405 replies to this topic

[tallship]

Sally's having great fun with that one Chris.

[Larry Stout]

This whole thread has been a great source of tunes. Thanks guys.

[Patrick King]

I haven't read this topic through yet, but this site may have been put up on here before.

http://www.8notes.com

It has been divided into instruments or you can search under different music types. I found the O'Neills interesting, under the title of Traditional music.

Thanks,
Patrick

[Leonard]

|"E7"(3EFE ^D>E e>dc>B|

Two details about you abc:
In the bar before the last, the "d" shouldn't be flat, I suppose? |"E7"(3EFE ^D>E e>=dc>B|
And Q:100 makes it very slow in the Tune-O-Tron converter.

Thanks for sharing a great tune!

[spindizzy]

|"E7"(3EFE ^D>E e>dc>B|

Two details about you abc:
In the bar before the last, the "d" shouldn't be flat, I suppose? |"E7"(3EFE ^D>E e>=dc>B|
And Q:100 makes it very slow in the Tune-O-Tron converter.

Thanks for sharing a great tune!

I agree ... (both points)
I think my abc player may ignore the Q - it certainly doesn't play it that slow!
I suspect somewhere between 200 and 300 would be better - has anyone got JK himself palying this to check?
Also that low D sharpened in the bar before last (as you mentioned), sounds better to me if it's cancelled for the top d - that's certainly the way I play it :-)

I'll edit the ABC.

Thanks for spotting that.

Chris

[Chris Drinkwater]

Sally's having great fun with that one Chris.

Hmmm. Personally, I find it a bit of a glum tune and the chord accompaniment on the midi version is a bit plinky plonky. Not one of JKP's better efforts, I would say. However, here is one of John's compositions that I do like. Chuntering Charlie. It makes a great Morris tune. The abc is below.

X: 1
T:Chuntering Charlie
C:John Kirkpatrick
M:6/8
K:C
"C"cGE "G"B2A|"C"GEC "F"F2E|"G"DB,G, DB,G,|"C"CDE "G"D2G|
"C"cGE "G"B2A|"C"GEC "F"F2E|"G"DB,G, DB,G,|"G"GAB "C"c3::
"G"DDD D2E|F2G A2B|"C"cGE "F"B2A|"C"GEC "F"F2E|
"G"DDD D2E|F2G A2B|"C"cGE "F"B2A|"G"GAB "C"c3::
"F"A2c A2G|F2A F2E|"F"D2F D2C|"G"B,2D G,A,B,|"C"C2E "G"D2F|"C"E2G "F"F2A|\
"G"BAG BAG|"G"BAG "C"c3:|

Enjoy it if you don't already know it.

Chris

[tallship]

Hmmm. Personally, I find it a bit of a glum tune and the chord accompaniment on the midi version is a bit plinky plonky.

Well I do keep telling you to download a proper bit of abc software! (it's free and really not that intimidating) The advantage here would be that you can switch off the cheesy chord accompaniment with a single click of the mouse and let the melody speak for itself. 'Glum' tunes can be pretty intriguing you know ...

I don't know the tune you have posted and it's a bit too late at night to be trying it out now but I'll give it a go over the weekend.

Pete.

[tallship]

In the bar before the last, the "d" shouldn't be flat, I suppose? |"E7"(3EFE ^D>E e>=dc>B|

Now let me say straight off that I never knew this or I learned it so long ago that it had erased itself from my memory entirely. When I mentioned to Sally that the d in this bar should be a natural rather than a sharp she gave me a very odd look and said "Well of course it is!"

She then pulled out a book on basic musical theory and pointed out a statement which I will quote here:

Unlike the sharps and flats in a key signature, an accidental applies only to the line or space on which it is written.

Therefore ^D applies only to the D below the stave for the duration of that bar so any D, d or d' within that bar remains natural. You can prove this for yourself by replacing the =d in the abc file with just d and you will find that the midi playback plays d natural in either instance.

[spindizzy]

Therefore ^D applies only to the D below the stave for the duration of that bar so any D, d or d' within that bar remains natural. You can prove this for yourself by replacing the =d in the abc file with just d and you will find that the midi playback plays d natural in either instance.

Oooh - please thank Sally - my subconscious must know more music theory than I do (not difficult)
I'd always played it like that without thinking....
However, you do need to put that "=d" in for the Tune-a-Tron (and also for ABCNavigator) or it'll sharpen it.

I've also found that the 100 speed on Navigator is MUCH faster than the Q:100 gives in the Tune-a-Tron, I think I read somewhere that some abc programmes applay it to the L:1/8 and some to the 4 beats to a bar.

Chris

ps yes the chords are very clunky in these synthesisors

[tallship]

Right, just checked the Tune-O-Tron and it does indeed play this back incorrectly; I'll take your word that Navigator does it wrong too. O' Regan's abc editor plays it back correctly as does the abc software I use - ABC Explorer - free download off the net.

As to the question of the Q value, all editors will play at the same speed if you are more specific i.e. Q: 1/4=100.

Sally seemed quite pleased that her knowledge was useful! Because she's a grade 8 flute player she often catches me out making musical theory howlers.

Pete.

