Annotation:Through the Wood Laddie (1): Difference between revisions

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X:1 T:Throw the Wood Laddie [1] M:3/4 L:1/8 B:Alexander Stuart – “Musick for Allan Ramsay’s Collection part 4” B:(Edinburgh, c. 1724, pp. 90-91) F: https://digital.tcl.sc.edu/digital/collection/rbc/id/3030 Z:AK/Fiddler’s Companion K:F V:1 FC|D2 FG G>F/G/4|A4 fc|d2 (fd)(cA)|G4 FG|A3 cAG|A2F2 FG|AGAcAG| A2F2C2|D2 FG (G>F/G/4)|A4 fg|(ag)(fd)(cA)|G3 ABc|d2 (fd)(cA)|c2 (dc)(AG)|A2 D2 E2|F4:| |:fc|d2 fg g2|a4 fg|a2 (ba)(gf)|g4 fg|a3 bag|a2f2 fg|agabag|a2f2c2| d2 fg g2|a4 fg|agfdcA|G3 ABc|d2 (fd)(cA)|c2 (dc)(AG)|A2 D2E2|F4:| V:2 clef = bass F,,2|B,,2A,,2C,2|F,F,,A,,C, A,,2|B,,2D,2F,2|CC,E,G, C,2|F,2F,,2E,2|F,2A,2C2|F,2F,,2C,2| F,E,F,G,F,E,|B,2A,2C,2|F,E,F,G,F,E,|F,E,D,B,, F,2|C,2E,2G,2|B,2B,,2F,2|A,2F,2E,2|F,2B,,2C,2|F,2F,,2:| |:F,2|B,2A,2E,2|F,F,,A,,C, F,E,|F,2F,,2C,2|CC,E,G,A,G,|F,2A,2C2|F,E,F,G,F,E,|F,2F,,2C,2|F,2A,2F,2| B,2A,2C,2|F,F,,A,,C,G,,2|F,E,D,B,, F,F,,|C,2E,2G,2|B,,2D,2F,2|A,2F,2C,2|F,2B,,2C,2|F,2F,,2:|

THROUGH THE WOOD, LADDIE [1]. AKA – “Through the Woods Lady.” Scottish, Slow Air (3/4 time). F Major: G Major (O’Farrell). Standard tuning (fiddle). AAB (Kershaw): AABB (Gow, O’Farrell): AABBCCDD (Johnson). Allan Ramsay wrote words to the tune which were printed in his multi-volume Tea Table Miscellany (vol. i, 1723). The melody appears twice (as "Throw the Wood Ladie") in the James Gillespie Manuscript of Perth (1768), but it was earlier published by William McGibbon (with variations) in 1742. The tune was heard in two ballad operas: John Gay’s Polly (1729, No. 57), the followup to his immensely successful Beggar's Opera, and James Ralph’s The Fashionable Lady; or Harlequin’s Opera (1730, No. 64). Robert Burns considered the tune for a song but rejected it, writing his publisher in September, 1793: “’Thro’ the wood, laddie.’ I am decidedly of opinion that both in this (tune) and ‘There’ll never be peace till Jamie comes hame,’ the second or high part of the tune being a repetition of the first part an octave higher, is only for instrumental music, and would be much better omitted in singing.”

In addition to the appearance in the Kershaw manuscript (see below), the melody appears in the William Tildesley manuscript (Swinton, Lancashire), from around 1860, under the title “Through the Woods Lady.”

Additional notes
Source for notated version : - McGibbon's Scots Tunes (vol. ii, p. 6) [Johnson]; contained in the 19th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw].

Printed sources : - Nathaniel Gow (Complete Repository, Part 4), 1817; p. 12. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 19, pp. 46 47. The Joseph Kershaw Manuscript, 1993; No. 61 (appears as “Throw the Wood, Laddie”). McGibbon (Scots Tunes, Book 1), c. 1762; pp. 26-27. O’Farrell (Pocket Companion, vol. II), c. 1806; p. 100 (appears as “Thro the Wood Laddie”).

Recorded sources : - Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham” (from the Tildesley manuscript). Maggie’s Music MM220, Hesperus – “Celtic Roots.”

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 {{TuneAnnotation
 |f_annotation='''THROUGH THE WOOD, LADDIE [1].''' AKA – “Through the Woods Lady.” Scottish, Slow Air (3/4 time). F Major: G Major (O’Farrell). Standard tuning (fiddle). AAB (Kershaw): AABB (Gow, O’Farrell): AABBCCDD (Johnson). Allan Ramsay wrote words to the tune which were printed in his multi-volume '''Tea Table Miscellany''' (vol. i, 1723). The melody appears twice (as "Throw the Wood Ladie") in the James '''Gillespie Manuscript of Perth''' (1768), but it was earlier published by William McGibbon (with variations) in 1742. The tune was heard in two ballad operas: John Gay’s '''Polly''' (1729, No. 57), the followup to his immensely successful '''Beggar's Opera''', and James Ralph’s '''The Fashionable Lady; or Harlequin’s Opera''' (1730, No. 64). Robert Burns considered the tune for a song but rejected it, writing his publisher in September, 1793: “’Thro’ the wood, laddie.’ I am decidedly of opinion that both in this (tune) and ‘There’ll never be peace till Jamie comes hame,’ the second or high part of the tune being a repetition of the first part an octave higher, is only for instrumental music, and would be much better omitted in singing.”
-<br>
+<br  />
-<br>
+<br  />
 In addition to the appearance in the Kershaw manuscript (see below), the melody appears in the William Tildesley manuscript (Swinton, Lancashire), from around 1860, under the title “Through the Woods Lady.”
-<br>
+|f_source_for_notated_version=McGibbon's Scots Tunes (vol. ii, p. 6) [Johnson]; contained in the 19th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw].
-<br>
-Sources for notated versions: McGibbon's Scots Tunes (vol. ii, pg. 6) [Johnson]; contained in the 19th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw].  Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham” (from the Tildesley manuscript). Maggie’s Music MM220, Hesperus – “Celtic Roots.”
 |f_printed_sources=Nathaniel Gow ('''Complete Repository, Part 4'''), 1817; p. 12. Johnson ('''Scottish Fiddle Music in the 18th Century'''), 1984; No. 19, pp. 46 47. '''The Joseph Kershaw Manuscript''', 1993; No. 61 (appears as “Throw the Wood, Laddie”). McGibbon ('''Scots Tunes, Book 1'''), c. 1762; pp. 26-27. O’Farrell ('''Pocket Companion, vol. II'''), c. 1806; p. 100 (appears as “Thro the Wood Laddie”).
+|f_recorded_sources=Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham” (from the Tildesley manuscript). Maggie’s Music MM220, Hesperus – “Celtic Roots.”
 }}