Annotation:Pompey ran Away: Difference between revisions

Revision as of 17:44, 22 April 2016

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POMPEY RAN AWAY. American, Jig (3/4 or 6/4 time). G Major. Standard tuning (fiddle). AABB. The tune, perhaps the earliest extent attributed to African-Americans, appears in Glasgow publisher James Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. 1), 1782, No. 163, p. 57), labelled a “Negroe Jig”. Hans Nathan has described it as "one of the earliest blends of European and primitive melodies," and conjectures that it is a collaboration between a British visitor who transcribed it from a transplanted African source. How authentic the melody is to African or African-American tradition is unknown.

Source for notated version:

Printed sources: Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; p. 15.

Recorded sources:

See also listing at:
See/hear Timothy Twiss play the tune on fretless banjo on youtube.com [1]
Read an interesting ethnomusicological piece, "From Akonting to Banjo: A Story of Musical Colonialism and Cultural Appropriation" [2]

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-'''POMPEY RAN AWAY.''' American, Jig. G Major. Standard tuning (fiddle). AABB. The tune, perhaps the earliest extent attributed to African-Americans, appears in Glasgow publisher James Aird’s '''Selection of Scotch, English, Irish and Foreign Airs, vol. 1'''), 1782, No. 163, p. 57), labelled a “Negroe Jig”. Hans Nathan has described it as "one of the earliest blends of European and primitive melodies," and describes it as a collaboration between a British visitor transcribing it from a transplanted African source.
+'''POMPEY RAN AWAY.''' American, Jig (3/4 or 6/4 time). G Major. Standard tuning (fiddle). AABB. The tune, perhaps the earliest extent attributed to African-Americans, appears in Glasgow publisher James Aird’s '''Selection of Scotch, English, Irish and Foreign Airs, vol. 1'''), 1782, No. 163, p. 57), labelled a “Negroe Jig”. Hans Nathan has described it as "one of the earliest blends of European and primitive melodies," and conjectures that it is a collaboration between a British visitor who transcribed it from a transplanted African source. How authentic the melody is to African or African-American tradition is unknown.
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