Annotation:Maggie Grey: Difference between revisions
No edit summary |
No edit summary |
||
| Line 34: | Line 34: | ||
<br> | <br> | ||
</font></p> | </font></p> | ||
<p><font face=" | <p><font face="Century Gothic" size="3"> | ||
See also listing at:<br> | See also listing at:<br> | ||
Hear George Hawkins play the tune at Slippery Hill [http://slippery-hill.com/Titon/MaggieGray.mp3] [https://www.slippery-hill.com/recording/meg-gray]<br> | Hear George Hawkins play the tune at Slippery Hill [http://slippery-hill.com/Titon/MaggieGray.mp3] [https://www.slippery-hill.com/recording/meg-gray]<br> | ||
Revision as of 21:56, 2 February 2020
X:1 T:Meg Gray N:From the playing of fiddler George Lee Hawkins N:(1904-1991, Bath County, northeastern Ky.), recorded N:in the field in 1973. M:C| L:1/8 Q:"Moderate" N:Play ABACA D:George Lee Hawkins - "Traditional Fiddle Music of Kentucky vol. 1" (1997) D:https://www.slippery-hill.com/recording/meg-gray Z:Transcribed by Andrew Kuntz K:Emin [A2e2]-||S[Ae]fed B2[A2A2]|GBAG [B,2E2] [B,2E2]|DEGA BGAG|(B2+slide+[e2e2])[ee][e2e2][e2e2]-| [Ae]fed (Bc)BA|GBAD [B,2E2] [B,2E2]|EEGA Bded|B[A2A2]A [A2A2][A2e2]-| [Ae]fed (Bd)BA|GBAG [B,2E2] [B,2E2]|DEGA BGAG|(B2+slide+[e2e2])[ee][e2e2]ef| gded BcBA|GBAG [B,2E2] [B,2E2]|EFGA Bded|B[A2A2]A [A2A2]|| K:Edor AB|c2 AB c2 AB|c2 ef gfec|dged BGAG|B[D2d2]e d2eB| c2AB c2 AB|cdef gage|dged BGAd|B2[A2A2][A2A2]|| e2|:d2B2 BAGB|d2[D2B2][D3B3]e|g2b2a2g2|1[e4e4][e2e2]B-d-:|2 [e4e4][e2e2]efS||
MAGGIE GREY. AKA - "Maggie Gray," "Margaret Grey," "Meg Grey." Old-Time, Breakdown. USA, Kentucky. E Minor ('A' part), A Mixolydian ('B' part) & G Major ('C' part). Standard tuning or GCgd (fiddle). AABBCC (Titon): AABB'BB'CC (Phillips). Mark Wilson writes that source George Lee Hawkins (1904-1991, Bath County, Kentucky) fashioned the tune from a banjo player's tune he heard when he was a boy. Hawkins was a friend and fiddling buddy of John W. Summers, notes fiddler Joel Shimberg. There is a possibility that the third part did not originally go to the tune, according to Kerry Blech, but rather became attached after "floating" from another tune. He points out that Hawkins, while he always did play the third part, would not play it in order, but would rather insert it into the sequence of parts seemingly at will. See also the related tune "Cattle in the Cane (1)". Shimberg also sees some similarities with Tennessee fiddler Allen Sisson's "Sally Brown Jig."
