A delayed post from January 13th: Bacca Pipes is a tune and dance from the Cotswold Morris tradition and is danced over two crossed tobacco pipes, making it a form of sword dance of the kind found across Europe. It’s related to the tune Greensleeves and was collected by Cecil Sharp on August 30th 1909 from musician Thomas Delaney in Sevenhampton, Wiltshire.
Here are the dots, with a PDF here:
Here’s Goddesses, a tune from the Playford collection.
Here are the dots with a PDF available here:
Printed versions often have the last bar of each section printed the other way around, so as ‘crotchet crotchet minim’ – I’ve always played it this way and I can’t remember why! Apart from that I like it, and that seems as good a reason as any to me!
Here is the piece we learned on Monday 11th November, Carol of the Bells. This was arranged by Ukrainian composer Mykola Leontovych in 1914, based on a Ukrainian folk chant called ‘Shchedryk’. We divided the piece into four phrases – phrases one and two can be played simultaneouly and with the bass line. The structure is pretty free at the moment, with everyone following my hand signals, we might formalise it later.
And here are the dots, with a PDF available here:
This is Tralee Gaol, an Irish polka that I know from playing for ceilidhs. It goes by many names and seems to be pretty widespread in Ireland and also across various parts of the world!
Here’s the video:
And the dots are here, with a PDF also available:
Here is the tune ‘The Mallard no 2’. It’s in Dave Townsend’s English Dance Tunes book but I can’t find it anywhere else – there are other tunes and songs that share the title but none with the same melody.
The PDF can be found here. Fiddle players might want to try double stopping with the open G string in the first two bars, then the D string in the next bar before going back to the G string for bars five and six. In the second section, you can double stop with the open G string for the first three bars.
Here’s the video from Dave’s session on April 8th, with apologies for the delay in posting. Here’s the tune:
…and here’s the chord part:
The dots for this tune can be found by clicking here. Massive thanks to the incredible Dave Delarre for this great session, and I’ll be back for the beginning of next term on April 29th.
Here are the video and dots for An Blew Treghy, with huge thanks to Beth Gifford for covering the class. An Blew Treghys is a Cornish Tune which Beth learned from the singing of Aimee Leonard and recorded by Aimee’s band Anam on their album Riptide.
The dots can be found as a PDF file here.
Here’s Small Coals and Little Money, a tune from the 1882 Northumbrian Minstrelsy manuscript. The A and B parts are almost identical so we created variation by varying the chord patterns and rhythms, taking out some notes in the melody, and trying out ornamentation.
Here are the dots:
For the PDF, click here.
In the chord part, we used a ‘chugging’ rhythm for the A part, and then a more relaxed rhythm in the B part.
Melody instruments created a groove for the A part by switching between A minor and G major notes (click here for the chart, the beats are minim beats, so 2 slow beats per bar).
Geraint has kindly passed on the link to his own recording of our end of night play-through, for some folk class realness: https://soundcloud.com/ger-evans/small-coals-and-little-money/s-olvae
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:
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.
Here’s the Whitehall Minuet, a tune in three from the Playford collection which dates from the early 1700s.
Here are the dots for the tune (PDFs here for the tune, and the tune with ornaments and phrasing):
In the chords, we alternated between a playing a straight three for two bars (1 & 2 & 3 &), and playing a syncopated rhythm for two bars (1 & 2 & 3 &), which looks a bit like this:
Technically we’re going from a 3/4 feel to a 6/8 feel, giving the tune a bit more movement and forward momentum, maybe verging on feeling a little like a jazz waltz. We kept it to two bar chunks for the sake of clarity and ensemble but you could experiment with changing the rhythm in different places at home. Here’s me noodling about with the rhythm: