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Chappell's One Hundred Scotch Melodies


Pete Dunk
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I wouldn't drop them, but I would reduce the dotted note before them by the appropriate amount. LIke so (E/F) A/

 

Perhaps with a footnote.

 

Here is my interpretation of your suggestion, I hope I've got it right. I don't feel the need for the addition of a footnote in this instance (should I?), this isn't a scholarly transcription of a unique hand written manuscript or an early hand engraved printed collection but more of a curio. It's fun but little more than that as far as I can see. I do value your opinion though and if you think it is worthy of greater respect and a more scholarly approach then I'll do a back track at the end of the project and review it all. I'll reconsider photographing the whole book and making the original scans available too before passing the book along if either the ICA or concertina.net are happy to host the images for all to share. Anyway, here's the mildly edited version!

 

Pete.

 

 

You missed the one that ends the A and starts the B. Here's the fix

 

X:60

T:Roy's Wife of Aldivalloch

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:"Andante "1/4=140

Z:Peter Dunk 2012

K:D

!p!(A<F) (F>E) (F>E) (F<B )|(A<F) (F>D ) (E>D) (E<F)|\

(A<F) (F>E) ([dF]>[eA]) ([fd]>[eA])|\

([dF]>[bG]) ([AF]>F) (E>D) (D/F)||

%

A/|(AB/) (d>f) (e>f) (d>A)|(A>B ) (d>F) (E>D) (E/F) A/|\

(A>B ) (d>f) (e>f) (He>d)|(f>e) (d>F) ( E>D) (E<F)|

%

([AF]<[FD]) ([FD]>[EC]) ([FD]>[EC]) ([FD]<[bG])|\

([AF]<F) (F>D) (E>D) (E<F)| ([AF]<F) (E>D)\

([dF]>[eA]) ([fd]>[eA])| ([dF]>[bG]) ([AF]>F) (E>D) (E<F)||

 

 

I don't think you need the scholarly treatment. Often folks will put something like "Obvious errors have been corrected." in an intro. Surely that is all that's needed if that.

 

Edited to clean up my mistake (and yours I think? ) Better check this.

Edited by cboody
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X:61

T:Maggie Lauder

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:"Allegro "1/4=140

Z:Peter Dunk 2012

K:C

!mf![c2G2E2] [cGE]c ([cGE]>ec)e|\

([dF]>e[d^F])c ([b2G2]dz/f/)|\

([ec]c)([cE]G) ([cE]>d[cE])e|\

([ge]>[af][ge][fd]) ([e2c2]g)z/e/|

L([gcA]>gf)a L([ec]>fe)g|\

([dF]>e[d^F]c) ([b2G2]Hd) (A/B/)|\

.c.G.A.E .F.E.D z/f/|\

([ecG]>g)([dBF]>e) [c2-E2-][cE]z||

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I checked it and have edited my file, I think this works (I had compensated for the semi-quaver at the start of line two by altering the two following notes rather than the pair at the end of the first line, they have now been swapped around), give it a listen and if we agree I'll edit the original post then we can clean this mess up!

 

X:60

T:Roy's Wife of Aldivalloch

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:"Andante "1/4=140

Z:Peter Dunk 2012

K:D

!p!(A<F) (F>E) (F>E) (F< B )|(A<F) (F>D) (E>D) (E<F)|\

(A<F) (F>E) ([dF]>[eA]) ([fd]>[eA])|\

([dF]>[bG]) ([AF]>F) (E>D) (D/F)||

%

A/|(A>B ) (d>f) (e>f) (d>A)|(A>B ) (d>F) (E>D) (EF/) A/|\

(A>B ) (d>f) (e>f) (He>d)|(f>e) (d>F) ( E>D) (E<F)|

%

([AF]<[FD]) ([FD]>[EC]) ([FD]>[EC]) ([FD]<[bG])|\

([AF]<F) (F>D) (E>D) (E<F)| ([AF]<F) (E>D)\

([dF]>[eA]) ([fd]>[eA])| ([dF]>[bG]) ([AF]>F) (E>D) (E<F)||

 

 

For this line (first line of code in the second line of music notation) you have

 

A/|(A>B ) (d>f) (e>f) (d>A)|(A>B ) (d>F) (E>D) (EF/) A/|\

 

The rhythm of the last three notes, quaver, semi quaver, semi quaver

 

Originally you had semiquaver dotted quaver, semiquaver (A/|(A>B ) (d>f) (e>f) (d>A)|(A>B ) (d>F) (E>D) (E<F) A/|\)

 

wouldn't it make best sense to go to

 

semiquaver, quaver, semiquaver?

