Template:Featured Tune: Difference between revisions

Find traditional instrumental music
No edit summary
No edit summary
 
(103 intermediate revisions by the same user not shown)
Line 1: Line 1:
__NOABC__
__NOABC__
__NOTITLE__
__NOTITLE__
<p><font face="Century Gothic" size="2">
<p><font face="sans-serif" size="3">
<div style="text-align: justify; direction: ltr; margin-left: 0pX; margin-right: 0px;">
<div style="text-align: justify; direction: ltr; margin-left: 2pX; margin-right: 2px;">
[[File:sylph.jpg|300px|thumb|left|Priscilla Horton(1818 – 1895), was a popular English singer and actress, known for her role as Ariel in W. C. Macready's production of The Tempest in 1838 and "fairy" burlesques at Covent Garden Theatre.]]
[[File:barbed.jpg|300px|thumb|left|Fenced In, by Bonnie Bruno]]
A sylph was a kind of fairy; winged, kindly disposed to humans, often depicted as tiny cherubs. The title, however, is probably derived from a pantomime called '''The Sylphs; or, Harlequin’s Gambols''', staged at Covent Garden in 1774. The music for the production was by John Abraham Fisher (1744-1806), an English violinist and composer who began his career playing in London theatre orchestras, but who rose quickly to lead the Covent Garden orchestra (from c. 1769-1778). He wrote for the theatre, composed violin pieces, six symphonies and an oratorio, and also penned popular pleasure-garden songs. For a time he led the Vauxhall Garden orchestra.
On November 24, 1874, Joseph F. Glidden of DeKalb, Illinois, was granted a patent for fencing material consisting of barbs wrapped around a single strand of wire and held in place by twisting that strand around another. His original double-strand design, the Winner, lived up to its name; it is the most commercially successful of the hundreds of eventual barbed wire designs. Glidden was also the winner in a welter of litigation that reached all the way to the Supreme Court after some dozen other inventors claimed legal priority. Barbed wire was not immediately successful in Texas and elsewhere, especially with smaller cattle ranchers who depended on an 'open range' to sustain their operations. Their opposition led to the barbed wire conflicts of the 1880's, but eventually the ranges were fenced off. Although open range became a thing of the past, barbed wire helped cattlemen to breed herds in protected environments, thus negating the reliance on long-horned cattle that were more suitable to the open range.
<br>
The melody appears in a number of 19th century English musician’s manuscripts under titles such as “The Self” (Joshua Gibbons,a miss-hearing of 'Sylph'), “The Sylph” (John Clare, John Moore), “The Cylph Dance,” etc., in a variety of keys. Moore gives the alternate title “[[Plymouth Lasses]].” The jig also appears in the music manuscripts of Lionel Winship (Wark, Northumberland, 1833), Rev. Robert Harrison (Brampton, Cumbria, 1820), John Rook (Cumbria, 1840), John Moore (Tyneside, 1841), the Hardy family (Dorset), William Calvert (Leyburn, north Yorkshire, 1812), John Baty (Bethel, Northumberland, 1840-60), Thomas Lambert (Ferrybridge, Yorkshire) and C.J. Surtees (Northumberland). In America the tune was published in '''Willig’s Collection of Popular Country Dances, No. 3''' (Philadelphia, Pa., 1812), and dance instructions were given in a few other publications.
<br>
</div>
</div>
</font></p>
</font></p>
----
----
[[Annotation:Sylph_(The)|THE SYLPH full Score(s) and Annotations]] and [[Featured_Tunes_History|Past Featured Tunes]]
[[Annotation:Texas_Barbed_Wire|TEXAS BARBED WIRE full Score(s) and Annotations]] and [[Featured_Tunes_History|Past Featured Tunes]]
[[File:Texas barbed wire g.mp3|left]]
{{break}}
*Played By: Jon Bekoff
----
----
<div class="noprint">
<div class="noprint">
<!--{{#widget:SoundCloud |id= 53881165}} -->
<!-- {{#widget:SoundCloud |id=211669164}} -->
{{#ev:youtube|UWoLD5M3GiM|dimensions=200x100}}
<!-- {{#ev:youtube|hIH1FKXdrU8|dimensions=200x100}} -->
</div>
</div>
----
----
X: 1
<div class="no mobile">
C:Page 28
X:1
T:Self [2]. MBe.55, The
T:Texas Barbed Wire
M:6/8
M:C|
L:1/8
L:1/8
Q:3/8=120
R:Reel
R:Jig
Q:"Fast"
K:D
K:G
A|AFA dfa|agf e2 g|fag fed|cee e2 A|
EE|D2+slide+B2 BcBG-|D2 [DB]A BdBG-|E3 [Ec]B cdcG-|E2 [Ec]B cdcG-|
AFA dfa|agf e2 g|fad egA|edd d3:|
DD +slide+BA BcBG-|DD BA BdBG|AFAB cBAc|BG[GB][GB][G2B2]:|
|:g|fad' d'c'b|bag f2 d|fad fad|cee e2 g|
Bc|dg[dg]f gfga|b2g2- gg-fg|abag fefg|a2f4Bc|
fad' d'c'b|bag f2 d|fad egc|edd d3:|
dg[dg]f gfga|b2g2- ge-fg|abae- fd[d2f2]|1 [B3g3][Bg] [Bg]dBc:|2[B3g3][Bg] [Bg]:|
</div>

Latest revision as of 17:08, 8 June 2019


Fenced In, by Bonnie Bruno

On November 24, 1874, Joseph F. Glidden of DeKalb, Illinois, was granted a patent for fencing material consisting of barbs wrapped around a single strand of wire and held in place by twisting that strand around another. His original double-strand design, the Winner, lived up to its name; it is the most commercially successful of the hundreds of eventual barbed wire designs. Glidden was also the winner in a welter of litigation that reached all the way to the Supreme Court after some dozen other inventors claimed legal priority. Barbed wire was not immediately successful in Texas and elsewhere, especially with smaller cattle ranchers who depended on an 'open range' to sustain their operations. Their opposition led to the barbed wire conflicts of the 1880's, but eventually the ranges were fenced off. Although open range became a thing of the past, barbed wire helped cattlemen to breed herds in protected environments, thus negating the reliance on long-horned cattle that were more suitable to the open range.


TEXAS BARBED WIRE full Score(s) and Annotations and Past Featured Tunes


  • Played By: Jon Bekoff


X:1 T:Texas Barbed Wire M:C| L:1/8 R:Reel Q:"Fast" K:G EE|D2+slide+B2 BcBG-|D2 [DB]A BdBG-|E3 [Ec]B cdcG-|E2 [Ec]B cdcG-| DD +slide+BA BcBG-|DD BA BdBG|AFAB cBAc|BG[GB][GB][G2B2]:| Bc|dg[dg]f gfga|b2g2- gg-fg|abag fefg|a2f4Bc| dg[dg]f gfga|b2g2- ge-fg|abae- fd[d2f2]|1 [B3g3][Bg] [Bg]dBc:|2[B3g3][Bg] [Bg]:|