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Pete Dunk

Chappell's One Hundred Scotch Melodies

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This is not the same arrangement as the one Pauline de Snoo had on her website a while ago.

 

X:16

T:Auld Robin Gray

C:arr. Carlo Minasi

M:C

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:1/4=100

Z:Peter Dunk 2012.

K:D

"Andante"

!p!D|([FD]>[GE][AF]>[bG]) {[b/G/]}[A3F3] [AF]|\

[bG]>G[dB]>[bG] {[b/G/]}[A3F3] zD|\

([FD]>[GE][AF]>[bG]) ([bG][AF]GF)|(E>DG>F) (F2 E) D|

%

([FD]>[GE][AF]>[bG]) {[b/G/]}[A3F3] [AF]|\

[bG]>c[dF]>F {[A/F/]}[G3E3] E|\

"_cres."F<A (df) "_rall."(gecd)|F2 {F/}E>D D2||

%

!p!=F| (=F2 E>F) D2 (F>G)|\

([A=F]>A[_BG]>G) [A2F2] "_cres."E>E|\

([=FD]>E[FD_B,]>[^F=CA,]) ([GB,G,]>FG[^GED])|\

"_rall."([AE^C]>^G)(d>[GD]) H[A3C3] !p!A|

%

(F<D) ([AF]>[bG]) ([bG][AF]) z[AF]|\

([bG]>[AF][GE][FD]) ([AF] [G2E2]) E|\

(FA) (d<f) "_rall."([gE]e[cG][dF])|\

(F>G) {F/}(E>D) D2||

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I rather like this one!

 

X:17

T:Up in the Morning Early

C:arr. Carlo Minasi

M:6/8

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:3/8=100

Z:Peter Dunk 2012.

K:Gm

"Moderato"

!p!C|G2 A B2 c|(d>=ef) F2 F|\

(G>AB/c/) d>cB/A/|!diminuendo(!(G3 d2)!diminuendo)! !mf!D|

G2 [A^F] [b2G2][cA]|([dB]>=ef) F2 F|\

(G>AB/c/) d>cB/A/|!diminuendo(!(G3 [d2B2G2])!diminuendo)!||

B|([cGE]>cB) [b2G2D2] B|([cGE]>dc) [c2A2F2] [cA]|\

([DB]>[ec][fd]) ([ge]>[fd][ec])|([d3B3] f2) !mf!f|

([bFD]>c[bFD]) [b2G2E] B|([cAF]df) H[g2e2B2]([f/A/]e/)|\

([dB]>cB) [AEC]>G[^FC]|!diminuendo(!([G3B,3] d2)!diminuendo)!||

Edited by tallship

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Last one for this evening, I like it!

 

X:18

T:My Sheep I Neglected

T:My Apron Dearie

C:arr. Carlo Minasi

M:3/4

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:1/4=140

Z:Peter Dunk 2012.

K:C

"Andantino"

!p!([GE][AF])|([c3E3] [dF][eG][dF])|(c2G2A2) &E4 F2|\

([_B3] dcB) &[F3D3] z [G2E2]|(_B2A2) [GE][AF] &[F4C4] x2|\

([c2E2] [gcE]f[eBF]d)|([c2E2]G2[A2F2])|\

(c>Bcdef) &E3 Gcd|[g4e4C4] G2|

%

([c2E2] g[fA][eG][dF])|([c2E2]G2 [A2F2])|\

([_B3] dcB) &[F3D3] z [G2E2]|(_B2A2) (cA) &[F4C4] x2|\

(G2E2) (F>A)|G4 ([ec][fd])|\

([g3e3] [fA][eG][dF])| [c4E4]||

%

([ec][fd])|([g2e2] [fA][eG][dF][cE])|[f4A4] ([fA][_ec])|\

[d2_B2] (Bcd[_eB])|[f4A4] (ef)|\

g2 (fedc)|([fcA]g/a/ [g3e3c3] a)|\

([g2e2c2] fe [fcA]g/a/)|([g4e4c4]a2)|

%

(g2e2) (cd/e/)|([f3A3] g a2)|\

([A2F2D2]defd)|([c2G2E2][b2G2D2]) (cA)|\

(G2E2) (FA)|G4 (e>f)|\

([g3c3E3] [fdF][ecG][dBGF])|[c4G4E4]||

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Today's offering is a bit of an also ran I'm afraid.

 

X:19

T:I'm O'er Young to Marry Yet

C:arr. Carlo Minasi

M:C

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:1/4=140

Z:Peter Dunk 2012.

