So y'all know we're a very isolated session, here in Cape Town. Not much thoroughfare by way of strangers popping in and shaking things up, no one really keeping us on our toes except for big Irish aunties who sing Danny Boy at us if we let up the tunes for the merest moment. So it's sadly understandable that we've become somewhat stuck in our ways. Specifically, it's the sets. Always the same, no imagination or daring experiments when it comes to putting the tunes together. And we are the poorer for it. Does anyone have any ideas or tips on how we can spice up our sets-life?
"Maybe tomorrow you'll want to settle down... until tomorrow, you'll just keep movin' on" - name the tv theme tune!
Mate & me were discussing this last night, ya see, thinking of ways to 52-card-pick-up-alize our repertoire. It's not just a case of making up new sets, but developing the ability to launch spontaneously into an appropriate new tune -keep everyone guessing what it's going to be, add a dynamic of suspense/ apprehension/struggle to place it/light bulb/surprise/delight/on yer toes/try to keep up ya bustards/maniacal waywardness etc. to the proceedings. As opposed to... blarney/kesh/swaggering/morrisons... EVERY WEEK (thank you Bothy Bandoliers.
You all write down the tunes you know on bits of paper.
You group the bits of paper into tunes with compatible keys or don't group them at all. You toss a group of tunes into a hat; mix them up and each person draws out a tune and doesn't tell the others what it is. Everyone tosses down a shot and yells, Kaboom! Each person balances a soda straw on on his nose. The first person to drop the straw starts; the tunes move clockwise.
Also, consider adding a machine gun and crickets to your ensemble.
Okay, how bout this: when you learn a tune, is figuring out a set you can put it in part of the learning process?
The other day, someone suggested that, for them, a tune wasn't properly learned until they could launch out of it into at least two, preferably three, other tunes - already in their head - in a way that brought a lift or satisfying changeover. That way, with two or three options built in, much meandering off-branching is possible. Course, that'd just be to start with.
(As a result of much experimenting in my underground laboratory, I've discovered that the Virginia Reel goes with every single tune ever written**)
I dunno, it seems like a good thing to get into the habit of doing. Mind you, I also rather like the idea of drinking games.
If it makes you feel any better Q, even some sessions in busy areas (London) can get stale and repetitive when you get a hard core group that will not suffer influences from outside. There are so many tunes to choose from on this site, so there is something you can do about your predicament.
Best wishes
But if your session mates are reluctant to change, try playing your established sets in reverse order. Or force the issue by starting with a tune from the middle or end of a set.
Or change how you think about stringing tunes together--instead of thinking of the next *tune,* take your cue from a note adjacent to the one you're ending on (say a tune ends on G, start the next tune by dropping down to the F sharp and seeing what tune pops into mind). Or apply the same idea to keys/modes--if you're in D maj, go into D dorian or D mix, or from G major to F major, etc. The point is simply to jar loose whatever strategy you been stuck on for stringing tunes together.
In my experience, it takes at least one strong player to break up the sets, and at least one other player has to be willing to go along for the ride. And it helps to no end to know a lot of tunes. One way to add fresh tunes to the session is to ask the core players to each learn a new tune (one that no one in your circle already plays) and be ready to play it for the group next week. Then learn each other's new tunes.
It also really helps to sit down with one or two other players during the week--between sessions--and work up new tunes, or learn the tunes that one person knows but that don't get played yet at the session. Then you'll have critical mass for launching the tune(s) at the next session.
For the first tune set of the night, play one tune from each of three different tune sets. Now three sets are ruined and you will have to figure out a way to play the other tunes in the sets. Unless of course, you don't mind repeating tunes, then you still have the problem.
You could also just scrap the idea of sticking them all into "sets" once in a while and just play one tune over and over again. Either the energy will start building to a frenzied, hypnotic pitch after five or six times through and you'll all collapse at the end with your hair all askew, or you'll get bored and sick of yourselves and go home early to learn some new tunes. Either way, everyone's a winner.
I haven't used it much, but I built a M$ Access program that takes a list of tunes and creates random set lists every time you print it, just for fun. Maybe we could have a "randomize tunelist" tool at thesession.org?
The names in a hat thing would be simpler to do, and other than that, what Will said.
Some pert ideas indeed! Reverse order's quite a simple tactic, but probably be rather effective in jolting the stuck-in-the-muds out of autopilot.
