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lachenal74693

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Everything posted by lachenal74693

  1. lachenal74693

    Tune name ?

    Thrunton Woods appears to be in Northumbria: https://www.visitnorthumberland.com/countryside/thrunton-woods Looks pretty nice to me...
  2. lachenal74693

    Help finding music/chords for Bellamy Tunes

    They have now - a cleaned-up concatenation of two very old posts on Mudcat. Chords generated automagically by EasyABC: %%MIDI program 23 % (standard instrument value - 1) - forces Tango Accordion X:1 T:Oak and Ash and Thorn %Peter Bellamys tune (cleaned-up a little), and Rudyard Kiplings words concatenated from two very old posts on Mudcat. %Chords generated automagically by EasyABC. C:Tune:Peter Bellamy C:Words:Rudyard Kipling M:6/8 L:1/8 Q:1/4=120 K:D "F#m" F | "Bm" B,2 C D2 E | "D" F2 D E2 F | "Bm" B2 BABA | "F#m" F6 | "Bm" BBc d2 c | "Bm" BAB F2 D | "Em" E2 D E2 D | "Bm" B,3- B,2 F | "Bm" B,2 C D2 E | "F#m" F6 | "Bm" BBB ABA | "F#m" F6 | "Bm" BBc d2 c | "Bm" BAB F2 D | "Em" E2 D E2 D | "Bm" B,5 || W: W: Of all the trees that grow so fair, W: Old England to adorn, W:Greater are none beneath the Sun, W: Than Oak, and Ash, and Thorn. W:Sing Oak, and Ash, and Thorn, good Sirs W: (All of a Midsummer's morn)! W:Surely we sing of no little thing, W: In Oak, and Ash, and Thorn! W: W:Oak of the Clay lived many a day, W: Or ever Æneas began; W:Ash of the Loam was a lady at home, W: When Brut was an outlaw man; W:And Thorn of the Down saw New Troy Town W: (From which was London born); W:Witness hereby the ancientry W: Of Oak, and Ash, and Thorn! W: W:Yew that is old in churchyard mould, W: He breedeth a mighty bow; W:Alder for shoes do wise men choose, W: And beech for cups also. W:But when ye have killed, and your bowl it is spilled, W: And your shoes are clean outworn, W:Back ye must speed for all that ye need, W: To Oak, and Ash, and Thorn! W: W:Ellum she hateth mankind, and waiteth W: Till every gust be laid, W:To drop a limb on the head of him, W: That anyway trusts her shade: W:But whether a lad be sober or sad, W: Or mellow with ale from the horn, W:He will take no wrong when he lieth along W: 'Neath Oak, and Ash, and Thorn! W: W:Oh, do not tell the Priest our plight, W: Or he would call it a sin; W:But—we have been out in the woods all night W: A-conjuring Summer in! W:And we bring you good news by word of mouth— W: Good news for cattle and corn— W:Now is the Sun come up from the South, W: With Oak, and Ash, and Thorn! W: W:Sing Oak, and Ash, and Thorn, good Sirs W: (All of a Midsummer's morn)! W:England shall bide till Judgment Tide, W: By Oak, and Ash, and Thorn! It probably needs a bit of 'cleaning-up'.
  3. lachenal74693

    Help finding music/chords for Bellamy Tunes

    I too am an admirer of PB - I was never lucky enough to see him live - it must have been a fabulous experience. I have only found one of the songs he did on his LPs in ABC format. I think the problem is that the Kipling estate still retain copyright on Kipling's material, and many of the tunes written for the songs are also still copyright, so they simply don't appear in the internet ABC repositories. Look in your PM box, I'll send you the one tune/song I have found (though I can't remember where I found it)... Some of the songs are quite easy to work out (they must be if I can do it!!!). I have got 'The Way Through the Woods', 'Rolling Down to Rio', 'Back to the Army Again', and 'The Run of the Downs' more or less knocked off, and all on a 20-button too, though I haven't written them down. Maybe I should try writing them down in ABC format... Some of the early LPs have true traditional songs for which you probably can find ABC - 'The Nightingale' and 'German Musicianer' spring to mind...
  4. lachenal74693

    What is Focused Practice? My New Student!

