Annotation:Get on de Train: Difference between revisions
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'''GET ON DE TRAIN'''. American, "Sand Jig" (4/4 or cut time). A Major (Cole/Ryan): A Major (Kerr). Standard tuning (fiddle). AABBCC (Cole): AABBCC' (Kerr). '''Ryan's Mammoth Collection''' credits composition of the melody to Frank Livingston, one of several under his name in the collection. A 'sand jig' was a duple-time syncopated dance tune bearing no relation to the Irish jig. Rather, 'jig' in this context is more in the English (morris) sense, meaning a solo dance. The sand jig was meant to be performed on a stage that had been strewn with sand, to facilitate the movement of the stepping. | '''GET ON DE TRAIN'''. American, "Sand Jig" (4/4 or cut time). A Major (Cole/Ryan): A Major (Kerr). Standard tuning (fiddle). AABBCC (Cole): AABBCC' (Kerr). '''Ryan's Mammoth Collection''' credits composition of the melody to Frank Livingston, one of several under his name in the collection. A 'sand jig' was a duple-time syncopated dance tune bearing no relation to the Irish jig. Rather, 'jig' in this context is more in the English (morris) sense, meaning a solo dance. The sand jig was meant to be performed on a stage that had been strewn with sand, to facilitate the movement of the stepping. | ||
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''Printed sources'': Cole ('''1000 Fiddle Tunes'''), 1940; p. 81. Kerr ('''Merry Melodies'''), vol. 2; No. 420, p. 47. '''Ryan's Mammoth Collection''', 1883; p. 114. | ''Printed sources'': Cole ('''1000 Fiddle Tunes'''), 1940; p. 81. Kerr ('''Merry Melodies'''), vol. 2; No. 420, p. 47. '''Ryan's Mammoth Collection''', 1883; p. 114. | ||
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Revision as of 12:52, 6 May 2019
Back to Get on de Train
GET ON DE TRAIN. American, "Sand Jig" (4/4 or cut time). A Major (Cole/Ryan): A Major (Kerr). Standard tuning (fiddle). AABBCC (Cole): AABBCC' (Kerr). Ryan's Mammoth Collection credits composition of the melody to Frank Livingston, one of several under his name in the collection. A 'sand jig' was a duple-time syncopated dance tune bearing no relation to the Irish jig. Rather, 'jig' in this context is more in the English (morris) sense, meaning a solo dance. The sand jig was meant to be performed on a stage that had been strewn with sand, to facilitate the movement of the stepping.
Source for notated version:
Printed sources: Cole (1000 Fiddle Tunes), 1940; p. 81. Kerr (Merry Melodies), vol. 2; No. 420, p. 47. Ryan's Mammoth Collection, 1883; p. 114.
Recorded sources:
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