Never done this before, but working by analogy from what you wrote, here goes -
X: ? T:The Roman Wall M:6/8 L:1/8 C:? R:Jig Z:Adam Gray, transcribed by Matt Seattle K:A E|ABA cBA|cea ecA|def ecA|GBB B2E|ABA cBA|cea ecA|def ecA|BAG A2:: e|a2a gfe|fga ecA|def ecA|GBB B2e|aba gfe|fga ecA|def ecA|BAG A2e| a2a gfe|fga ecA|def ecA|GBB B2E|ABA cBA|cea ecA|def ecA|BAG A2|| It's not that different from the Pete Coe version, I suspect Pete (whom I know) changed it a wee bit in learning it. I've been playing this into Calliope House, going from A to E. The chords are obvious I IV and V, except that in bars 1, 5 and 9 of strain 2 I use F#m - C#m. I'm aware of the Cape Breton 'same root' practice, but am more used to going from one key to another in medleys. The logical conclusion of the same root is to stick to one tune only and play variations - which I sometimes do when playing pipes. I have a few extreme examples which I occasionally inflict on dancers and my colleagues... Cheers Matt Seattle Posted to Scots-L - The Traditional Scottish Music & Culture List - To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