    May I ask why this is so? I tend to fall somewhere in the 1-hour-per-day-5-days-a-week and the once-a-week-5 hour-binge range of that practice 'spectrum'. I could do the 20-minutes-3-times-per-day, no problem - it just never occurred to me. Why is it better? I need all the help I can get... Thank you. Roger.
  5. I'm curious. What sort of glue might one use for an application such as this? I noticed from the photographs that Scholer (I think it might be a small D/A Scholer), don't seem to have used much glue for the original construction. Here are a couple of videos which may be of interest to the OP: https://www.youtube.com/watch?v=mbPw0yR19zM&list=PL777D961E7BDD0215&index=1 https://www.youtube.com/watch?v=88yCVla_Djg&list=PL777D961E7BDD0215&index=2
  6. I've just been messing about with a tune in ABC which is actually scored for the Highland Bagpipe (K:Hp). It (seems to) play fine on the 'tina, because as far as I can see, the C#, F# and Gnat which appear in the Hp key signature just correspond to the C# and F# which are the 'accidentals' in the key of D. In fact, if I transpose down, and then up a couple of semi-tones in my ABC editor, the key magically converts itself from Hp to D... So, in terms of notation, what's the difference between the Highland pipes key, and the key of D? Is this 'inconsistency' simply down to the fact that the ABC system isn't man enough to cope with this sort of musical subtlety? In an attempt to find out for myself, I had a look at this - http://publish.uwo.ca/~emacphe3/pipes/acoustics/pipescale.html and came away not much wiser, I'm afraid... . In particular, the passage: ...This is because the size of the steps between some notes are incorrect. The note we call 'C' is really closer to 'C#' and the note named 'F' is really closer to 'F#'... left me somewhat bemused - putting aside the fact that we don't really know what incorrect means in this context, does this mean that strictly speaking, I can't play any bagpipe tune on the 'tina 'cos the intervals are different? As I understood what I was reading, this isn't just an example of a modal scale in which the intervals between notes are arranged differently to the 'standard' major key (Ionian), but a situation in which the intervals between notes are actually different to the standard tone/semi-tone intervals. Puzzled... Roger
  7. lachenal74693

    Anglo Hand Straps wanted

    I returned to God's country - the North-West of England - far too many pesky alligators in Brixham...
  8. lachenal74693

    Anglo Hand Straps wanted

    My pleasure - all part of the service... The alligator-hide straps sound pretty cool. We don't have that many alligators here in Manchester, though I used to know a man who found a crocodile on a cricket pitch in about 1960 (this is a true story)...
  9. lachenal74693

    Anglo Hand Straps wanted

    Ah! that's a slight problem. Have a look at this list and see if any of the outfits listed there might be able to help. These straps are pretty much a standard(ish) size, so you might be able to buy them 'off the shelf'? This outfit (https://concertina-spares.com/) seem to do 'em 'off the shelf'.
  10. lachenal74693

    Anglo Hand Straps wanted

    Where are you? If in the U.K., send one the old straps to (for example) Nigel Sture at Concertinas U.K. and he will use it as a template to cut new straps. I think that any of the other fettlers will provide the same service (eg: https://concertina-spares.com/). If you are elsewhere (North America for example), one of your 'local' fettlers will do the same. Contact them first though, to make sure... Roger
  11. As I progress (slowly and painfully) in terms of writing out my own scores (in ABC), I'm becoming a little more confident about assigning a 'key' to a score - but I'm also still more than a little unsure of whether I'm getting it 'right'. For example: I have a tune scored in one sharp, but it ends on a D. Does that mean it's Dmix (rather than Gmaj)? I have a tune scored in two flats, but it ends on a C. Does that mean it's Cdor (rather than Bbmaj)? Does it matter? How hard and fast are these 'rules' (I can't think of an alternative word)? Thank you. Roger
  12. lachenal74693

    More dumb questions about modes...

    Thank you. It's encouraging to me (I started the thread) that even back in 2016, I was savvy enough to spot those problems and fix them for myself. I must be doing something right! Your chords are better than mine though, I ain't got that right yet ... Roger
  13. lachenal74693

    New look web site

    testing, testing, 1, 2,3, Mary had a little lamb... Looks OK, nice clean lines... I've probably missed it, but I can no longer see my .sig, or how to update it... R
  14. lachenal74693

    More dumb questions about modes...

    Absolutely! I do ABC transcriptions primarily for my own use, adding automagically generated chords because I'm not musically savvy enough to work the chords out for myself! I also add concertina tabs below the stave because I can't sight-read. I listen to the generated MIDI output in order to get an idea of what the tune sounds like, if it's a tune I don't already 'know' (or even if it is...). I use the printed score when Morris-ing - the tabs help me trundle along with t'other musicians in a reasonably deceptive fashion (ie: it looks as if I almost know what I'm doing...). I also spend a certain amount of time editing existing transcriptions, again, primarily for my own use. This is quite important (to me) because even though I am not musically super-literate, I am reasonably computer-literate, and I quite often see 'errors' in ABC scripts. A typical example is slides shown as ties - this is fairly common. I try quite hard to create/edit my ABC scripts so that they are 'correct'. I also try and use a fixed 'style', and only use a sub-set of ABC directives in order to 'keep it simple' I do like to get the mode correct if possible, however... Sending ABC scripts to other users, or posting on a forum such as this, is also not a primary goal, though I have done this on occasion. I'm a bit wary of doing this because of; 1) possible copyright violation; 2) getting it 'wrong'. If I do do this, I would probably; 3) send a script out in the original key, (though I might add a '%?Dmix?' comment to a tune scored in (say) G but which might be Dmix); 4) strip out the chords (unless they were there already) and concertina tabs. Unless I'm pretty sure that the tune is out of copyright, and 'correct', I would (I think) tend to send it as a PM rather than post on a public forum. This seems to me to be both a reasonably sensible and prudent approach?
  15. lachenal74693