[tallship]

Here's a cracking little A minor tune called Gilderoy that I discovered earlier this afternoon. Right then, back to cutting the grass

X:1
T:Gilderoy
Z:Peter Dunk July 2009
Q:1/4=150
R: Hornpipe
M:4/4
L:1/8
K:Am
|: E2| A2 AB cBcd | efec d2 cd | edcB ABcA | B^G E2 E2 (3E^FG |
A^GAB cBcd | efec d2 cd | ea^ga edcB | c2 A2 A2 :|
|: ef | g2 ga gfef | gfec d2 cd | edcB ABcA | B^G E2 E2 (3E^FG |
A^GAB cBcd | efec d2 cd | ea^ga edcB | c2 A2 A2 :|

[tallship]

The weather forecast doesn't look too good for tomorrow so here's a piece to get your teeth into, a very well known tune with a number of variations that seem totally unrelated to the tune itself but it's good fun.

Edited to remove emotes from the ABC!
Edited again to remove multiple errors!

X:1
T:Keel Row, The
C:Trad. Shield's Variations
Q:1/4=116
M:2/4
L:1/8
K:G
c | B2 G>B | c2 A>c | B2 G>B | A>F D>c | B2 G>B | c2 A>c | B<G A<F | G3 |
d |B<d d<g | e2 d>c | B2 G>B | A>F D>c | B<d d<g | e2 d>c B<G A<F | G3 |
"Variation 1"|d/c/ | Bd GA/B/ | ce E>G | FA DE/F/ | G/A/B/c/d/e/f/g/ | Bd GA/B/ | ce E>G | FA DE/F/ | G3 |
"Variation 2"d | Bd g>f | ed cB | cB AG | FA A>d | Bd gf | ed cB | ce dF |G3 d |
Bd g>f | ed cB | c/d/B/c/ A/B/G/A/ FA A>c | Bd ^ce | df eg | fb a>^c |"D.C." d3 :|
"Variation 3" c | (3Bdg (3 GBd | (3cea (3ABc | (3Bdg (3GBd | (3FAd D>d | (3Bdg (3GBd | (3cea (3ABc | (3Bed (3cBA | G3 |
"Variation 4"d | (3BGB (3 dBd | (3gdc (3BAG | (3FDF (3AFA | (3dAG (3FED | (3BGB (3dBd | (3gdc (3BAG | (3Fed (3cBA |G3 d |
(3BGB (3 dBd | (3gdc (3BAG | (3FDF (3AFA | (3dAG (3FED | (3EFG (3FGA | (3GAB (3ABc | (3Bcd (3^cde | d3 ||
L:1/16
"Variation 5"|: c2 | BGBd g4 | cAce a4 | BGBd gdBd | cAFA DFAc |BGBd gdBd| cAce agfe | dgdB AedF | G6 ||
L:1/8
"Variation 6 " c | Bd de/f/ | g/f/g/a/ b>B | cA/B/ c/B/A/G/ | F/G/A/B/ A>c | B/G/A/B/ c/d/e/f/ |g/f/e/d/ c/B/A/G/ | Fe dF |
G3 c | Bd d e/f/ | g/f/g/a/ b>B |cA/B/ c/B/A/G/ | F/G/A/B/ A>c | Bd ^ce | df eg | fb a^c | d3 ||
^c/=c/ | B2 G>B | c2 A>c | B2 G>B | A>F D>c | B2 G>B | c2 A>c | B<G A<F |"FINE"G3 ||

Edited by tallship, 11 March 2010 - 01:56 PM.

[HelenM]

quote name='tallship' post='97862' date='Jul 17 2009, 06:53 PM']The weather forecast doesn't look too good for tomorrow so here's a piece to get your teeth into, a very well known tune with a number of variations that seem totally unrelated to the tune itself but it's good fun.

Edited to remove emotes from the ABC!

X:1
T:Keel Row, The....

I've been trying to play this, it will take me more than a weekend. It would be good to be able to hear examples of more experienced/acomplished people playing it.

Edited by HelenM, 19 July 2009 - 07:02 AM.

[tallship]

This will frighten you to death!

The Keel Row with variations played by Andy May on Northumbrian smallpipes.

[HelenM]

Thankyou, I enjoyed that and I don't normally like bagpipes. I've never heard the Northumbrian pipes before and would have thought they would soound like the cabrette (the local bagpipes in my part of France). Those pipes had a far more pleasant tone. It was interesting to hear the variations in pace.
As to myself, I can just about manage the first variation but as soon as the triplets start, well think I've a long way to go. Mine will be the slow, thoughtful version

Edited by HelenM, 19 July 2009 - 12:30 PM.

[tallship]

It was interesting to hear the variations in pace.

I think that was pretty much a personal interpretation, if you're a good player you can do that sort of thing with folk tunes. I'm not sure what trained musicians would make of it though.

As to myself, I can just about manage the first variation but as soon as the triplets start, well think I've a long way to go. Mine will be the slow, thoughtful version

As mine will be. You mean you can play it through already? Wow!

The Northumbrian pipes (as I understand it) are quite unique in that the drones can be tuned to the particular key/mode of the tune that is being played within the pitch of the set of pipes in question. They come in many different flavours and I think that Andy May's pipes are pitched in the key of D which is unusually low. Pipes in this pitch are particularly appealing to my ear.

Pete

[Chris Drinkwater]

This will frighten you to death!

The Keel Row with variations played by Andy May on Northumbrian smallpipes.

And played with such poise! Quite awesome. Not bad for a left-hander.

Chris

[Torres Strait Anglo]

Never mind the Keel Row.
Has anybody managed all Eight variations of "Oh Dear What Can the Matter Be"? (The First tune of this thread)