Chappell's One Hundred Scotch Melodies

[Pete Dunk]

This is such a short one I relented!

 

X:8

T:Flowers of the Forest, The

T:(Old Air)

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=80

Z:Peter Dunk 2012.

K:G

"Adagio"

!p!G2 (GG ABde)|(dBAG) (E2D2)|\

G2 (GG ABde)|(dB)([AC]>[GB,])[G4B,4]||

(DE=FF) (EFGG)|(DDB(A) GED) >D |\

(D2 EG) ([e2c2] [dB]|"rall."[A2D2] ([AD][b/G/][A/D/]) [G4B,4]||

[Dan Worrall]

A couple of photos as promised. The music is legible admittedly but I would have thought a transcription is more useful?

 

 

 

Since you ask, the photos could have been a bit sharper...maybe you are holding the camera too close? Or moving? But they are totally legible and I prefer them to rewrites. But that may just be me.

 

I learned Kelvin Grove from the playing of the old time Australia player Charlie Ordish. Nice to see that Charlie's versiono was so close to Chappell's version.

[Pete Dunk]

Since you ask, the photos could have been a bit sharper...maybe you are holding the camera too close? Or moving? But they are totally legible and I prefer them to rewrites. But that may just be me.

To be honest they were quick snaps using my iPhone under artificial lighting, hand held obviously. The UK is rapidly nose diving into the short days of winter and it's already dusk before 6pm and on miserable days like today the natural light is really poor at midday. I do have a decent digital compact but I've never made the transition from reasonable SLR film camera to a high end digital SLR nor am I likely to. I'd rather spend my hard earned cash on Edwardian and Georgian technology.

 

I learned Kelvin Grove from the playing of the old time Australia player Charlie Ordish. Nice to see that Charlie's versiono was so close to Chappell's version.

I see you are visiting Ireland next year. By then I will have transcribed this forlorn little booklet to abc and shared it with the world at large and have no further use for it. Tell me when and where you will be in Ireland and I'll post it to you to carry off back to the New World as treasure trove, Kelvin Grove included. Beware! Should you ever venture to the South East of England you will be expected to pay me a tribute of a pint of fine English ale of my choice and be called upon to play your favourite tune at a session in the Six Bells in Woodchurch, Kent!

[Kautilya]

 

 

I am really looking forward to some of the unusual Scotch tunes to come which will put our provenance skills to their utmost test and, I suspect, Tallship may be accused of sedition and taken by cart to SNP Castle, Edinburgh to await trial, keel-hauled and then strung from the crow’s nest.

 

I am beginning to wonder whether this list may have fallen off another book…..!

 

If you had read my previous posts with any degree of concentration you would have noted my comment that the book ended with four pages of advertisements for other publications . . .

 

Now may we please have a blowing a raspberry emoticon?

Sorry, but this is the best I can do in the short time available as had no beans for dinner and I am trying to watch the recording of tonight's earlier Homeland ... which seems to be set in the jungle putside the hall of the mountain king

voiZeusEcho11032804.mp3voiPSZeusTrumpet11032802.mp3

 

BTW thanks in advance for alerting me to Thomas Tallis' Spem in alium - I did not know it existed but now I am certainly enjoying the youtube - stunning stuff. You see, you CAN cast pearl before swine and they will appreciate 'em.

Edited October 21, 2012 by Kautilya

[Kautilya]

Interestingly (or perhaps not!), messing about at the kitchen table last night, before I went through this index, I was squeezed out the first part of the Gregorian Te Deum out on a Lachenal 20-button.

 

Just watch it you. I have the conductor's score for Thomas Tallis' Spem in Alium and I know how to transcribe it!

Now this is really classy:

Thomas Tallis ring-tones!

http://www.lyricszoo.com/thomas-tallis/if-ye-love-me/

 

I wonder if I should change that scotch drinking song on my phone at the moment which is auld lang syne?

[Dan Worrall]

 

I see you are visiting Ireland next year. By then I will have transcribed this forlorn little booklet to abc and shared it with the world at large and have no further use for it. Tell me when and where you will be in Ireland and I'll post it to you to carry off back to the New World as treasure trove, Kelvin Grove included. Beware! Should you ever venture to the South East of England you will be expected to pay me a tribute of a pint of fine English ale of my choice and be called upon to play your favourite tune at a session in the Six Bells in Woodchurch, Kent!

 

Deal! You can send it to me care of the folks putting on the concertina weekend in early February:

Oidhreacht an Chláir

Clare Institute for Traditional Studies

Flag Road Miltown Malbay, County Clare, Ireland

 

Fine English Ale no problem. I might even bring you a bottle of Shiner lager from Texas to boot. It will be a year or three, though.

[cboody]

Interestingly (or perhaps not!), messing about at the kitchen table last night, before I went through this index, I was squeezed out the first part of the Gregorian Te Deum out on a Lachenal 20-button.

 

Just watch it you. I have the conductor's score for Thomas Tallis' Spem in Alium and I know how to transcribe it!