    Need some help, Pairing a tune with Scarborough Fair

    Could this be what you mean? "... the more you mix, the more gluten develops in the batter—meaning you'll end up with tough, chewy pancakes instead of ones that are fluffy and tender..." Probably not...
  16. lachenal74693

    More dumb questions about modes...

    I've had a copy of those notes on my machine for some time - you are right - incredible stuff! JC also kindly gave me a preview of a slightly updated version of some of the chapters. I don't think JC has posted here for a while - is he still active does anyone know? Roger
  17. lachenal74693

    More dumb questions about modes...

    Wolf, thank you. 1) As it happens, I'm actually messing around with a couple of tunes doing precisely this (shifting to the other possible mode) to see if I can 'spot the difference'. 2) 'Longways for as many as will', eh? Lots of that in Playford and other dance collections... I recognise the tune but hadn't looked at it. I will now do so - ta. (I think it's familiar because our Morris melodeonist, who is a bit of a Playford enthusiast has played it in my direction some time in the recent past). 3) We are agreed! Not exactly what is being discussed here, but 'Rainbow Jigs' by James Fitton is a tune (or set of tunes) which strings together a set of 32-bar jigs, the first is in Gion, the second in Ador, etc., for all 7 modes - all scored in one sharp. I haven't got to grips with that one yet! I'm not sure how well-known the tune is... 5 minutes later, I now see that the ABC for Rainbow Jigs was posted here in 2016.. Roger
  18. lachenal74693

    New look web site

    They'll never catch on - some of us still prefer the old ASR33/35 teletype with paper tape reader at the side, lots of clanking and clunking and formatting 'by hand' - happy days ... Roger
  19. lachenal74693

    More dumb questions about modes...

    Don, thank you very much! That's extremely useful as it 1) addresses the four modes which are (according to my understanding) the most common in 'folk' music in a way which is not only clear but 2) gives some hints about how to decide if a tune is really in (for example) G or Dmix when it's scored in one sharp but ends on a D. Trying to understand this stuff by reading more formally written musical theory has been doing my head in! It must be good, otherwise I wouldn't be sitting here reading it at 3-o-clock in the bloody morning ... Roger PS: FWIW, my nephew and his soon-to-be missus are both classically trained full-time orchestral musicians, and even they are not sure about some of this modal stuff...
  20. lachenal74693

    More dumb questions about modes...

    Yup! The basic display is certainly the same. The only difference as far as I can see is that depending on the actual key assigned in the K: field, the automagic chord generation feature of some ABC editors/players will generate slightly different chords. That slight difference is in part what prompted the question 'Does it matter?'.
  21. lachenal74693

    More dumb questions about modes...

    I took the liberty of editing numbering points into your comprehensive reply: 1) Thank you - that is what I expected/hoped to hear - including the disclaimer about the dependency on 'the rest of the melody'. 2) I used 'rules' because I was aware that the 'rules' encode a rather elusive set of decisions which I for one find difficult to arrive at. For example what to do (to use your example) if one has ' something in pure G major ending unexpectedly on the Dominant'. It is esoteric, but your summary is extremely helpful - yes it is useful and yes it makes sense. Whether I'll be able to apply it all successfully is of course another matter.... Thank you very much! Roger
  22. lachenal74693

    Need some help, Pairing a tune with Scarborough Fair

    I'm pretty sure there are ABC versions available on Lester Bailey's huge melodeon.net ABC file: https://www.dropbox.com/s/ej3b7l3vs5sgpkg/melnets_big_abc_ file.abc?dl=0
  23. lachenal74693

    Need some help, Pairing a tune with Scarborough Fair

    It may well go beyond the scope of your initial query, but there was a thread on 'Session Sets' on melodeon.net a while back. It might be worth looking there for ideas? See: https://forum.melodeon.net/index.php/topic,21574.0.html
  24. lachenal74693

    2-button tunes on Anglo?

    Yes it is, yes there are - https://www.bethsnotesplus.com/2013/09/hot-cross-buns.html... Roger
  25. lachenal74693

    New look web site

    'Fraid so. R...
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