Done Gone (1)
X:1 T:Done Gone  M:2/4 L:1/8 B:Stephen F. Davis - Devil's Box, vol. 18, No. 4, Winter 1984 (p. 35) N:Transcribed by Frank Maloy, from versions he remembered played N:over WSM in the 1940's. Maloy identifies the 2nd ending of the third part N:as a 'Tommy Magness lick'. Z:AK/Fiddler's Companion K:Bb d/c/|:"Bb"B/d/f/b/ g/f/d/g/|f/d/f/g/ bb/g/}f/d/f/b/ g/f/d/g/|f/d/B/d/ "F7"c/B/G/F/| "Bb"B/d/f/b/ g/f/d/g/|f/d/f/g/ bf/g/|b/f/_a/f/ g/f/d/g/|1 "F7"f/d/c/d/ "Bb"Bd/c/:|2 "F7"f/d/c/d/ "Bb"B2[D2B2]|| |:"Gm"[Bg]>a g/f/d/f/|g/f/g/a/ bb/g/|"B"f/d/f/b/ g/f/d/g/|f/d/B/d/ "F7"c[DB]| "Gm"[Bg]>a g/f/d/f/|g/f/g/a/ bf/f/|"Bb"b/f/_a/f/ g/f/d/g/|1"F7" f/d/c/d/ "Bb"B[DB]:|2 "F7"f/d/c/d/ "B"BA|| |:"Gm"D?F/G/A/ G/F/D/F/|B/A/B/c/ dB|[Bg]d e/d/c|"D7"d/c/d/e/ d/c/B/A/|"Gm"GG/A/ G/F/D/F/| |1G/A/B/c/ d2|(C/D)F/ DC/D/-|"D7"D/F/D/B, "Gm"G,D/D/:|2 G/A/B/c/ dg/a/|b/a/g/b/ "D7"a/g/^f/a/|"Gm"gg/a/ "F7"-fB/c/|| "Bb"dB/F/D/ B,/C/D/F/|G/B/d/f/ g/f/d/f/|b/f/_a/f/ g/f/d/g/|"Bb"f/d/B/d/ "F7"c/B/G/F/| "Bb"d/B/F/D/ B,/C/D/F/|G/B/d/f/ g/f/d/f/|b/f/_a/f/ g/f/d/g/|1"F7"f/d/c/d/ "Bb"BB/c/:|2 "F7"f/d/c/d/ "Bb"B||
DONE GONE . AKA - "All I've Got's Done Gone." American, Reel (cut or 2/4 time). USA, Widely known, especially among Texas-style fiddlers. B Flat Major ('A' part) & G Aeolian ('B' part). Standard tuning (fiddle). AABBAA (Brody, Songer): AA'BB'CC' (Reiner & Anick): ABCDD (Christeson, 1973): AABBCCDD (Christeson, 1984). "Done Gone" (played in a flat key that is generally unusual for Southern fiddlers) has been credited to an old fiddler from the Texas Panhandle named Matt Brown, who was a regionally well-known musician but who did not record. The story of the origins of the tune has it that Brown was trying to hitch a ride after being stranded some twenty-eight miles outside of Amarillo; he attempted to flag down one car which passed him, and while waiting for another he composed "Done Gone." If the story is true it must have been in the early days of the automobile, for Brown died in 1915 (see also "Kelly's Waltz"). The tune was Texas fiddler Eck Robertson's signature piece and was recorded by him for Victor records in 1923 (backed with "Sallie Johnson/Billie in the Lowground"). Georgia fiddler Clayton McMichen recorded the tune with guitarist Riley Puckett, in the key of C major. In the repertoire of Texas fiddler Bob Wills.