MINEOLA RAG. Old-Time, Country Rag. USA, east Texas. D Major ('A' and 'B' parts) & G Major ('C' part). Standard tuning (fiddle). AABBC (Brody): AA'BB'C (Phillips, Silberberg). Composed and titled by the East Texas Serenaders  for the town of Mineola, Texas (where the group’s cello player, Patrick Henry Bogan, worked for the Post Office). The Serenaders were a popular string band in the 1920's, who featured a rare cello among the usual lineup of guitar and fiddles. The tune shows the ragtime influence on old-time music, and contains segments borrowed from other popular ragtime pieces. The original key was probably E flat major, as (unusual for old-time string band music) the Serenaders played many tunes in flat keys. The Serenaders recorded the tune in Dallas, Texas, in November, 1930.
Sources for notated versions: Daniel Williams and the East Texas Serenaders (east Texas) [Brody, Phillips]; Hank Bradley [Silberberg].
Printed sources: Brody (Fiddler's Fakebook), 1983; p. 190. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; p. 87. Silberberg (Tunes I Learned at Tractor Tavern), 2002; p. 99.
Recorded sources: Adelphi 2004, Delaware Water Gap- "String Band Music." Brunswick 562 (78 RPM), The East Texas Serenaders (1930). County 410, East Texas Serenaders- "1927-1936" (1977). County 527, East Texas Serenaders- "Old-Time Fiddle Classics, vol. 2." Yazoo 2067, East Texas Serenaders - "Times Ain't Like They Used To Be, vol. 7: Early American Rural Music
Classic Recordings From the 1920s & 30's (reissue CD).
See also listing at:
Jane Keefer's Folk Music Index: An Index to Recorded Sources 
Hear the East Texas Serenader's 1930 recording on youtube.com 
See/hear Walk Koken & the Orpheus Supertones play the tune on youtube.com 
(A,B,)|DEFA BdBA|F E2 A-A2 (A,B,)|DEFA BdBA|F E2 A-A4|
dABA FDED|BABd- d2 E2-|E_E=EF ^G E2(B|c)ABA- A2 (FE)|
DEFA BdBA|F E2 A-A2 (A,B,)|DEFA BdBA|FE2A- A2Bc|
dABA FEDA|BABd- dcdD|FABA FD E2| D2 dc d2 de||
fafe dABc|ecea- aa ^A2|BABd- dB AF|DEFA- AF ED|
B,4 D3E|FA-AB AFED|EDEF ^GE-Ed|cAB^G A3e|
fafe dcBd|ecea- ae a2|BABd-dc d2|DEFA- AFED|
B,4 D3E-|FEFB- B^G A2|ECEF- FC DC|D6 A^A||
BAGE DB,A,G,|E2 D4 EF|GFGA- AD G2|[F6A6] AB|
cBAF EFED|F E2F E2 AB|cAFE- EDEA|BAGE DB,DG|
BAGE DB,A,G,|D6 D2|B3A cAB^G|A4E3^D-|
E^DEA- A2^A|BAGE D2 ^CD|EDEF- FE D2|[G6B6]||
Why there is a need for the Traditional Tune Archive
Although we are not trained musicologists and make no pretense to the profession, we have tried to apply such professional rigors to this Semantic Abc Web as we have internalized through our own formal and informal education.
This demands the gathering of as much information as possible about folk pieces to attempt to trace tune families, determine origins, influences and patterns of aural/oral transmittal, and to study individual and regional styles of performance.
Many musicians, like ourselves, are simply curious about titles, origins, sources and anecdotes regarding the music they play. Who, for example, can resist the urge to know where the title Blowzabella came from or what it means, or speculating on the motivations for naming a perfectly respectable tune Bloody Oul' Hag, is it Tay Ye Want?
Knowing the history of the melody we play, or at least to have a sense of its historical and social context, makes the tune 'present' in the here and now, and enhances our rendering of it.
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Andrew Kuntz & Valerio Pelliccioni