 

That approach removes the extra rhythm duration but keeps the essential rhythm the same. In abc that would be

 

A/|(A>B ) (d>f) (e>f) (d>A)|(A>B ) (d>F) (E>D) (E/F) A/|\

 

But your call on this.... You're the transcriber...

 

Edited for smileys. Darn things...

Edited by cboody
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X:62

T:Within a Mile of Edinburgh

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:"Moderato "1/4=120

Z:Peter Dunk 2012

K:C

!p!(e>f)|([gc]<e) ([dBG]>e) [c2E2] (ec)|\

([AF]<c) G>E G2 (c>d)|([ec]<g) ([af]c') \

(g<e) (dc)|([e2c2G2][d2B2G2]) z2 (e>f)|

%

([gc]<e) ([dBG]>e) [c2E2] (ec)|([AF]<c) G>E G2 (c>d)|\

([ec]<g) ([af]c') (g<e) (dc)|[c4E4] z4||

%

!crescendo(!(c>de>f) ge c'2|(c>de>f) \

ge c'3/ c/|(c>dc>A) (GEG>c)!crescendo)!|

%

(e>c) (e<g) LH[a3f3c3F3] c'|!p!(g<e) (e<c) \

(A<c) (G<c)|([ec]<g) ([dBG]>e) [c2E2]||

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X:63

T:When the Kye Come Hame

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:"Moderato "1/4=110

Z:Peter Dunk 2012

K:C

!p!([AC][bD])|[cEA,]>[bD] [AC]B ([ADB,]G) ([EC]D)|\

[E2C2] [GE]>[AF] [G2E2C2] [AC][bD]|\

[cEA,]>[bD] [AC]B ([ADB,]G) ([EC]D)|\

[E2C2] [AC]>[bD] [A2C2] [cA][AF]|

%

([GE]>Ac[dF]) [e2G2] ([dF][cE])|[dBG]>cd[eGC] L[G2E2] [cAF]>d|\

([ecGE]>[dF][cE][bG]) ([AF]"dim."[GE][EC]>[DB,])|\

[E2C2] [A2F2D2A,2] [A2E2C2A,2]||

%

[cE][dF]|[e2G2C2] g2 ([gcA]f) [eGB,]d|\

[e2G2C2] a2 [a2f2c2E2] [cAF]>d|\

([ecGE]>[dF][cE][bG]) ([AF][GE][EC]>[DB,])|\

[E2C2] [A2F2D2A,2] [A2E2C2A,2]H||

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X:64

T:Blue Bells of Scotland, The

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:"Andante "1/4=100

Z:Peter Dunk 2012

K:F

!p!c|([f2A2] [ec][dB]|[c2A2]) L([dB]e/f/)|\

.[AF]([AF][bG][GC])|.[F2A,2]z c|([f2c2A2F2][eBF]d)|

%

[c2A2F2] ([dBFB,]e/f/)|[AFC](A[bEC][GC]|[F2A,2]) z||\

c|(AF)(Ac)|[f2A2D2]([d=BG]e/f/)|

%

([ecGC][cE][dF][=BFDG,])|([c3G3E3C3][d/=B/][e/_B/])|\

([f2A2] [ec][dB]|[c2A2]) L([dBFB,]e/f/)|\

[AFC](A[bEC][GC])|[F3A,3]||

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X:60 looks good!

 

Do these have the words in the original book? If so I'll stick them in after you've got everything done if you send me a copy of the pdf file.

 

this is the version on Mudcat:

 

Oh where, tell me where is your highland laddie gone?

Oh where, tell me where is your highland laddie gone?

He's gone with streaming banners where noble deeds are done

And it's oh! in my heart I wish him safe at home. Oh where, tell me where did your highland laddie dwell?

