Learned from: The first three strains are Henry Reed’s set. During the 1960s I heard the extra strain on a 78-rpm record, as
a third strain, and added it to my setting as a fourth strain. I also added melodic details from other sources. The tune is well
known among American fiddlers. Henry Reed called it Stony Point, one of its many titles in the Appalachians (see American
tune, the connection is lost on modern fiddlers. Northern fiddlers often call the tune Pig Town Fling.
Key, range, scale: G; 13; heptatonic
Structure: AB CD EF GH (abac dedc fgfh ijih)
Tune features: The tune is a short-strain tune – each strain requires 8 beats (16 with the repeat), instead of the usual 16 (32
with the repeat). The second strain is like a compressed version of the first strain. Instead of an octave range (plus pickup), it
offers a range of a fifth or sixth. The third strain presents and dwells on the sixth degree of the scale. I often begin with a three-
strain version, then add the fourth strain on about the fourth repetition. But in a contra dance, which must be four-square, I
play all four parts from the outset.
Stylistic Features: The first measure offers four syncopated groups of three. The syncopation is conveyed by alternate
slurred groups and separate-stroke groups, which is a typical way for syncopated patterns to unfold in my style. After the
syncopated first strain, the second strain features slurred and separate groups of two and four. The shift from one bowing
pattern to another helps distinguish two strains that are similar in melodic makeup. The third strain reverts to syncopation by
dwelling on a unison E with two dotted eighth notes. Unisons occur often at phrase-endings, but this unison E is a dramatic
melodic gambit at the beginning of the phrase and strain. The fourth strain reverts to groups of two and four.
SEE: Anticipation (IV-1R)
Scotch snap pattern (III-1, III-2)
Syncopation in a 3-3-2 pattern (I-1 - Form 7, III-1 - Form 3)