Something For The Weekend?

[Roger Hare]

...Wandembrile Manuscript (Belgium 1778) ABC file

 

That looks interesting - thank you.

 

Question:

Are those scripts which are flagged as exercises what a fiddle player might call 'Arpeggio exercises'?

 

Thank you.

 

Roger

[Pete Dunk]

I'm not sure Roger but I'll ask my wife when she gets back from her violin lesson. I would have described arpeggios as broken chords rather than scales but a quick google suggests otherwise. I'll be back!

[Pete Dunk]

And the answer is:

 

She doesn't know! She like me would expect an arpeggio to be based on the notes in a chord not a sequential scale. She, unlike me, plays at grade 8 and above on flute and violin, grade 7 piano and grade 5 guitar so a lot of musical theory has passed before her over the years. That's not to say you are incorrect, merely that it is beyond our experience. Perhaps Chuck Boody may spot this and be able to shed light on it.

 

Pete.

[cboody]

Hi Pete,

 

I did spot this. :-)

 

I've never heard the term arpeggio applied to anything but "broken" chords, that is the playing of the notes consecutively rather than all at once. The term derives from.the Italian word for harp. Chords played on the harp are usually played consecutively, often because they can not be reached to be played together. It would be inappropriate to apply it to scale patterns.

 

I don't know what you found, but Google lied to you!

[Rod]

On a concertina, a broken chord ( or arpeggio ) can, on some occasions, be a useful device to overcome a tendency of the lower notes of a chord robbing the higher notes of their fair share of air.

[Roger Hare]

...She like me would expect an arpeggio to be based on the notes in a chord not a sequential scale...

 

Thank you for that helpful and clear reply - and also for the replies from cboody and rod.

 

These all confirm my suspicion that the exercises I was given last summer are not in

fact arpeggio exercises, despite my being told very firmly that they were - this from an

individual whose musical knowledge I now realise is distinctly flaky. You live and learn...

 

Thank you - back to the Rainbow Jigs...

 

Roger

[Pete Dunk]

Some time ago I transcribed Danny Chapman's fine arrangement of Michael Turner's Waltz for tenor concertina and I thought I'd posted it in this thread. I can't find it anywhere so here it is. This is complex playing (by my poor standard) and requires a tenor or tenor/treble instrument to play the whole thing, but the few notes below the low G on a treble could be missed out or substituted. Here's the abc:

 

X:98
T:Michael Turner's Waltz
C:
C:arranged for tenor/treble concertina by Danny Chapman
C:
%%staves (1 2)
M:3/4
L:1/8
Z:Peter Dunk 2016
K:G clef=treble
V:1
GA|B2 BDcD|d2d2 gf|e2 egfe|dBGFGA|B2 BDcD|
d2d2 cA|G2GBAF|G4::AB|c2 c2 B2|A2 A2 Bc|
d2 d2 c2|B4 gf|e2 egfe|dBGFGA|B2B2A2|G4:|
V:2
z2|[GDG,]2- [GG,]z [CA,]z|B,2- [DB,]2 z2|C2- [EC] zCz|\
B,2 z DEF|[GDG,]2- [GG,]z [CA,]z|
%
B,2- [DB,]2 A,2|G,2- [DG,] z D,2|[DG,]4::z2|\
A,2- [ECA,]2 [GB,]2|D2- [FDA,D,]2 Gz|
%
B,2 [DB,]2 [EC]2|[GG,]2- [GDG,]2 z2|C2 [EC]z Cz|\
B,2 z2 z2|[FD,]2 [FCD,]2 [DC]2|[DB,]4:|

 

Here is a link to a Box folder with a PDF of the abc above and another PDF with the same music split onto two staff lines which some people might find less confusing when learning to play it. There's also text and .abc files of both of these along with a midi file and an enhanced .mp3 sound file of the tune played three times through.

 

Michael Turner's Waltz

 

Here's a video of Danny playing it although it sounds slightly different in places to the dots given here, that's the folk process for you!

[Don Taylor]

Thank you, Pete and Danny.

[Pete Dunk]

Here's a super new tune written by Pete Seago, music teacher and melodeon.net member. The title is of course a play on words.

 

X:103
T:Minorette
C:Pete Seago
M:3/4
L:1/8
Q:1/4=150
%%barnumbers 0
K:Am
P:PART A
("Am"EA Bc dc)|(B4 A2)|c6-|c6|"Dm"(FA Bc dc)|(B4 A2)|c6-|
c6|"G"GG (Bc dc)|B2 G4|"E"(^GE Bc dc)|B2 ^G4|"Am"(AE CE AB)|
"E"[cE]4 [bD]2|"Am"[AC]6-|[AC]6||"Am"(EA Bc de)|(B4 A2)|c6-|c(e dc BA)|
"Dm"(FA Bc de)|(B4 A2)|c6-|c(A Bc BA)|"G"GG (Bc dc)|B2 G4|
"E"(^GE Bc dc)|B2 ^G4|"Am"(AE CE AB)|"E"c2E2 ((3BcB)|"Am"[AC]6-|[AC]E AB cd|
P:PART B
|:"C"e4 c2-|c2 e2 c2|"G"(de dc ) B2-|B6|"Am"c4 A2-|A2 c2 A2|"E"B6-|B6|
"C"[ec]4 [cG]2-|[cG]2 [ge]2 [ec]2|"Dm"[fd]4 "G"[dB]2-|[dB]2 "C"[ec]4|\
"F"[cA]4 "Dm"[dF]2-|[dF]2 "E"[cE]2 [bD]2|"Am"[AC]6-|[AC]6:|

 

 

MP3 of midi file is here.