K:D

"Allegretto"

!p!b|([af]<d) (d>e) ([fd]>[ec][fd]>[ge])|\

([af]<d) (d>e) (f<e) eb|\

([af]<d) (d>e) ([fd]>[ec] [fd][af])|\

([bg]>[c'a][d'b]>[bg]) ([af]<f) f||

%

[af]|([bg]>[c'a][d'b]<[bg]) ([af]f) "_>"[(f'a]>e')|\

([d'b]>[c'a][d'b][bg]) (a<f) fa|\

([bg]>[c'a][d'b]>[bg]) ([af]f) "_>"[(f'a]>e')|\

"_rall."([d'b]>[c'a][d'b][bg]) (af) H[ecA]||

%

"'a tempo'"

!mf!(f/g/)|(a<d) (d>e) (fef>g)|(a<d) (d>e) (f<e) eb|\

([a<d] d) (d>[eA]) ([fd]>[ec][fd][af])|\

([bg]>[c'e][d'f][bg]) ([af]<f) Hf||

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A bit sparse in the A music? :unsure:

 

X:20

T:Come O'er the Stream to Charlie

C:arr. Carlo Minasi

M:3/4

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:1/4=200

Z:Peter Dunk 2012.

K:F

"Allegretto"

!p!C2|[F3A,3] A c2|(c2A2d2)|(c2A2f2)|(c2A2G2)|\

(F3 A c2)|(c2A2[F2A,2])|C2 A3 [GB,]|[F4A,4]:|]

%

c2|[f2A2]e2f2|[d2B2]e2[f2A2]|[d2B2]g2[f2=B2]|([e2c2]d2c2)|\

([f2A2]e2f2)|[d2B2][c2A2][b2G2]|\

[A2F2][G2=B,2][F2D2]|[c4E4]c2|

%

[b2F2D2]d2[b2E2]|[A2F2]c2[f2A2]|\

[c2F2A,2]A2[F2D2B,2]|[A2F2C2][G2E2C2][e2G2C2]|\

[f3B3F3D3] d [b2F2D2]|[c3A3F3] A [F2A,2]|\

C3 A [G2B,2]|[F4A,4]|]

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Not sure I have the key right in the abc, maybe it should be E dorian. Given that all of the C and c notes are naturals it could even be written as Em, this is where my music theory falls apart! Anyway here it is in two sharps, as published!

 

X:21

T:Tullochgorum

C:arr. Carlo Minasi

M:C

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:1/4=140

Z:Peter Dunk 2012.

K:D

"Spiritoso"

!mf!E| "_>"F>dA>D "_>"G>=CE>G|"_>"F>DA>D "_>"F>GA>d|\

"_>"F>DA>D "_>"G>=CE>F|"_>"D>dA>d "_>"F2 e||

F|D>dA>B =c>=CE>F|D>dA>G F2 E>F|D>dA>B =c>=CE>F|

D>dA>B =c>de>d|=c>BA>c G>=CE>F|D>dA>G "_>"F2 E|]

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Not sure I have the key right in the abc, maybe it should be E dorian. Given that all of the C and c notes are naturals it could even be written as Em, this is where my music theory falls apart! Anyway here it is in two sharps, as published!

 

X:21

T:Tullochgorum

C:arr. Carlo Minasi

M:C

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:1/4=140

Z:Peter Dunk 2012.

K:D

"Spiritoso"

!mf!E| "_>"F>dA>D "_>"G>=CE>G|"_>"F>DA>D "_>"F>GA>d|\

"_>"F>DA>D "_>"G>=CE>F|"_>"D>dA>d "_>"F2 e||

F|D>dA>B =c>=CE>F|D>dA>G F2 E>F|D>dA>B =c>=CE>F|

D>dA>B =c>de>d|=c>BA>c G>=CE>F|D>dA>G "_>"F2 E|]

Just listenin' to this before comparing with your abc

 

Edited by Kautilya

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I asked someone with a much greater knowledge of musical theory than I have about the key Tullochgorum is written in and had the following reply, some of which I grasped ( <_< ):

 

Wacky - it's scored in 2 #s but every single C# is then naturalised to a C!

 

This, a strong tendency to come back to D, and the fact that it harmonises against a Dmaj/Cmaj rock makes it totally myxolydian D to my ear. G notes, 5th node, DEF#GABCD.