Oh where, tell me where did your highland laddie dwell?

He dwelt in bonnie Scotland where bloom the sweet bluebells

And it's oh! in my heart I rue my laddie well.

 

Oh what, tell me what if your highland lad be slain?

Oh what, tell me what if your highland lad be slain?

Oh no, true love will be his guide and bring him safe again

For it's oh! my heart would break if my highland lad were slain.

 

 

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X:65

T:Lass O' Gowrie, The

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:"Andante "1/4=100

Z:Peter Dunk 2012

K:C

!p!([G/E/][F/D/])|([EC][GE])([GE][AF])|([cE]>[dF][cE][bG])|\

([AF]>[GE][AF]c)|([dFB,G,]>ed) \

([G/E/][F/D/])|([EC][GE])([GE][AF])|

%

([cE]>[dF][eG]>[dF])|([c/E/]B/A/G/) (G/A/c/E/)|\

L(D2C)||(g/f/)|egce|(g/f/e/f/) (gf/e/)|

%

fadf|(a/g/f/g/) (ag/f/)|(egd>e)|\

(c>AGa)|(gc) (gf/e/)| L([d2F2] [cE])||

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Odd. :unsure:

 

X:66

T:We're a Noddin

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:"Allegretto "1/4=140

Z:Peter Dunk 2012

K:G

!p![GB,][AC]|L([b4D4] [A2C2][G2B,2])|\

[A2C2][A2C2] ([bD][AC][GB,][AC])|\

L([b4D4] [A2C2][G2B,2])|([bFC]AGF) [G2B,2]||

%

!mf!([bG][cA])|[d2B2] [dB][dB] [d2B2]([ge]>[ec])|\

[d2B2] [dB][dB] [d2B2] ([bG][cA])|\

[d2B2] dd (e=fed)|

%

(cBAG) HF2 (dc)|B2 (Bc) d2 (ge)|\

d2 dd Hd2 (Bc)|[d2B2G2] [d=F]d ([e^GE]dcB)|

%

([cA]BAG) ([^F2D2] [GB,][AD])|L([b4G4] [A2D2][G2B,2])|\

[A2D2][A2D2]([bG][AD][GB,][AD])|L([b4G4] \

[A2D2][G2B,2])|([bFC]AGF) [G2B,2]||

 

Edited to incorporate changes suggested in the next post . . .

Edited by tallship
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Looks like this suffers from the same extra note length of number 60. The last notes of the A section (3rd line of your code) are

 

[G4B,4]

 

and probably should be

 

[G2B,2]

 

And if you want things to work out right on the repeats the vely last note of the tune should be changed the same way.

 

All these holds seem to me to indicate expectation that things were going to be sung. They don't make too much sense without the words....

Edited by cboody
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I followed your suggestion and edited accordingly Chuck, thanks! What a bore this one is . . .

 

X:67

T:Highland Lad My Love Was Born, A

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:"Allegretto "1/4=140

Z:Peter Dunk 2012

K:G

!mf!(GA)|.[b2G2].[b2G2].[b2G2] ([AD][GB,])|\

.[b2G2].[b2G2].[b2G2] [g2B2]|\

[d2B2].[b2G2].[b2G2] ([AD][GB,])|\

L[b2G2][A2D2][A2D2] ([GB,][AD])|

%

[b2G2][b2G2] (dBAG)|.[b2G2][d2B2]L[g2B2]!f!ga|\

L(bagf) L(agfe)|L[d2B2][b2G2][b2G2]||

%

!mf![bG][cA]|[d2B2].[b2G2].[g2B2].[b2G2]|\

[d2B2][d2B2][d2B2][e2c2]|[d2B2][b2G2]([g2B2][fA][gB])|\

[a2c2][A2D2]([A2D2][GB,][AD])|

%

.[b2G2].[b2G2] ([cA][bG][AD][GB,])|\

.[b2G2].[d2B2].[g2B2]([gB][ad])|\

!f!([bg][ad][gB][fd]) ([af][ge][fd][ec])|\

L[d2B2][b2G2D2][b2G2D2]||

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