 

 

Great. Go to it. I've been wanting to edit it for 8 brass choirs for years and have been too lazy to get it into any notation. (It shouldn't take much time...right? )

[cboody]

Interesting stuff in that collection. "Whistle and I'll Come to you" is a Robert Burns poem, though I don't know if this is the tune commonly associated with the poem. "Flowers of the Forest" is often performed at funerals on the pipes.... But then you folks across the pond probably already know that....

[Steve Mansfield]

I'm enjoying these transcriptions and look forward to the completed abc file (I guess I could make my own file by copy'n'pasting like I do for the Something For The Weekend tunes, but I'm being lazy!)

 

Good job Peter, you'll hit a point like I did on the La Bourree project where you think 'why did I start this', but the end results are well worth the process ...

 

[edited to insert link to La Bourree)

Edited October 22, 2012 by Steve Mansfield

[Jack Campin]

Using ! for dynamics (when it already had a well-established and entirely different use in ABC) was one of Gonzato's stupider ideas.

 

Use "^..." instead and the result will be portable.

[Pete Dunk]

Thanks Jack, I'll give that a go. Syntax is ^crescendo(^ ?.

 

I'll probably try it out later this evening but I'm probably too busy for more tunes. Here's one to be going on with.

 

X:9

T:Flowers of the Forest, The

T:(Modern Air)

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=70

Z:Peter Dunk 2012.

K:Bb

"Adagio"

!p!F2 (FG) (FG) (Bc/d/)|(edcB) (GB) {G}(FD)|\

(3CDF (F>G) (FG) !crescendo(!(Bc/d//e//)!crescendo)!|

d2 ([cE]>[bD]) [b2D2]z2|!p!_A2 (A/c/B/A/) (3FGB|\

(FdcB) (GB) (3GFD|_A2 (A/c/B/A/) (3FGB|

(Fd) {d/}(c> B2 z2|([dB] [fd])([fd]>[ge]) ([ge][fd][ec][dB])|\

(c/d/e/d/) {d/}c>B B3 c|([dB][fd])([fd]>[ge]) ([ge][fd][ec][dB])|

([fd][dB]){d/}(c> (GB) (3GFD|(3CDF F>G (FG)\

!crescendo(! (Bc/d/e/)!crescendo)!|\

[d2F2] ([cFE]> [b2F2D2]z2|]

[Pete Dunk]

X:10

T:Here Awa', There Awa'

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=120

Z:Peter Dunk 2012.

K:F

"Andante"

!p!([c3A3] [bG][AF][GC])|([F3A,3] [GC] [F2A,2])|\

([G3E3C3] [FA,] [G2C2])|[A2F2] [f4F4B,4]|\

([c3F3A,3] [bFD][AFC][GCB,])|([F3C3A,3] G A2)|\

([d3A3F3] [^cGA,] [d2F2D2])|D4 z2|

([A2F2D2] d2 [^c2G2A,2])|([d3F3D3] e f2)|\

([c2G2E2] d2 cB)|([A3F3] [bG] [c2A2])|\

([A2F2D2] d2 [^c2G2A,2])|([d3F3D3] e f2)|\

"_>""rall."( G A2 A3)|D4 z2|]

[Pete Dunk]

Good job Peter, you'll hit a point like I did on the La Bourree project where you think 'why did I start this', but the end results are well worth the process ...

 

Just grabbed the La Bourree file Steve, good one, ta! This is already a slog with all of the chords but it will get done, ten down so that's 10% completed!

[Pete Dunk]

Using ! for dynamics (when it already had a well-established and entirely different use in ABC) was one of Gonzato's stupider ideas.

 

Use "^..." instead and the result will be portable.

 

Sorry Jack, I'm obviously missing the point here. No amount of experimentation works with "^". I thought that was reserved to sharpen the note following the caret symbol, ie ^f = f#?. Please post a line of code using "^" instead of "!" that works to express dynamics. In the meantime here's another tune in abc plus:

 

X:11

T:O Waly, Waly Up Yon Bank

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=120

Z:Peter Dunk 2012.

K:C

"Andante"

!p!C|([EC]>[FD]) [G2E2]c2|([dGF]>e) [d3G3F3] D|\

([EC]>[FD]) [G2E2] c2|([eG]>[dF]) [d3E3] C|\

([EC]>[FD]) [G2E2] c2|([dGF]>e) [d3G3F3] D|\

([EC]>[FD]) [G2E2] d2|([eG]>[dF]) [c2E2]||

z_B|(A>G) F3 G|(AG _B3) A/G/|\

(Ac [G2E2C2]) e2|{e/}d>c c2 z(c|\

A>[GE][E3C3]) (c|GE D3) (_B|\

AG [c3E3]) E|{E/}"_>"(D>C) C2 z|]

 

Edit: correct typo referred to in post below!

Edited October 23, 2012 by tallship

[Pete Dunk]

Is this website broken? I'm unable to edit my posts, the Discussion Forums sub forum collapses after a few seconds . . .

