Here is our last tune of the term, Les Poules huppées which translates as the Crested Hens. It was written in 1983 by French hurdy gurdy player Gilles Chabenat but it has found its way into various traditions. I suggest that it follows Munster Cloak in a set – while Munster Cloak is a mazurka, Crested Hens is a bouree in 3 however I think they go well together, and especially in this order as the complexity of the rhythms builds through the whole set, giving it a sense of direction.
Here is a video of the tune played slowly and then a little faster:
Here are the basic dots, with PDF available to download. I’ve written out the tune in full rather than adding repeat marks, as this makes it easier to demonstrate different options in the development stage!
We discussed various ideas for varying the tune, including subdividing the longer notes, adding fidgets and using a pedal note. Here is an example of how some of these ideas might fit in this tune – please note this is not a definitive version or official alternative, but just something to give you some ideas!
In addition to the rhythmic variations we covered last week, there are some nice melodic variations available in this tune. Our first idea was to substitute existing melodic shapes for others in the tune, for example in bars 2, 4 and 8. The second involved substituting a figure that often comes up in 3/2 hornpipes. Have an experiment, try these and the rhythmic variations and find what works for you!
Here’s another 3/2 hornpipe to go with Rusty Gulley, known as ‘Adam Glen’ or ‘Pawkie Adam Glen’ – the word pawkie means ‘artfully shrewd’ and is still in use in Scotland and northern parts of England, from the English ‘pawk’, meaning trick.
Our final tune of the term: Stingo can be found in the 1651 edition of Playford’s Dancing Master, with versions known as Cold and Raw, Oil of Barley and many other names. Here’s a video with demos on the viola this time, for the sake of variety and definitely not because that was the instrument I had out and I’m too lazy to switch.
Here are the dots:
We played with the idea of adding ‘fidgets’ in as melodic/rhythmic variations – where you have two notes the same, try adding a note in between, either going up or down a step. Here is a PDF with some examples in red, and underneath it the PDF of the original:
Here is the tune from Monday 29th June, the Sheriff’s Ride.
The Sheriff’s Ride is an English tune used in the Lichfield Morris tradition, in Staffordshire. The title refers to a unique tradition dating from Queen Mary’s Charter of 1553 in which Lichfield was separated from Staffordshire and made a ‘City and County’ with a right to appoint its own Sheriff. The Charter commanded the Sheriff to make a complete perambulation of the City to inspect the boundary each September. The oldest recorded collection of the tune as played for the Morris dance is from 1898 (Bacon, ‘A Handbook of Morris Dances’, The Morris Ring 1974) though it is probably older than this, most likely dating back to the mid-1800s, when polka-type tunes originated.
The Sheriff’s Ride shares parts of its melody with some versions of the song Raggle Taggle Gypsies, a song that became particularly popular in the broadsides in the early- to mid-1800s, telling the tale of a rich lady who runs away to join a group of gypsies.
The first video is a slow and a faster version of the tune, the second is a walkthrough:
Here is Old Adam was a Poacher, a tune collected from William Andrews of Devon by Sabine Baring Gould in 1892. The B part is very similar to versions of the jig Hunt the Squirrel as listed here https://www.folktunefinder.com/tunes/198732 however I’ve not been able to find out if this version of the tune is also from the South West of England. Chris Bartram speculates that the tune may have French origins, explaining the dual mode – it seems plausible but it’s almost important to remember that it’s speculation and not fact! Here’s the slower and faster versions:
This is a tune that came into being last week – I was looking at a tune called Chartley March, but my brain kept pushing me towards the tune I’ve covered here, which is pretty similar. Having played it down the phone to a number of friends, no one could work out what it was, but luckily the hive mind of the class (I think Bob cracked it!) managed to identify it as a jig version of Ievan’s Polkka, which we’ve renamed Ievan’s Upcycled Jig.
Here’s the slow and faster version to listen to before you try learning it:
And here’s the walk through:
Here are videos on ornamentation and on melodic variations:
And finally here are the dots with a PDF here , with a second PDF with possible jig rhythms for chords instruments or for fiddle shuffles (chord shapes are listed in the bonus post below this one).
I also did an Acapella arrangement, with fiddle shuffles and two melody lines to demonstrate the chord rhythms and to show how varying the ornaments and melody doesn’t necessarily create clashes – I tried to make the two parts as different as possible without going overboard, and I didn’t plan anything out before I started so it’s more an example of how the tune might sound in a session – for a concert performance or recording I would probably standardise things a little and definitely arrange the structure more.
Here are the videos from Monday 11th session, with apologies for the lateness! Idbury Hill is a Morris tune, from the Fieldtown tradition. The first video is a slow version of the tune – have a good listen before you start to learn or relearn it:
Here’s a walk through of the tune:
Once you’ve got the tune under your fingers, here are some videos on 1. ornamentation and 2. varying the tune:
Finally here’s a video with a play through including ornaments and variation, and a PDF with some of the ideas covered in the above videos.
Here are the dots – click here for a PDF, and a here for a PDF of the two chord sequences we tried.
Here is the Newtondale Hornpipe, a fantastic tune with trad roots which was adapted and reworked by fiddler extraordinaire Dave Shepherd. There’s a fantastic recording of the tune on the album Dave made with Becky Price, Ashburnham, which can be found here. I learned this tune recently from fiddler Nick Goode.
Here’s Black Nag, also from January 13th, a tune from the Playford collection (1657 edition). We learned the tune and then created a variation in the B section by substituting different melodic shapes for the argeggios in the original.