> I had an experience recently with a tune which we were playing for a
> particular purpose. It was Morrison's (jig) which is Irish in origin
> but much loved, with a life of its own in Scotland.
> A double bass player looked at the sheet music and played along with
> the tune. He then complained t
Jim Dawson wrote:
This might be true amongst...dare I say it...the more senior traditional
musicians amongst us,
but in my humble opinion that is changing rapidly where younger musicians
are concerned.
Take Shooglenifty, Peatbog Fairies, Afro Celt Sound System, Sandy
Brechin...for example,
they
Nigel Gatherer wrote:
>Jim Dawson, I believe, is talking about improvisation which is a whole
>different colour of horse, and not a subject which immediately comes to
>mind in a discussion of Scottish music. I remember in my green youth
>getting very excited about my first exposure to pibroch; I a
Nigel Gatherer wrote:
Jim Dawson, I believe, is talking about improvisation which is a whole
different colour of horse, and not a subject which immediately comes to
mind in a discussion of Scottish music. I remember in my green youth
getting very excited about my first exposure to pibroch; I asked
Toby Rider said:
> Can you believe it?
>
> http://www.tonguetied.us/archives/000643.php
>
Oh, I believe it. Have you seen any textbooks recently? Everything has
been sanitized. I keep imagine little workers bees in blue coveralls
buzzing around the basement of the Ministry of Truth rewriti
I am listening right now to a sonata by Oswald, "The Virgin's Bower"
which will be on the forthcoming "Ferintosh" CD (David Greenberg,
fiddle - Abby Newton, cello - Kim Robertson, harp). It's the most
"baroque art music" of anything on there, but there is other crossover
between trad and baroq
A double bass player looked at the sheet music and played along with
the
tune. He then complained that it was in two sharps but was in E minor.
My
explanation that it was a dorian not an aeolian tune ( I do hope I got
this bit right) was greeted with some derision. OK, if modes do not
mean
anyth
Dan Mozell wrote:
> I may have missed some of this thread. The bass player wasn't really
> wrong. Standard notation practice (not folk musicians notation
> practice) would be to write an E Dorian tune with the E minor/G major
> key signature of one sharp (F#) and then sharp the individual Cs in
>
I've been recently listening to an album by
Norwegian fiddler, trump player and whistler Anon Egeland.
He plays traditional music from the Agder region in
Southern Norway.
Alongside the usual repertoire of Norwegian dance
tunes (halling, hambo, polka...) there are two 'rilen'. This is the f
I may have missed some of this thread. The bass player wasn't really wrong.
Standard notation practice (not folk musicians notation practice) would be
to write an E Dorian tune with the E minor/G major key signature of one
sharp (F#) and then sharp the individual Cs in the tune. It needs to be
expl
> That's a case where a music education was a hindrance rather than an
> advantage. Had the bassist learned the tune aurally it would not have
> occurred to him to question whether it was in a minor key or dorian; it
> should just have sounded "right." If it didn't, the further education
> he'd n
Philip Whittaker wrote:
> A double bass player...complained that it was in two sharps but was
> in E minor. My explanation that it was a dorian not an aeolian
> tune...was greeted with some derision. OK, if modes do not mean
> anything to you how do you explain this one?
That's a case where a mus
Whenever modes come up, it seems to polarise folk on the list. You need to
know about modes v why is it worth knowing about this.
I had an experience recently with a tune which we were playing for a
particular purpose. It was Morrison's (jig) which is Irish in origin but
much loved, with a life
13 matches
Mail list logo
