X:1 T:Hopping John S:Bill Hensley (N.C.) M:C| L:1/8 F: Z:Transcribed by Andrew Kuntz K:D dB|ABdf edBd|+slide+[d2f2][df][de] [d2f2][d2f2]|Adfd edBd|[d2f2][d2f2][d2f2][d2f2]| Adfd edBd|+slide+[d2f2][df][de] [d2f2][d2f2]|Adfd edBd|[d2f2][d2f2][D2d2][D2d2]|| fa2b a2a2|+slide+f3d [D3d3]+slide+f-|fdfd edBd|+slide+[d2f2][d2f2][D2d2][D2d2]| fa2b a2a2|+slide+f3e f2a2-|aefd edBd|+slide+[d2f2][d2f2][D2d2][D2d2]||
According to his contemporary, North Carolina fiddler Manco Sneed, Hensley, "was a pretty good fiddler, but played a little rough and drank too much." Hensley is also associated with the fiddling governor Robert Love Taylor, who served Tennessee for two terms in the late 19th century. The farm on which Hensley was born was adjacent to that of Gov. Bob Taylor, and Hensley fiddle, he claimed, come into the possession of Hensley's father who bartered twenty acres of land for it. Hensley attributed several tunes in his repertoire to Taylor, and attributed "Hopping John" to Cherokee Native American fiddler John Sneed, Manco's father.
"Hopping John" features slides and staccato-like quarter note cadences which is meant to suggest hopping.
- See David Parker Bennett's 1940 dissertation "A Study in Fiddle Tunes from Western North Carolina", UNC, Chapel Hill, p. 22