Annotation:Snouts and Ears of America (The): Difference between revisions
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'''SNOUTS AND EARS OF AMERICA, THE.''' American, Reel (whole time). USA, Pennsylvania. D Major. Standard tuning (fiddle). AABB. Bayard (1944) knew of only this version of the tune but noted that it was possible it was a derivative of the familiar jig "[[Irish Washerwoman ( | '''SNOUTS AND EARS OF AMERICA, THE.''' American, Reel (whole time). USA, Pennsylvania. D Major. Standard tuning (fiddle). AABB. Bayard (1944) knew of only this version of the tune but noted that it was possible it was a derivative of the familiar jig "[[Irish Washerwoman (1)]]" recast in 4/4 time, and with the order of parts reversed. Editorializing, he thought it made a distinct improvement on the suspected original melody. Breathnach (1976) also noted the similarity. | ||
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Revision as of 17:13, 21 January 2020
X: 1 T: 58. THE SNOUTS AND EARS OF AMERICA B: Sam Bayard, "Hill Country Tunes" 1944 #58 S: Played by Mrs Sarah Armstrong, (near) Derry, PA, Nov 5, 1943. N: The title of this fine, spirited tune may not be a corruption, but as it stands it is N: incomprehensible. The editor knows of no other version; but it is not impossible that N: the air is a derivative of the familiar "Irish Washerwoman" tune, recase in 4/4 time, N: and with the order of parts reversed. If so, it makes a distinct improvement on the N: original melody. R: reel M: 4/4 L: 1/8 Z: 2010 John Chambers <jc:trillian.mit.edu> F:http://www.john-chambers.us/~jc/music/book/HillCountryTunes/58_SnoutsAndEarsOfAmerica_D.abc K: D A2 |\ d2D2 D2D2 | F2A2 d2ed | c2A2 ABcd e2A2 A2Bc | dcBA G2F2 | E2[A2D2] ABAG | F2D2 E2DE | F2D2 D2 :: D2 | F2D2 D2D2 | F2D2 [A2D2]BA | G2[E2A,2] [E2A,2][E2A,2] | A2d2 d2AG | F2D2 D2D2 | F2A2 A2BA | G2E2 A3G | F2D2 D2 :|
SNOUTS AND EARS OF AMERICA, THE. American, Reel (whole time). USA, Pennsylvania. D Major. Standard tuning (fiddle). AABB. Bayard (1944) knew of only this version of the tune but noted that it was possible it was a derivative of the familiar jig "Irish Washerwoman (1)" recast in 4/4 time, and with the order of parts reversed. Editorializing, he thought it made a distinct improvement on the suspected original melody. Breathnach (1976) also noted the similarity.