Jim, I'd love to get some wanderin' musos to come down for workshops. Difference between Japan and South Africa is that there's more than 12 sessioning musicians in Japan
Nevertheless, it's a fine plan and definitely one to look into. There's supposed to be a strong Irish community down here, but I think they're several generations in already, and are of the "kiss me oi'm oirish, I've got the tall green hat and a shamrocked t-shirt that proves it, see?" variety. But they've got money, so maybe we can trick them into giving it to us.
Right, time to go to work. Damn elephant's got bunions, so it's giraffe-wagon to town again. Mush!
And there's always what Michael Gill calls "faffing" when you don't have the next tune ready but you don't want to stop. Just keep the rhythm going on whatever note you ended on until someone takes it up and springs into another tune.
Bottomline: playing random but interesting strings of tunes without pre-determining their order is a skill that needs practice like any other. The only way to get good at it (and to ditch those stale sets) is to do it. Play tunes that way at home, without any pre-conceived sequence, and then give it a go at the session, even if it's only for a brief break in the standard sets.
Hardcore sets and gratuitous violins
Hardcore sets and gratuitous violins
So y'all know we're a very isolated session, here in Cape Town. Not much thoroughfare by way of strangers popping in and shaking things up, no one really keeping us on our toes except for big Irish aunties who sing Danny Boy at us if we let up the tunes for the merest moment. So it's sadly understandable that we've become somewhat stuck in our ways. Specifically, it's the sets. Always the same, no imagination or daring experiments when it comes to putting the tunes together. And we are the poorer for it. Does anyone have any ideas or tips on how we can spice up our sets-life?
# Posted on March 22nd 2005 by Q
Re: Hardcore sets and gratuitous violins
Hee hee hee. Nice double entendre there, Matt. I can't help you though. Every time that happens to me I just leave town.
# Posted on March 22nd 2005 by Kerri Brown
Re: Hardcore sets and gratuitous violins
Getting a bit in-sets-uous? Try playing in different positions, maybe? How about fife-swapping? A lark in the morning, perhaps?
But the real answer has to be: learn new tunes.
# Posted on March 22nd 2005 by grego
Re: Hardcore sets and gratuitous violins
"Maybe tomorrow you'll want to settle down... until tomorrow, you'll just keep movin' on" - name the tv theme tune!
Mate & me were discussing this last night, ya see, thinking of ways to 52-card-pick-up-alize our repertoire. It's not just a case of making up new sets, but developing the ability to launch spontaneously into an appropriate new tune -keep everyone guessing what it's going to be, add a dynamic of suspense/ apprehension/struggle to place it/light bulb/surprise/delight/on yer toes/try to keep up ya bustards/maniacal waywardness etc. to the proceedings. As opposed to... blarney/kesh/swaggering/morrisons... EVERY WEEK (thank you Bothy Bandoliers.
# Posted on March 22nd 2005 by Q
Re: Hardcore sets and gratuitous violins
You all write down the tunes you know on bits of paper.
You group the bits of paper into tunes with compatible keys or don't group them at all. You toss a group of tunes into a hat; mix them up and each person draws out a tune and doesn't tell the others what it is. Everyone tosses down a shot and yells, Kaboom! Each person balances a soda straw on on his nose. The first person to drop the straw starts; the tunes move clockwise.
Also, consider adding a machine gun and crickets to your ensemble.
# Posted on March 22nd 2005 by ∅
Re: Hardcore sets and gratuitous violins
LOL! I like it
We did try the machine gun... but ran out of bodhran players after only a few tunes.
# Posted on March 22nd 2005 by Q
Re: Hardcore sets and gratuitous violins
Resupply and use muzzleloaders next time.
# Posted on March 22nd 2005 by ∅
Re: Hardcore sets and gratuitous violins
Okay, how bout this: when you learn a tune, is figuring out a set you can put it in part of the learning process?
The other day, someone suggested that, for them, a tune wasn't properly learned until they could launch out of it into at least two, preferably three, other tunes - already in their head - in a way that brought a lift or satisfying changeover. That way, with two or three options built in, much meandering off-branching is possible. Course, that'd just be to start with.
(As a result of much experimenting in my underground laboratory, I've discovered that the Virginia Reel goes with every single tune ever written**)
I dunno, it seems like a good thing to get into the habit of doing. Mind you, I also rather like the idea of drinking games.
