Steel Driving Man
Program Notes
There is much evidence that John Henry the legend is based on the life of a real man. Born a slave sometime between 1840 and 1850 in Virginia or North Carolina (depending on which research you believe), he grew to be 6 feet tall and 200 pounds – literally a giant in those days. John Henry the man was said to have a booming baritone voice and was an accomplished banjo player.
It is here where opinions vary in regards to the legend of John Henry. Some researchers place him with the C & O Railroad in West Virginia while others place him in Alabama with the Central of Georgia Railroad. While this discrepancy exists, the back-story of John Henry remains the same. Strong evidence places him on the C & O line during the construction of the Big Bend Tunnel near Talcott, WV beginning in 1870. The tunnel took nearly three years to complete with over 1,000 men working. John Henry was hired as a steel driver (also known as a hammer man). The job was to drive holes by striking a thick, steel drill or spike while a shaker (or turner) would crouch close and rotate the drill after each blow. Once the hole was drilled, explosives were placed to help clear the rock. John Henry was said to wield a 14-pound hammer averaging 10 to 20 feet in a 12-hour day – the best of any man on the rails.
A salesman came into the camp one day boasting that his new, steam driven drill machine could out drill any man. John Henry took the challenge and the contest was set – man against machine. John Henry out drilled the machine according to legend, 15 feet to the steam drill's 9 feet. Some research suggests differing numbers; 20 to 12, 14 to 9, etc. No matter what account you read, the outcome is the same with John Henry beating the steam-powered drill. Unfortunately for John Henry, the exertion of the contest was too much for him and he died shortly after the contest ended; some say of exhaustion and others of a stroke.
It is speculated that the legend of John Henry grew in a similar fashion to Paul Bunyan: his life was about power – the individual strength to overcome. To the many railroad workers that worked shoulder to shoulder with John Henry, he was an example of a man making his mark under terrible work conditions. Although there is conflicting evidence that the contest may have taken place in Alabama between the Oak and Coosa Mountains, the story remains the same as on of "man over machine" and a triumph of the human spirit. Today a statue of John Henry stands outside Talcott, WV on Route 3 atop the mountain where Big Bend Tunnel runs as a tribute to this man; legend and inspiration.
There is much evidence that John Henry the legend is based on the life of a real man. Born a slave sometime between 1840 and 1850 in Virginia or North Carolina (depending on which research you believe), he grew to be 6 feet tall and 200 pounds – literally a giant in those days. John Henry the man was said to have a booming baritone voice and was an accomplished banjo player.
It is here where opinions vary in regards to the legend of John Henry. Some researchers place him with the C & O Railroad in West Virginia while others place him in Alabama with the Central of Georgia Railroad. While this discrepancy exists, the back-story of John Henry remains the same. Strong evidence places him on the C & O line during the construction of the Big Bend Tunnel near Talcott, WV beginning in 1870. The tunnel took nearly three years to complete with over 1,000 men working. John Henry was hired as a steel driver (also known as a hammer man). The job was to drive holes by striking a thick, steel drill or spike while a shaker (or turner) would crouch close and rotate the drill after each blow. Once the hole was drilled, explosives were placed to help clear the rock. John Henry was said to wield a 14-pound hammer averaging 10 to 20 feet in a 12-hour day – the best of any man on the rails.
A salesman came into the camp one day boasting that his new, steam driven drill machine could out drill any man. John Henry took the challenge and the contest was set – man against machine. John Henry out drilled the machine according to legend, 15 feet to the steam drill's 9 feet. Some research suggests differing numbers; 20 to 12, 14 to 9, etc. No matter what account you read, the outcome is the same with John Henry beating the steam-powered drill. Unfortunately for John Henry, the exertion of the contest was too much for him and he died shortly after the contest ended; some say of exhaustion and others of a stroke.
It is speculated that the legend of John Henry grew in a similar fashion to Paul Bunyan: his life was about power – the individual strength to overcome. To the many railroad workers that worked shoulder to shoulder with John Henry, he was an example of a man making his mark under terrible work conditions. Although there is conflicting evidence that the contest may have taken place in Alabama between the Oak and Coosa Mountains, the story remains the same as on of "man over machine" and a triumph of the human spirit. Today a statue of John Henry stands outside Talcott, WV on Route 3 atop the mountain where Big Bend Tunnel runs as a tribute to this man; legend and inspiration.
Rehearsal Notes
As a percussion feature, how you determine the importance of each part o the "steam drill machine" while rehearsing the percussion solo sections will help determine the overall success. Below is a prioritized list of the percussion parts to aid in the coverage of parts. If possible, all parts should be covered, however, if there is a shortage of percussionists, there may be several "wanna be" drummers in your ensemble or the piece could utilize guest percussionists from your school staff or community.
1. anvil 7. temple blocks
2. bass drum 8. tom-tom
3. vibraslap 9. crash cymbals
4. snare drum 10. woodblock
5. suspended cymbal 11. triangle
6. guiro
The "steam drill machine" is at the following places: Beginning to meas. 21, meas. 61-100, and again at meas. 139-end.
The anvil part should always be given prominence and should be metal on metal. Fi you can acquire a piece of railroad rail and strike it with a metal hammer, this will achieve the desired sound quality. Experiment with the other percussion parts to find the best balance for your "machine." Dynamics have been indicated to create the best balance between individual parts, however, director preferences may better determine how the parts interact. Let the students (guest performers) have fun while keeping strict rhythmic patterns and tempo.
The wind parts are clearly marked with articulations and breath marks where necessary. Give special attention to these marks as they enhance overall interpretation. Students should be sure to count loudly through the section at meas. 65 where they count off the feet drilled in the contest. Let the excitement and tension build as the band loses in on meas. 95.
The director may take some liberty with the tempi between meas. 100-112, to really pull the most out of the ensemble emotionally. The end, from meas. 113, should be energetic and in keeping with a celebration of the human spirit. Most of all have fun!
As a percussion feature, how you determine the importance of each part o the "steam drill machine" while rehearsing the percussion solo sections will help determine the overall success. Below is a prioritized list of the percussion parts to aid in the coverage of parts. If possible, all parts should be covered, however, if there is a shortage of percussionists, there may be several "wanna be" drummers in your ensemble or the piece could utilize guest percussionists from your school staff or community.
1. anvil 7. temple blocks
2. bass drum 8. tom-tom
3. vibraslap 9. crash cymbals
4. snare drum 10. woodblock
5. suspended cymbal 11. triangle
6. guiro
The "steam drill machine" is at the following places: Beginning to meas. 21, meas. 61-100, and again at meas. 139-end.
The anvil part should always be given prominence and should be metal on metal. Fi you can acquire a piece of railroad rail and strike it with a metal hammer, this will achieve the desired sound quality. Experiment with the other percussion parts to find the best balance for your "machine." Dynamics have been indicated to create the best balance between individual parts, however, director preferences may better determine how the parts interact. Let the students (guest performers) have fun while keeping strict rhythmic patterns and tempo.
The wind parts are clearly marked with articulations and breath marks where necessary. Give special attention to these marks as they enhance overall interpretation. Students should be sure to count loudly through the section at meas. 65 where they count off the feet drilled in the contest. Let the excitement and tension build as the band loses in on meas. 95.
The director may take some liberty with the tempi between meas. 100-112, to really pull the most out of the ensemble emotionally. The end, from meas. 113, should be energetic and in keeping with a celebration of the human spirit. Most of all have fun!