 

The melody is then completely 'modal', mostly pentatonic in structure with not an single 'accidental' needed if you score it on the G scale with only one #

 

Yes - it ends on a 9th. Just regard the 'underlying' final chord as Dsus and it makes sense as a 'leading note'.

 

There isn't a dominant 7 in mixolydian unless you progress it into 'Blues' - the mode itself is built on G's D7 chord.

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Onward and downward, this one is terrible!

 

X:22

T:Green Grow the Rashes O

C:arr. Carlo Minasi

M:C

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:1/4=120

Z:Peter Dunk 2012.

K:F

"Moderato"

!p!F|F>FA>G (A<G) FA|G>Gd>c (d<G) GA|\

(B>A Bd) (cAFA)|(G>BA>G) "_>"F<D D2||

!mf!c2 ([fcA]>e) "_>"(f>[cA]) c2|d2 ([gB]>^f) "_>"(g<d) de|\

([fA]>gf[dB]) ([cA]AF>A)|(G>BA>G) "_>"F<D D2 ||

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Onward and downward, this one is terrible!

 

X:22

T:Green Grow the Rashes O

C:

[quote

My prescient brain tonal seeker read that as Greeen grow the Gnashers oh - terrible as you say with my teeth grindin'

It is like that earlier one I did not recognise until half way through his adaptation

I seem to remember some chappie's free midis which he set up on piano but he did his own little introduction and flourishes before every toon and of course it left dumbo beginners like me wondering where on earrth did the 'real' melody begin

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Yeah Dmix for Tullochgorum. Those weird last notes seem common in certain kinds of Scottish tunes. To me the effect is sort of like the abrupt stop of the pipes. (sort of!!!)

 

Green Grow the Rashes (Rushes) is a really sing-songy little thing. The words help it, but not nearly enough!

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Last one for this weekend, this one doesn't raise the bar either!

 

X:23

T:Weary Fund O'Tow, The

C:arr. Carlo Minasi

M:3/4

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:1/4=140

Z:Peter Dunk 2012.

K:G

"Andante"

!p!D|G>G G2 z G|(GA/B/ A3) G|\

(F>G) ([c2A2][b2G2]|[A4F4)] z B|G>G G3 G|\

(GA/B/ A3) G|(E>G [b2D2][A2C2])|[G4B,4]z||

%

d|(B>c d2) z G|(B>c d2) z G|\

(F>G) [c3A3] [bG]|[A4F4]"_cres."(d3/e/f/)|\

(g>f) e3 d|d>d {e}Hg3 !p!G|\

(E>G [b2D2] [A2C2])|[G4B,4]||

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The sort of fix you need to make that ABC portable - this works in BarFly, and should work in anything, given that I've removed those crazy exclamation marks. You will need a wide window to see the source properly:

 

X:17
T:Up in the Morning Early
C:arr. Carlo Minasi 
M:6/8
L:1/8
B:Chappell's One Hundred Scotch Melodies
B:Arranged for the Concertina by Carlo Minasi
Q:3/8=100 "Moderato"
Z:Peter Dunk 2012.
K:GMin
"p" C|  G2  A         B2      c  | (d>=ef)    F2       F       | (G>AB/c/)        d>cB/A/      |"dim." (G3     d2)
"mf"D|  G2 [A^F]     [b2G2]  [cA]|([dB]>=ef)  F2       F       | (G>AB/c/)        d>cB/A/      |"dim." (G3    [d2B2G2])||
B    |([cGE]>cB)     [b2G2D2] B  |([cGE]>dc) [c2A2F2] [cA]     |([DB]>[ec][fd]) ([ge]>[fd][ec])|     ( [d3B3]  f2)
"mf"f|([bFD]>c[bFD]) [b2G2E]  B  |([cAF]df) H[g2e2B2]([f/A/]e/)|([dB]>cB)        [AEC]>G[^FC]  |"dim."([G3B,3] d2)     |]

 

The time signature was wrong (4/4, should have been 6/8) and so was the key signature (Bb, should have been GMin).

 

I removed the diminuendos at the end of each line as I couldn't imagine what they meant - you've already got one in the same bar.

 

Was "diminuendo(" (with the open-paren) supposed to mean something specific?

Edited by Jack Campin

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The sort of fix you need to make that ABC portable - this works in BarFly, and should work in anything, given that I've removed those crazy exclamation marks.

 

The time signature was wrong (4/45, should have been 6/8) and so was the key signature (Bb, should have been GMin).

 

I removed the diminuendos at the end of each line as I couldn't imagine what they meant - you've already got one in the same bar.