 

Anyway I made a minor transcrition error in my last post, here's the edited file!

 

X:11

T:O Waly, Waly Up Yon Bank

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=120

Z:Peter Dunk 2012.

K:C

"Andante"

!p!C|([EC]>[FD]) [G2E2]c2|([dGF]>e) [d3G3F3] D|\

([EC]>[FD]) [G2E2] c2|([eG]>[dF]) [d3E3] C|\

([EC]>[FD]) [G2E2] c2|([dGF]>e) [d3G3F3] D|\

([EC]>[FD]) [G2E2] d2|([eG]>[dF]) [c2E2]||

z_B|(A>G) F3 G|(AG _B3) A/G/|\

(Ac [G2E2C2]) e2|{e/}d>c c2 z(c|\

A>[GE][E3C3]) (c|GE D3) (_B|\

AG [c3E3]) E|{E/}"_>"(D>C) C2 z|]

[Pete Dunk]

Two for today, may get chance for another, we'll see.

 

X:12

T:Bush Aboon Traquair, The

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:C

"Andante"

!p!(C>D)| ([EC][GE] [c3E3] e)|([dFG,]>c d/e/f/d/) [d2F2G,2] zD|\

([E2C2][G2E2]) (e>dcA)|([G4E4] C2) (C>D)|

([E2C2][G2E2] [c3E3] e)|([dFG,]>c d/e/f/d/) [d2F2G,2] zD|\

([E2C2][G2E2]) (e>dcA)|([G4E4] C2)||

c2|(B>AGA) (Bcde)|(fgef) d2 zG|\

([cE]>[dG][ec][fd]) ([g3e3] G)|(e>f g/f/e/d/ c2) zc|

(B>AGA) (Bcde)|"_rall."(f>g a/g/f/e/ d2) z "_a tempo."[DB,]|\

([E2C2][G2E2]) ([ec]>[dB][cA][AF])|([G4E4] C2)||

 

X:13

T:Logie O' Buchan

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

"Andante"

!p!([GE][FD])|([E3C3][FD][G2E2])|([GE]e3 d2)|\

([c2A2][A2F2])[A2F2]|"_>"[A4F4][GE][FD]|\

([E3C3][FD][G2E2])|([GE]e3) [d2F2B,2G,2]|\

([e2G2E2C2]c2) c2|"_>"c4 ([cE][dG])|

%

([e3c3][dB][e2c2])|[g4e4] (ed)|\

([c2A2][A2F2][b2F2])|"_>"[c4E4] (cd)|\

([e3c3G3] f e2)|([d2B2G2]c2d2)|\

([e2c2G2]c2[A2F2])|[A4F4]([GE][FD])|

%

([E3C3][FD][G2E2])|([GE]e3) d2|\

([c2A2][A2F2])[A2F2]|"_>"[A4F4] ([GE][FD])|\

([E3C3][FD][G2E2])|[GE] Hc3 [d2F2B,2G,2]|\

([e2G2E2C2]c2)c2|"_>"[c4G4E4C4]||

[Pete Dunk]

X:14

T:Comin' Through the Rye

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=110

Z:Peter Dunk 2012.

K:Bb

"Moderato"

!p!F>FFd c>Bcd|F<F(G>F) B2 z|\

(F>Ff>d) (d>Bcd)|F>F{A/}G>F [b2D]z|

[fd]>dBd {d/}c>Bc<d|([fd]>d) (Bd/f/) [g3e3B3G3] g|\

(f>d)(e>c) "rall."(e/d/c/B/) HB>d|\

"'a tempo.'"[FD]>[FD]([GE]>[FD])[b2D2] z|]

[Pete Dunk]

X:15

T:Of A' the Airts the Wind Can Blaw

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=110

Z:Peter Dunk 2012.

K:C

"Andante"

!p!G|[cGE]>c[cAF]>c ([cGE]Gc[afc])|([gec]>e{e/}d>c) [c3A3](G/A/)|\

[cGE]>c[cAF]>c ([cGE]Gca)|([gec]>a[c'e][ec]) [g3B3][af]|

%

([ge]>ac'[ec]) ([ge]>[eG][dF][cE])|\

[dAF](d/e f/e/d/c/) {B/}[A3F3]G/A/|\

[cGE]>c[cAF]>c ([cGE]Gc[afc])|([gec]<e)([dBG]>e) [c3E3]||

%

G/F/|(E>G[cE]>G) ([AF]>[GE][cE][dG])|(eg) (f/e/d/c/) {B/}A3 (G/F/)|\

(E>G[cE]>G) ([AF]>[GE][cE][dG])|[ec]>f (g/a/b/c'/) [g3d3B3] (a/b/)|

%

(c'>bag) (a>gfe)|(d>e f/e/d/c/) {B/}A3 (G/A/)|\

[cGE]>c[cAF]>c ([cGE]Gc[afc])|([gec]>e)([dBG]>e) [c3E3]||