Annotation:Durang's Hornpipe (2): Difference between revisions
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---- | {{TuneAnnotation | ||
|f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Durang's_Hornpipe_(2) > | |||
'''DURANG'S HORNPIPE [2]'''. | |f_annotation='''DURANG'S HORNPIPE [2]'''. American, Reel. USA, Missouri. D Major. Standard or ADae tunings (fiddle). AABB (Phillips, Songer): AA'BB (Brody): AA'BB' (Beisswenger & McCann). This tune bears so little resemblance to "[[Durang's Hornpipe (1)]]" that it hardly appears derivative, but rather constitutes a new tune. It appears to come originally from sources west of the Appalachians. One source, fiddler Jake Phelps (1885-1977), from Todd County near Elkton, Kentucky, was recorded in 1973 by Bruce Greene. Phelps learned many of his tunes, including this "Durang's Hornpipe", from local fiddler Will Stegall (b.ca. 1869) who had learned his tunes in the Purchase Section of Western Kentucky. | ||
<br> | <br> | ||
<br> | <br> | ||
< | The tune is mentioned in a passage in Missouri physician William Percival King's '''Stories of a Country Doctor''' (1891), in his chapter called "Old Time Dances and Parties." After a community barn-raising...: | ||
< | <blockquote> | ||
'' | ''...the young men would repair to the house in the dusk of evening. If the quilt was'' | ||
''done it would be taken out of the frames; if not it would be wound up--that is lifted'' | |||
''to the ceiling or "loft," and then securely tied overhead. If there was a bed in the'' | |||
''"big room" it would be taken down and removed. The fiddlers would get ready while'' | |||
''everybody ate a hasty supper. This evening meal was enjoyed most by the old folks,'' | |||
''for the younger ones would be so elated with the prospect of what was to come they'' | |||
''could not eat. The "fiddlers" (there were no violinists in those days) would take'' | |||
''their places i the corner and begin to "tune up." Four young men would seek partners'' | |||
''and take their places for a cotillion. Then the fiddlers would strike up a familiar'' | |||
''strain and the dancing would begin."<br> | |||
''And it was dancing.''<br> | |||
''None of your gliding and sliding to and fro, a little hugging here and there,'' | |||
''touching the tips of fingers and bowing and scraping. Oh, no. This was dancing.'' | |||
''The music was such as "Fishers," "Durangs," "Rickett's," and "The Sailor's" '' | |||
''hornpipes, "The Arkansas Traveler," "Cotton Eyed Joe," "Nancy Rowland," "Great'' | |||
''big 'taters in sandy land," "Pouring soapsuds over the fence," "The snow bird on'' | |||
Jane Keefer's Folk Music Index [http://ibiblio.unc.edu/keefer/d11.htm#Durho2].<br> | ''the Ash bank," "The Route," "The Rye Straw," "Run, nigger, run," etc. Sometimes'' | ||
Hear Jake Phelps' version at Slippery Hill [ | ''one of the fiddlers would act as "prompter," or, if he could not, then some one'' | ||
''would be selected.'' ... [pp. 48-49]. | |||
</blockquote> | |||
|f_source_for_notated_version=J.T. Perkins [Phillips]; Liz Slade (Yorktown, New York) [Kuntz]; Bruce Schwartz (Ketchikan, Alaska) [Songer]; Vesta Johnson (b. 1922, near St. Louis, Mo.) [Beisswenger & McCann]; Jake Phelps [Milliner & Koken]. | |||
---- | |f_printed_sources=Beisswenger & McCann ('''Ozarks Fiddle Music'''), 2008; p. 70. Brody ('''Fiddler's Fakebook'''), 1983; p. 94. Milliner & Koken ('''Milliner-Koken Collection of American Fiddle Tunes'''), 2011; p. 179. Phillips ('''Traditional American Fiddle Tunes'''), vol. 2, 1995; p. 191. Songer ('''Portland Collection'''), 1997; p. 68. | ||