 

Was "diminuendo(" (with the open-paren) supposed to mean something specific?

 

T'was done in a bit of a rush I'm afraid, I really must double check things more thoroughly. The key signature I can understand, I was just being sloppy, but the time signature is an out and out stupid error! Now edited, thanks Jack. The remainder of your post will take more time than I have this evening to reply to so I'll leave that for another day.

 

Pete.

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Last one for this weekend, this one doesn't raise the bar either!

 

X:23

T:Weary Fund O'Tow, The

 

You're right - you mightily deserve a rest fo all this work, so here is something depressing to put you back in order! needs a lot of bellows work to hold some of the notes and it is hell trying to hold the lung bellow notes too! I have yet to find a tina player to help do the honours as accompanist.

And there ara few other toons by this chappie that may be more uplifting

I dont know why this first one cuts off though just before the end....

I have it somewhere else if you want the last phrasing... same 78 record.

 

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The sort of fix you need to make that ABC portable - this works in BarFly, and should work in anything, given that I've removed those crazy exclamation marks. You will need a wide window to see the source properly.

 

I removed the diminuendos at the end of each line as I couldn't imagine what they meant - you've already got one in the same bar.

 

Was "diminuendo(" (with the open-paren) supposed to mean something specific?

 

I think that very shortly we will need to agree to disagree with regard to the use of ABC Jack. You start off talking about making my ABC portable and immediately say I will need a wide window to see the source properly! As a transcriber for the Village Music Project I adhere to their specification of a maximum of 72 character per line to avoid display problems. As it happens I use an HDMI widescreen LCD display so longer lines are no problem for me.

 

You ask about the syntax of the !diminuendo(! and !diminuendo)! statements; one denotes the beginning of the diminuendo mark which continues until the closing statement is reached, giving the same elongated > mark found in printed music. The same applies to !crescendo(! and !crescendo)! which produces an elongated < mark.

 

All of the other things like !p! !f! and !mf! produce the proper bold and italic characters used to denote dynamic markings which appear beneath the stave in standard printed music when read by various abc software packages and on-line converters which understand the extended ABC Plus syntax. Changing !p! to "p" as you did simply prints a small letter p above the stave which as far as I'm aware means absolutely nothing in musical notation.

 

I'm not about to enter into a debate about the rights and wrongs of using ABC Plus or the limitations of available Mac software because I did say in my first post in this thread that in this project I am writing files to produce a reasonably accurate PDF copy of an oldish but hardly rare or important printed book. I thought it would be good to share the abc files as I wrote them and had no desire to stir up controversy!

 

I believe that the free software package "Easy ABC" is now available for Mac and that it accepts the ABC Plus commands.

 

Pete.

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Back to the business at hand.

 

X:24

T:My Love She's But a Lassie Yet

C:arr. Carlo Minasi

M:2/4

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:1/4=120

Z:Peter Dunk 2012.

K:D

"Allegretto"

!p!B/c/|d"_>"D"_>"F"_>"A|"_>"[dAF].D.D (B/c/)|\

d(DFA)|eEE (B/c/)|[dAFD]"_>"D"_>"F"_>"A|\

[dBG]"_>"g(f>e)|(d/c/B/A/) B>c|"_>"dDD||

%

!mf!(fg)|(ag)(ge)|(fd).d ([f/d/][g/e/])|\

([af][fd])([ge]>[fd])|([eA]E.E) ([f/d/][g/e/]|\

[af][fd])([ge][ecA])|([fd][dF])([ecA]>c)!f!|\

(d/c/B/A/) B>c|"_>"dDD||

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A quarter of the way there! :D Three quarters still to do. :(

 

X:25

T:Lewie Gordon

C:arr. Carlo Minasi

M:C

L:1/8

B:Chappell's One Hundred Scotch Melodies

B:Arranged for the Concertina by Carlo Minasi

Q:1/4=140

Z:Peter Dunk 2012.

K:C

"Allegretto"

!p!"_>"G>AB>A GE A2|("_>"G>AB>c) ([dB][ec] [g2B2])|\

"_>"e>d(gB) (c/B/A/G/) A2|"_>"G>AB>A GE [G2D2B,2]|

"_>"G>AB>A GE "_>"[A2F2D2]|("_>"G>AB>c) ([dB][ec] "_>"[g2B2])|\

"_>"e>dgB (c/B/A/G/) [A2F2D2]\

|"_>"G>A"_rall."B>A G[EC] [G2B,2]||

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