Month: February 2019

The Beggar Boy

Here’s the video for Playford tune The Beggar Boy, from the 1651 manuscript – it was included in subsequent editions right through to the 7th in 1686, and Chappell (1859) notes that there are several ballads written to the tune, as tended to happen with popular tunes.

 

 

And here are the dots:

The Beggar Boy.png

Here are the dots, for those who want to print them out.

We created contrast between sections with drone-like minor chords in the A section and swifter changing major chords in the B section.  I’ve tagged the tune as both major and minor as it can be harmonised as either, giving a different character.

We created a groove for the A section by picking out notes from the D minor and C major triads.  Since Dm and C are neighbours, it’s possible to move between the chords in a scale pattern.  Here’s a link to a chart explaining this: for each of the main beats listed at the top, pick a note from the coloumn beneath. There is an example of how you could do this at the bottom, with notes highlighted in red.  You might want to print this sheet out and circle one note in each column to create your own part.

 

Schottische a Virmoux

Here is the video for Monday’s tune, Schottische a Virmoux (also listed as ‘Schottische Virmoux’ and ‘Schottische de Virmoux’) by Frederic Paris.

 

Our variations were pushing the G chord in the second bar, and tying the A over the bar line (there’s a version with these written in here.)

Here are the dots:

Schottische Virmoux.png

If you want to download or print this out, click here.

As promised, here’s a video with the strumming pattern for the chord players:

 

 

Serpentiner och Konfetti

Serpentiner och Konfetti (Streamers and Confetti) is a fantastic reijländer tune by Swedish melodeon player Mats Edén.  We’re not trying to play it in a particularly Swedish way, also I somehow only played the B section once on the video – apologies, it had been a long day!

 

Here are the dots for the tune:

Serpentiner och Konfetti.png

We varied the rhythm by anticipating (or ‘pushing’) some of the main beats in the melody and also in the chord sequence – dots can be found here.