Category: Variation ideas

Constant Billy

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:

  1. long notes that can also be used as in a shuffle rhythm
  2. Playing the tune with a pedal G (tonic) underneath throughout, and also trying a pedal D (dominant) throughout
  3. 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:

Here are the dots:

constant-billyDownload

The Valiant

Here is the tune from March 6th, The Valiant by East Anglian musician Simon Ritchie. We experimented with adding linking notes between sections – an A between the last C section and the first A section, an F# or a D between the C sections, and a BC run between the Bs. I’ve included some of these on the music, but have an experiment and see what else you can find.

Here is the PDF:

the-valiant-correctedDownload

Jock’s Bear Dance (development)

Our last tune of the year, Jock’s Bear Dance, with an added harmony and rhythmic accompaniment. The purpose of the accompaniment is drive the tune, making it feel lively even though it’s not that fast. Here are the dots (with apologies to the whistle players for the low notes! The video below shows a couple of ways the tune, harmony and rhythmic accompaniment can be played to make an arrangement.

We’re finished for this term now, I hope everyone has a great Christmas and New Year. We’ll return on January 10th – whether this is in person or online remains to be seen, we’ll see what the regulations and recommendations are in the new year.

Learning by ear and developing your own practise

I think that learning by ear and remembering the tune go hand in hand – that’s not to say you can’t remember a tune that you’ve learned from the written music, but rather that learning a tune by ear gives you a head start.  Here’s why:

When we learn by ear, we are learning in a way that always us to internalise the tune – we’re not reading or relying on an external source but rather the whole thing is in our heads, at least for a bit, which is to say it’s in our short-term memory.  Internalising the tune is step one in remembering it in the longer term.

From there we need to reinforce and repeat the tune over time to help to move it from our short-term to our long-term memory.  If you dive for the sheet music as soon as it’s available, then you are letting go of that internalisation and you are far less likely to remember it in the longer term. Don’t be afraid to forget the tune.  Seriously.  You probably won’t forget all of it but if you do then you are much better off relearning it from the video or from an audio source – the second time of learning will be much quicker than the first time, the third time will be even quicker again as you strengthen the neural pathways in the brain. 

By all means refer to the music if you need to check a note or to remind yourself of what note the B section starts on but try to avoid cleaving to the dots for fear of forgetting, as you need to partially forget and relearn a tune several times before it’s fully internalised and in your long-term memory.  Building this kind of recall is a process and if a tune isn’t all there, that just means that you’re not done yet. 

Experimenting with the ornamentation and variations that we cover in class is a great way work on tune recall as it demands that you repeat and reinforce the tune many times in a creative and proactive way that really gets you inside the tune and understanding it (internalisation), also allowing you to develop your own way of playing. 

Another benefit of relying on audio sources rather than written music is that you will start to hear the rhythmic and stylistic nuances of the music that simply can’t be expressed effectively in written music.  I often throw in extra elements for the more experienced players to try – the more you listen the more you will hear.  I’m generally unable to create website posts until later in the week, so making your own recordings at key points in class is encouraged!

Folk music by its nature consists of communal ownership of material (a shared repertoire of traditional tunes) and personal agency (individual expression and interpretation).  I try to design exercises and tasks to empower people in both aspects of the genre, but this does demand a proactive, independent approach.  I hope this post makes all of this a bit clearer! 

Stylistic elements and variations

Over the last couple of weeks we’ve also looked at ornamentation and variation elements. The idea here is to look at the broader picture of where these are generally used in order to empower players to use them independently in their playing, rather than giving you a strict model to copy that isn’t as easily disseminated.

  1. Single cuts in between repeated notes.
  2. Adding connecting notes in between notes that are three or four notes apart.

Here is a short video that explains these things, with examples:

Walking Bass Lines

Over the last few weeks we’ve used the idea of walking bass lines, either as an actual bass line or as a harmony for the melody players. Here the lowest note walks between each chord, moving by step rather always being the root note of the chord. This is indicated in the chords with markings such as D/F#, meaning that you should play a chord of D with an F# as the lowest note in the chord. It’s not about adding extra F#s, but about using a particular inversion of the chord, and you might end up using only the higher end of your instrument in order to accommodate the full scale.

Here is a video to demonstrate the effect – you’ll notice that I’m keeping the rhythms quite sparse in the accompaniment for a more delicate arrangement.

We can use this idea through out mst of Sir John Fenwick (just not in the final phrase of each section) and throughout Star Above the Garter, as well as in the A section for Spring at Last. Here is a PDF with suggested chord sequences and bass lines for these tunes.

walking-bass-linesDownload

If you want to try this on some other tunes, then it’s useful to know your arpeggios/the notes of the chords. For instance, a chord of G = GBD and a chord of D = DF#A, so if you’re going from one to the other you could play G-F#, D-D or B-A in the bass.