Here is the recording of Coronation Day tune with the phased rhythmic ostinato that we used in the warm up, inspired in part by Steve Reich’s Clapping Music which was in turn partially inspired by flamenco music.
Here is a video of Clapping Music with a useful graphic to help you see what’s going on. The pattern is repeated eight times before the lower part phases by one quaver.
This week’s tune is English Morris dance tune Constant Billy. There are versions in most of the different Cotswold Morris tradition in various keys, though often transposed into G major to suit the commonly used melodeon. We made two different versions of the chords, the first being a conservative version that harmonises every half bar and the second a more contemporary version that harmonises every full bar. To refer back to our inspiration arrangement, Coronation Day, we have used/tried:
long notes that can also be used as in a shuffle rhythm
Playing the tune with a pedal G (tonic) underneath throughout, and also trying a pedal D (dominant) throughout
Using a chord sequence that doesn’t resolve to the tonic of G at the end of each phrase (from the long notes pattern)
We will look at long and short ostinati next week and use these to make an intro/outro for the whole piece, also extending the tune by developing certain phrases.
Here is the video, with the second version of the chords:
I’m not going to put up dots for the arrangement we tried last week as we have used the Nick Wyke and Becki Driscoll arrangement as a base and that is not mine to share! The elements we have taken from it to use this week are:
a long ostinato that goes over two bars
a short ostinato that cycles over three bars
long notes that can also be used as in a shuffle rhythm
Playing the tune in unision/octaves with no chords
Playing the tune with a pedal G (tonic) underneath throughout
Tune with chords as devised lat week, including a pedal D chord (dominant) that mirrors the tonic pedal that we also tried
Extending the tune by repeating one phrase several times
Using a chord sequence that doesn’t resolve to the tonic of G at the end of each phrase (from the long notes pattern)
Book-ending the tune with intro and outro sections that are very similar
On this Monday (21st) we will look at The Lilting Banshee/May Darling Asleep, Uncle Bernard’s/Grandfather’s, Star Above the Garter and Idbury Hill/Sheriff’s Ride.
I’ve given you three files here, the first is the complete arrangement of the set in written out instructions. The other two are the compact scores for Captain Leno’s and Major Mackie. I’ve also made a video of the rhythmic variation for the B sections of Major Mackie.