-matt
**this is not true, but might as well be
# Posted on March 22nd 2005 by Q
Re: Hardcore sets and gratuitous violins
I have always practiced by playing a fairly continuous stream of tunes. Maybe that will help you.
Going to another tune from one you've just learned iseasy compared to starting the new tune after an old one.
# Posted on March 22nd 2005 by Kerri Brown
Re: Hardcore sets and gratuitous violins
If it makes you feel any better Q, even some sessions in busy areas (London) can get stale and repetitive when you get a hard core group that will not suffer influences from outside. There are so many tunes to choose from on this site, so there is something you can do about your predicament.
Best wishes
# Posted on March 22nd 2005 by Cath
Re: Hardcore sets and gratuitous violins
I like Laitch's idea.
But if your session mates are reluctant to change, try playing your established sets in reverse order. Or force the issue by starting with a tune from the middle or end of a set.
Or change how you think about stringing tunes together--instead of thinking of the next *tune,* take your cue from a note adjacent to the one you're ending on (say a tune ends on G, start the next tune by dropping down to the F sharp and seeing what tune pops into mind). Or apply the same idea to keys/modes--if you're in D maj, go into D dorian or D mix, or from G major to F major, etc. The point is simply to jar loose whatever strategy you been stuck on for stringing tunes together.
In my experience, it takes at least one strong player to break up the sets, and at least one other player has to be willing to go along for the ride. And it helps to no end to know a lot of tunes. One way to add fresh tunes to the session is to ask the core players to each learn a new tune (one that no one in your circle already plays) and be ready to play it for the group next week. Then learn each other's new tunes.
It also really helps to sit down with one or two other players during the week--between sessions--and work up new tunes, or learn the tunes that one person knows but that don't get played yet at the session. Then you'll have critical mass for launching the tune(s) at the next session.
# Posted on March 22nd 2005 by Will Harmon
Re: Hardcore sets and gratuitous violins
Yeah, what Will said.
For the first tune set of the night, play one tune from each of three different tune sets. Now three sets are ruined and you will have to figure out a way to play the other tunes in the sets. Unless of course, you don't mind repeating tunes, then you still have the problem.
# Posted on March 22nd 2005 by Jode
Re: Hardcore sets and gratuitous violins
You could also just scrap the idea of sticking them all into "sets" once in a while and just play one tune over and over again. Either the energy will start building to a frenzied, hypnotic pitch after five or six times through and you'll all collapse at the end with your hair all askew, or you'll get bored and sick of yourselves and go home early to learn some new tunes. Either way, everyone's a winner.
# Posted on March 22nd 2005 by Kerri Brown
Re: Hardcore sets and gratuitous violins
I haven't used it much, but I built a M$ Access program that takes a list of tunes and creates random set lists every time you print it, just for fun. Maybe we could have a "randomize tunelist" tool at thesession.org?
The names in a hat thing would be simpler to do, and other than that, what Will said.
# Posted on March 22nd 2005 by Gzeg
Re: Hardcore sets and gratuitous violins
Greg, I think I've downloaded your program directly into my brain.
# Posted on March 22nd 2005 by Kerri Brown
Re: Hardcore sets and gratuitous violins
Some pert ideas indeed! Reverse order's quite a simple tactic, but probably be rather effective in jolting the stuck-in-the-muds out of autopilot.
Jim, I'd love to get some wanderin' musos to come down for workshops. Difference between Japan and South Africa is that there's more than 12 sessioning musicians in Japan
Nevertheless, it's a fine plan and definitely one to look into. There's supposed to be a strong Irish community down here, but I think they're several generations in already, and are of the "kiss me oi'm oirish, I've got the tall green hat and a shamrocked t-shirt that proves it, see?" variety. But they've got money, so maybe we can trick them into giving it to us.
Right, time to go to work. Damn elephant's got bunions, so it's giraffe-wagon to town again. Mush!
# Posted on March 23rd 2005 by Q
Re: Hardcore sets and gratuitous violins
And there's always what Michael Gill calls "faffing" when you don't have the next tune ready but you don't want to stop. Just keep the rhythm going on whatever note you ended on until someone takes it up and springs into another tune.
Bottomline: playing random but interesting strings of tunes without pre-determining their order is a skill that needs practice like any other. The only way to get good at it (and to ditch those stale sets) is to do it. Play tunes that way at home, without any pre-conceived sequence, and then give it a go at the session, even if it's only for a brief break in the standard sets.
# Posted on March 23rd 2005 by Will Harmon