Annotation:Stony Point (2)
X: 1 T:Stony Point [2] M:6/8 L:1/8 F:http://www.john-chambers.us/~jc/music/abc/mirror/library.yale.edu/StonyPoint.abc K:D R:Colonial jig F/G/|"D"AdA FDF|dcd AFD|DFA def|"A"e3A2F|! "D"FDF AFA|"G"BGB |"A"efg|"D"fed "A"Adc|"D"d3d2:|]! d/c/|"G"BcA "D"def|"G"gfe "D"agf|"A"edc "D"def|"A"A3G3|! "D"FAd dAF|"Em"GBe "A"efg|"D"fed "A"Adc|"D"d3d2:|]!
STONY POINT [2]. AKA – “Stoney Point.” AKA and see "Norah the Pride of Kildare.” American, Jig (6/8 time). D Major. Standard tuning (fiddle). AABB. “Stony Point” appears in early American music manuscripts such as Benjamin Carr’s Evening Amusement (p. 14), published in Philadelphia, Pa., in 1796. Morrison (1976) and Bayard (1981) date the title of this once very-popular dance air to probably the late 1780's. It commemorates a far more embarrassing event for the British commander Sir wikipedia:Henry_Clinton_(British_Army_officer,_born_1730) than the "Britons Strike Home" dance incident, namely his 1779 defeat at the Hudson River fort at Stony Point, New York, at the hands the American forces commanded by General "Mad" Anthony Wayne. The tune, however, Bayard (1981) traces to earlier times and finds it in James Oswald's Caledonian Pocket Companion, vol. 1, p. 64 (though he probably did not compose it, he thinks), and in McGibbon's Collection of Scots Tunes, p. 47, where it is called simply "Gigga" (jig). Bayard notes that this and many other giggas were based to some extent on the immediately preceding song in a collection; in the case of the Stony Point "Gigga,” the preceding song was "The Bonny Boat Man.”
