene County, Pa., 1960; learned from his father) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 298, pgs. 252‑253.

WASHINGTON’S MARCH [3]. Old‑Time, Breakdown. USA, West Virginia. D Major. DDad tuning. AA?. Despite the title, the tune is played in reel tempo. May possibly be a very distant derivative of? “Washington’s Grand March,? although there were many melodies in America that carried the Washington name, an indication of his influence even in backwoods areas.? Betty Vornbrock notices a similarity in the high part of Hammons? version and the ‘B? part of the Shetland tune ?Sleep Soond i’da Moarnin’”. Allan Jabbour (in 1984 notes to Edden Hammons recording) says that this is one of the tunes in the Hammons family repertoire that has special family associations, in that it was considered to have been composed by early family members, “or at least uniquely preserved by them.? The original 1947 field recorder, a folklorist named Louis Watson Chappell, stated that Edden Hammons won the 1939 Greenbrier Valley fiddle championship playing “Washington’s March,? and the he had learned it ?59 years ago and first played it on a gourd covered by a deer skin? (quoted by Jabbour). Randolph County, West Virginia, fiddler Woody Simmons (b. 1911) remarked in a 1979 interview for Goldenseal Magazine:

***

(Edwin Hammons) made that old “George Washington March? up

himself. One day I said, “Edwin, play me that ‘George Washington

March.’” He said, “I’ll play her for? you, but I won’t play her fer—he

called Dewey Hamrick ‘Jewey’—he said, “I won’t play her fer Jewey,

but I’ll play her for you.? And he did, he played me the “George

Washington March,? and I learned it from him. I won a fiddlers?

contest in Glenville with it. I could never win nothing at Glenville

(the West Virginia State Folk Festival), only with the old “George

Washington March.?? You tune the fiddle altogether different to

play that. Edwin Hammons would drop the G string down to D,

and the E string down to D.? (Mountains of Music, 1999, John Lilly ed., pg. 22)

***

The melody was also played in this tuning by eastern Kentucky fiddler Ed Hayley. Source for notated version: Edwin/Edden Hammons via his nephew Burl Hammons (Pocahontas County, West Virginia) [Krassen]. Krassen (Masters of Old Time Fiddling), 1983; pg. 81. WVU Press SA-1, “Edden Hammons Collection I? (1999). Yazoo 2103, Eddon Hammons ? “American Rural Classics 1927-37.?

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WASHINGTON’S MARCH [4].? AKA ? “Washington’s March at the Battle of Trenton.? American, March. G Major. Standard tuning. AABB. The melody appears in a number of very late 18^th century and early 19^th century American publications and musicians manuscripts, and was very popular, judging from its apparent inclusion in most of the surviving musicians copybooks of the era (esp. those of fifers). It was printed in Benjamin Carr’s Military Amusement (New York, 1796), Gilfert’s Gentleman’s Pocket Companion for the German Flute or Violin (New York, 1802), Riley’s Flute Melodies, vol. 1, 1814, Daniel Steele’s New and Complete Preceptor for the Fife (Albany, 1815), and Joseph Herrick’s The Instrumental Preceptor (Exeter, N.H., 1807), among others. “Washington’s March? appears in the music manuscript collections of Ira Clark (Simsbury, Ct., 1801), flute player H. Canfield (Hartford, 1823), fiddler John Curtiss (Cheshire, Conn., 1800), Silas Dickenson (Amherst, Mass., 1800), Daniel Henry Huntington (Onondage, N.Y., 18), Gurden Trumbull (Stonington, Conn, 1801), and John Treat (Durham, compiled c. 1779-1802), to name just a few. The “Washington’s March at the Battle of Trenton? is the name printed with the tune on various songsheets of the era. Oscar George Theodore, writing in his book A Bibliography of Early American Secular Music (1905), finds the melody of “Washington’s March at the Battle of Trenton? in R. Shaw’s Flute Preceptor or Columbian Instructor (Philadelphia, 1802), in which it is titled “The President’s New March.? From this he concludes that “Washington’s March [4]? is a turn of the century composition. Mattson & Walz (Old Fort Snelling?Fife), 1974; pg. 89.