|f_recorded_sources=American Heritage 24, Lonnie Peerce- "Golden Fiddle Tunes." Cartunes 105, Bruce Molsky & Bob Carlin - "Take Me As I Am" (2004. Source credit to Brad Leftwich). Davis Unlimited DU 33017, J.T. Perkins- "Fiddle Favorites Perkins Style." Folkways FTS 31039, "Red Clay Ramblers" (1974 Based on a version from Marion, Indiana fiddler John Summers). Kicking Mule, David Winston- "Soutern Clawhammer Banjo." Marimac 9023, Bruce Molsky and Bob Carlin - "Take Me as I Am." Voyager 309, Benny and Jerry Thomasson- "The Weiser Reunion: a Jam Session" (1993). Christian Wig & Mark Ward - "Come Back Boys and Feed the Horses." | |||
|f_see_also_listing=Jane Keefer's Folk Music Index [http://ibiblio.unc.edu/keefer/d11.htm#Durho2].<br> | |||
Hear Jake Phelps' version at Slippery-Hill [https://www.slippery-hill.com/content/durangs-hornpipe-2]<br> | |||
}} | |||
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Latest revision as of 16:42, 19 January 2021
X:1 T:Durang's Hornpipe [2] L:1/8 M:2/4 S:Liz Slade Z:AK/Fiddler's Companion N:ADae tuning K:D D/E/F/E/ D/E/F/E/|A/A/d/A/ B/B/A|D/E/F/E/ D/E/F/E/|D/B,/A,/(A,/ A,2)| D/E/F/E/ D/E/F/E/|A/A/d/A/ B/A/B/(3A/4B/4c/4|d/A/d/e/ f/f/e/(A/|d/f)(d/ f2):| |:(e/|f/)(g/a/)e/ (f/e/)d/A/|B/(c/d/)A/ (B/A/)F/D/|G/FD/ E/(D/E)| e>f e>(e|f/)(g/a/)e/ (f/e/)d/A/|B/c/d/A/ B/A/F/(D/|G/)FA/ fe|(d/f)(d/ f)z/:||
DURANG'S HORNPIPE [2]. American, Reel. USA, Missouri. D Major. Standard or ADae tunings (fiddle). AABB (Phillips, Songer): AA'BB (Brody): AA'BB' (Beisswenger & McCann). This tune bears so little resemblance to "Durang's Hornpipe (1)" that it hardly appears derivative, but rather constitutes a new tune. It appears to come originally from sources west of the Appalachians. One source, fiddler Jake Phelps (1885-1977), from Todd County near Elkton, Kentucky, was recorded in 1973 by Bruce Greene. Phelps learned many of his tunes, including this "Durang's Hornpipe", from local fiddler Will Stegall (b.ca. 1869) who had learned his tunes in the Purchase Section of Western Kentucky.
The tune is mentioned in a passage in Missouri physician William Percival King's Stories of a Country Doctor (1891), in his chapter called "Old Time Dances and Parties." After a community barn-raising...:
...the young men would repair to the house in the dusk of evening. If the quilt was done it would be taken out of the frames; if not it would be wound up--that is lifted to the ceiling or "loft," and then securely tied overhead. If there was a bed in the "big room" it would be taken down and removed. The fiddlers would get ready while everybody ate a hasty supper. This evening meal was enjoyed most by the old folks, for the younger ones would be so elated with the prospect of what was to come they could not eat. The "fiddlers" (there were no violinists in those days) would take their places i the corner and begin to "tune up." Four young men would seek partners and take their places for a cotillion. Then the fiddlers would strike up a familiar strain and the dancing would begin."
And it was dancing.
None of your gliding and sliding to and fro, a little hugging here and there, touching the tips of fingers and bowing and scraping. Oh, no. This was dancing. The music was such as "Fishers," "Durangs," "Rickett's," and "The Sailor's" hornpipes, "The Arkansas Traveler," "Cotton Eyed Joe," "Nancy Rowland," "Great big 'taters in sandy land," "Pouring soapsuds over the fence," "The snow bird on the Ash bank," "The Route," "The Rye Straw," "Run, nigger, run," etc. Sometimes one of the fiddlers would act as "prompter," or, if he could not, then some one would be selected. ... [pp. 48-49].