 

If you have a Soundcloud account here's Pete playing a 'rough draft' twice through.

[Pete Dunk]

Pete having another go at playing his new tune, this time it's a video and it's played at a steadier tempo. Minorette

[Pete Dunk]

A fun tune from the days of the British music halls, well worth playing.

 

X:1
T:Nelly's Hat
T:Saucy Little Bird on Nelly's Hat, The
C:Alfred Soloman
M:4/4
L:1/8
Q:1/4=150
K:G
(3DEF|"G" G2G2 G>B A>G|"D" (3FGA d2 "C" d2- d>c|"G" B>d B>G "C" A>c A>F|"G" G>A (3BAG "C" D2 (3DEF|
"G" G2G2 G>B A>G|"D" (3FGA d2 "C" d2- d>c|"G" B>d B>G "C" A>c A>F|"G" G2 G2G2:|
|:B>c|"G" d2d2 "C" d2e2|"D" d2 c>B "C" c2 A>B|"C" c>B A>B "D" c2d2|"C" c2 B>A "D" B2 (3DEF|
"G" G2G2 G>B A>G|"D" (3FGA d2 "C" d2- d>c|"G" B>d B>G "C" A>c A>F|"G" G2 G2G2:|

Sound file here

 

Edited to change the composer's name, see posts below!

Edited June 28, 2016 by Pete Dunk

[Jim Besser]

A fun tune from the days of the British music halls, well worth playing.

 

X:1

T:Nelly's Hat

T:Saucy Little Bird on Nelly's Hat, The

 

Sound file here

 

I play this for a singer who does English music hall songs - but also realized that it's almost a perfect tune for stepping practice for my Northwest clog ladies!

[Paul_Hardy]

A fun tune from the days of the British music halls, well worth playing.

T:Nelly's Hat

T:Saucy Little Bird on Nelly's Hat, The

C:Harry Tierny

 

You have that as C Harry Tierny (presumably meant to be Tierney), but Tunearch (http://tunearch.org/wiki/Annotation:Nelly's_Hat) who I generally trust, has it as as Solman in 1906.

It makes a difference to the copyright situation, as Tierney only died in 1965, whereas Solman died in 1937.

 

I agree it's a cracking tune - we play it as a session tune round here sometimes.

[Pete Dunk]

The Tunesearch page you linked to does mention attribution to Harry Tierney by Callahan (2007) but obviously favours Alfred Soloman as the actual composer. Further down the page the EFDSS book 'Hardcore English' is listed as a source.

 

"Printed sources: Callaghan (Hardcore English), 2007; p. 89"

 

So I got my copy out when I got home and sure enough there it is, attributed to "Harry Tierny (only one e) American musical theatre composer (d. 1965), and played by Scan Tester"

 

It would appear the transcription (not mine!) was copied directly from Hardcore English or perhaps it was the source of the tune in the book! I'll Edit the C: field in my post

 

As to the copyright issue, I was under the impression that composer copyright expired after fifty years (I'm probably wrong) and Tierney died 52 years ago

[Pete Dunk]

Here is Chris Partington's transcription taken directly from a Scan Tester recording.

 

X:40
T:Saucy Little Bird On Nelly's Hat,aka 2/9
T:untitled
R:Schottische
S:CD 2, track9
D:Scan Tester,"I Never Played To Many Posh Dances"
Z:Chris Partington, 2011 <www.cpartington.plus.com>
M:4/4
L:1/8
Q:1/2=72
K:C
G2|c3B c>ed>c|B<dg2 g2f2|e<ge>c d>cd>B|1,3c>B (3cBA G2:|2,4c2c2 c2:|
|:e>f|g3e g2a2|g2f>e f2d>e|f>ed>e f2g2|((3fgf) e>d e>GA>B|
c3B c>ed>c|B<dg2 g2f2|e<ge>c d>cd>B|c2c2 c2:|

Edited June 28, 2016 by Pete Dunk

[Paul_Hardy]

 

As to the copyright issue, I was under the impression that composer copyright expired after fifty years (I'm probably wrong) and Tierney died 52 years ago

I Am Not A Lawyer, and copyright is a complex area but think you are wrong :^(.

 

The general rule these days, whether in the USA, the UK, or the EU (and many other countries), is that copyright lasts for 70 years after the death of the composer. There are exceptions, e.g. works published before 1923 in the USA are copyright expired. See https://en.wikipedia.org/wiki/List_of_countries%27_copyright_lengthsfor a table of durations in different countries.

[John Wild]

Paul is correct - It is now 70 years in the U.K. But Peter's statement of 50 years was right. the law was changed maybe 3-4 years ago.

Where there is more than one composer, it is the death of the last survivor which counts.

 

regards

 

John

[Pete Dunk]

I presume this is very different from the copyright on recorded music then? Otherwise why is Sir Cliff so agitated about a song he only sang and didn't write, and what on earth does Sir Paul have to fear now that Eleanor Rigby is over 50 years old? *confused!!*