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City Point Jig (Classic-style banjo)
City Point Jig (John C. Wild 1887) Key of Eb Halloween vibes. Thanks to Clarke Buehling for kindly sharing the sheet music for this.Played on my trusty CE S...
Views: 243
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Comment by Jody Stecher on Saturday
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It reminds me of The Kansas Jig and other late 19th century C minor/ E flat tunes. Would you consider sharing the sheet music with the rest of us? I have it pretty-well memorized from watching your video and Clarke's but I'm curious about how Wild represented it in notation.
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Comment by carrie horgan on Saturday
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Yes, I will find it for you. Its handwritten notation by Clarke rather than the original sheet music which I don't have.
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City%20Point%20Jig%201st%20banjo.pdf City%20Point%20Jig%202nd%20banjo.pdf No doubt the original is A notation. I
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Comment by Joel Hooks on Saturday
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And this was published 5 years earlier:
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Wudja look at that! I thought I detected Westonsisms.
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Thanks for the accompaniment, Carrie. Is the 1st banjo part viewable as well?
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OH ! There are two clickable pdf links ! both parts. Thanks!
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Comment by Trapdoor2 yesterday
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I reset both CITY POINT JIG and THE EGYPTIAN FANDANGO...and put them on a single page. I sort of thought they should be linked together...
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I've been playing the two as medley in the same order as in your score(first the Fandango) all day. I think all the A-s in the Fandango should be A flat ,as in the key signature. A-natural doesn't sound right and since C (tuning) is three half-steps above A tuning, the F natural in the original becomes A flat when raised three half steps. Either way, the question arises as to *how* to play the chord of 4 notes in which the A appears. The chord at the end of the 1st measure for instance. The thumb has to be on the 5th string. That leaves the index and middle to play strings 3,2 and 1. The thumb cannot pass from string 5 to string 3 as it does from string 4 to 3 for 4 notes chord entirely on the long strings. So the ring finger of the right hand needs to be used I guess. It's an odd chord as written; it seems to want to be both a dominant seventh and a diminished chord. I think it sounds better eliminating either the 5th string or the 3rd string..... OR..... playing the 3 long strings and following it with an open 5th string of very short duration. I'm guessing Weston may have played it like that.
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Marc, your re-setting is so easy to read.
According to the manuscript Carrie shared, the final note of measure 8, the last measure of the A part, should be an octave higher. It should be the G of the open 5th string.
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