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Jeff Titon (2001), picking up this theme, speculates that the various related "Fire on the Mountain" tunes may have resulted from the influence of influential Norwegian fiddler Ole Bull, who toured the United States extensively in the 19th century. The tunes are so close as to be almost certainly cognate. vi, I, March, 1942), gives a bar-for-bar comparison of the tune with a Norse 'halling' tune, set by the Norwegian composer Greig and published in Copenhagen in 1875 ( Norges Melodier, 1875 & 1922, iv, p. Winston Wilkinson, in the Southern Folklore Quarterly (vol.
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"It has been suggested that the tune originated from eastern European migrants, some of whom made commercial recordings in New York in the early part of the 20th century," says Mike Yates (2002). Krassen (1973) notes his 'B' part has similarities with a 78 RPM recording of Pope's Arkansas Mountaineers' " Hog-eyed Man" Hog Eye (1) and Bayard (1981) also recognizes the similarity between the second parts of the same tunes, though a closer match to "Fire On the Mountain" he believes to be Betty Martin which is "reminiscent all through." Guthrie Meade (1980) links the Kentucky version of the tune (which also goes by the name " Big Nosed Hornpipe") to the " Sally Goodin'" family of melodies. The title may be Celtic in origin: Scottish clans often used blazing bonfires on Highland hills as gathering signals (ironically, this also may be the origin for the Ku Klux Klan's blazing crosses). the fiddler plays so fast the fiddle catches on fire and lights up the woods (Lowinger, 1974). It is typically played at breakneck speed, giving rise to popular folklore for the origins of the title: i.e. AKA and see Betty Martin, Far in the Mountain, Hog Eye (1), Old Mother Gofour, Pretty Betty Martin, Oh Yes Mammy Look at Sam, Sambo, Ten Little Indians, Tip Toe Fine.Ī popular 'American' fiddle tune that has numerous variants (some quite distanced from each other) and is widely disseminated throughout the South and Midwest.