X:1

T:Washington’s March [4]

M:C
L:1/8

K:G

G2 D>G B2 G>B|d2 B>d g4|e2 g>e d2 g>e|d>cB>A B2G2|e2 g>e d2 g>e|d>cB>A B2G2|

B/c/B/c/ dd edcB|A2 d>d d4|B/c/B/c/ dd edcB|A2 A>A A3g|gfed fedc|d2 d>d d4:|

|:A/B/A/B/ cc dcBA|B/c/B/c/ dd edcB|A/B/A/B/ cc dcBA|A2 A>A A4|

d/e/d/c/ B/c/B/A/ G3d|g2 fe f2 de/f/|g2 d2 d>d d/e/f/d/|g2 G>G G2 de/f/|ggfe dcBA|G2 G>G G4:|

WASHINGTON’S REEL. AKA and see ?Widow Dickens.? American, Reel. G Major. Standard tuning. AABB. There are many tunes, nearly all American, that are named for George Washington. This particular tune was better known under variants of the title “Widow Dickens.? “Washington’s Reel? appears in several early 19^th century music publications and musicians? copybooks. In print, the melody appears in Joshua Cushing’s Fifer’s Companion No. 1 (Salem, Mass., 1805), Samuel Holyoke’s Instrumental Assistant (Exeter, N.H., 1800), William Williams? New and Complete Preceptor for the Fife (Utica, N.Y., 1819), and John Trumbull’s Gentleman’s and Lady’s Companion (Norwich, Conn., 1798).? Manuscript versions appear in the copybooks of Samuel Morse (Newburyport, Mass., 1811), Josiah Adams (Framingham, Mass., compiled 1808-1818), Gurden Trumbull (Stonington, Conn., 1801), and fifer Thomas Nixon (Danbury, Conn., compiled c. 1776-1778). Its inclusion in the Trumbull manuscript dates it to the time of the American Revolution. “Washington’s Reel? can even be heard being played by the mechanism of a musical clock by the famous Trenton, N.J., clockmakers Leslie and Williams, c. 1798-1799.??

X:1

T:Washington’s Reel

M:2/4

L:1/8

R:Reel

K:G

GB/G/ GB/G/|A/B/c/d/ c/B/A/G/|B/d/g/d/ B/d/g/d/|e/c/A/F/ G2:|

|:c/B/c/d/ e/f/g/e/|d/c/B/A/ BG|gd/B/ gd/B/|e/c/A/F/ G2:|

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WASHROOM REEL . Similarities to "Billy in the Lowground.?

WASN’T SHE FOND OF ME ?? (“Nac Bi Grad Aci Orm Sa?? or “Nac Raib Grad Aici Orm?). Irish, Double Jig. A Dorian. Standard tuning. AABB. O’Neill (Krassen), 1976; pg. 35. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 865, pg. 160. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 125, pg. 36.

X:1

T:Wasn’t She Fond of Me?

M:6/8

L:1/8

R:Jig

S:O’Neill ? Dance Music of Ireland: 1001 Gems (1907), No. 125

Z:AK/Fiddler’s Companion

K:A Minor

g/f/|:eAA eAA|efe edB|eAA eAA|ded BAG|eAA eAA|efe edB|de^f gfg|edc BAG :|

|:de^f gfg|edB eAA|de^f gfg|edc BAG|de^f gfg|aba abc’|bag g^fe|dge dBG :|

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WASOLY KOMINIARCZYK . Polish. USA, Pa. In the repertory of Buffalo Valley, Pa., region dance fiddler Ralph Sauers.

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WAST SIDE TROWS? REEL . Shetland, Reel. D Major. Standard tuning. AABB. Early in the 19^th century one Hakki Johnson lived at Tumlin, Aithsting, Shetland, who was reputed to have been an excellent fiddler “but rather weak‑minded when the moon was full. His neighbours said he was ‘No aa dere.? One winter night he called on a neighbouring fiddler and played a weird tune, asking when he had finished, ‘Kens du yon ton?? On getting a negative reply he told the following story: ‘Twa nights ago I was playing at yon rant at Aith an left for hame some time efter tree in da moarnin. When I was below da Broch a Houlland I tocht I heard a fiddle playin. I stopped and listened and heard da reel going on for some time. When it stopped I gied on my way. Yon was hit I played een‑noo’” (Anderson & Georgeson, 1970). Source for notated version: A. Abernethy (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 14.

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