I have great difficulty in deciding which tunes go together in sets, I know there are some keys which go better with each other. Can someone please give me some advice so that I can start playing sets in sessions without worrying whether I'm putting them together properly!!
First of all, don't worry about not doing it "properly". There is no "proper" way of doing it. If a combination of tunes sound good to you, then that's a good set right there,
Of course, some sets have become classics. This usually happens when a superb recorded version of a set of tunes exists.
I like to get plenty of contrast between one tune and the next. I think most people feel this way which is why there's usually a key change going from one tune to the next. Playing two tunes in a row in the same key sometimes sounds too flowing and blurs the distinction between the tunes. For instance, pairing The Sally Gardens with The Teetotaler's won't have such a dramatic effect.
I don't think there are many rules of thumb about how to put tunes together in sets but I could be wrong. If anybody knows some good guidelines, I'd love to hear them.
In the beginning, it may help to hang the tunes on an outline--a formula of sorts. Martin Hayes, for instance, likes to start with a slow tune, something a lttle melancholy perhaps (minor key), then shift into major, and then pick up the pace or build on the intensity. Or the formula can be as simple as "Let's do three reels. The first will be in a major key. The second will be in a minor key. And the third will be in a new major key." That might give you Boys of the Lough (D major), Dunmore Lasses (E minor), and Peeler's Jacket (G major). Realize that the formula can be set up however you want, and it's just a tool to get you started. Once you know enough tunes, they'll start falling together based on your own tastes and predlictions. On fiddle, I happen to like going from "flat" keys (F major, G minor, anything with Bflat) to G major or D major. Sometimes tunes go together well because they share a similar phrase (listen to the Bothy Band go from Martin Wynne's #2 into the Longford Tinker on their 1975 cd), and sometimes the change is effective because the two tunes are so startingly different. One last word of advice...use your practice time to allow tunes to fall together. Start playing a tune, play it three times, and then jump into another tune without premeditation. See what happens. After a few weeks of such practice, you'll learn to trust the flow of your own inner ear for picking tunes. You can also trade tunes this way with a friend: you start, they carry the next tune, then you, back and forth. The only rule is that you can't pick a tune the other person doesn't know (that way you both get to play).
Another trick we use at our local session is to take a "standard" set (one we've all played the same way a hundred times) and reverse the order.
Finally, most sessions do heed a few rules of thumb. These don't necessarily apply beyond the session environment, and their are local variations, but they help strangers (and friends) play together with a minimum of disruption. And they're always broken at least once a night.
Sets should stick to one type of tune (don't mix jigs and reels).
Strive for interesting key changes, but keep the rhythm consistent (i.e., going from The Scholar into Pigtown Fling might dislocate a few elbows among the more strenuous players).
Play each tune the same number of times--twice, or thrice, or four times each--before moving on to the next tune. Some sessions complicate this "rule" by playing tunes three times each when played in sets of two tunes, but twice each when played in sets of three tunes.
Pick tunes that people are likely to know, unless you enjoy soloing and don't mind being known as a tune hog.
Lastly, throw out all the rules when you're just playing by yourself or for performance arrangements.
Hope these ideas help.
Will
When I'm putting a set together I go by a couple of guidelines, most covered by Will's post. I try to keep to relative keys, either up or down a 5th, or relative minors. But I disagree that the dance rhythm should be kept the same all the time. It's ok to go from a jig to a hornpipe or a hornpipe to a reel. I wouldn't change it up too much though, just a jig or a hornpipe then some reels. Also don't go from a reel to a jig or a hornpipe or play the same tune two times in a set, sometimes acceptable if it's played in a different key. But I still think it's kind of tacky, after all there are over 5 zillion tunes out there that can be played, why beat the same one to death?
A nice set to practice the jig to reel combo is the "The Old Geese in the Bog" (CMaj Jig) into the Earl's Chair (GMaj Reel)
Thank you all for all these god hints and ideas - I agree with Brad, that switching from one rhythm to another is possible, but as my own experience teached me: that should be done with much care ... as we say in germany: there is a difference between "I want to" and "I know how to" .... but anyway - if it ends up in a mess of confused musicians and dancers, just laugh and start again ;o)
I have to say that I agree with Will -- at least in an open session, it's sort of "grandstanding" to be switching types of tune in the middle -- it smacks of people having to be "in the know" about the set when it does tricky little things like going from a jig to a slip jig and back. In performance, though, I think it's lovely.
Sorry I like the changing up of tune rhythms, it is very traditional in Ireland but not common in the diaspora. When this is done though it is usually a hornpipe or jig to itroduce a set of reels. Switching between slides & jigs happens all the time & is far from tricky or 'grandstanding'.
Putting Tunes into Sets
Putting Tunes into Sets
I have great difficulty in deciding which tunes go together in sets, I know there are some keys which go better with each other. Can someone please give me some advice so that I can start playing sets in sessions without worrying whether I'm putting them together properly!!
Thanks
Jenny
# Posted on July 30th 2001 by Jenny
Re: Putting Tunes into Sets
First of all, don't worry about not doing it "properly". There is no "proper" way of doing it. If a combination of tunes sound good to you, then that's a good set right there,
Of course, some sets have become classics. This usually happens when a superb recorded version of a set of tunes exists.
I like to get plenty of contrast between one tune and the next. I think most people feel this way which is why there's usually a key change going from one tune to the next. Playing two tunes in a row in the same key sometimes sounds too flowing and blurs the distinction between the tunes. For instance, pairing The Sally Gardens with The Teetotaler's won't have such a dramatic effect.
I don't think there are many rules of thumb about how to put tunes together in sets but I could be wrong. If anybody knows some good guidelines, I'd love to hear them.
I think it's mostly a matter of feeling and mood.
# Posted on July 30th 2001 by Jeremy
Re: Putting Tunes into Sets
In the beginning, it may help to hang the tunes on an outline--a formula of sorts. Martin Hayes, for instance, likes to start with a slow tune, something a lttle melancholy perhaps (minor key), then shift into major, and then pick up the pace or build on the intensity. Or the formula can be as simple as "Let's do three reels. The first will be in a major key. The second will be in a minor key. And the third will be in a new major key." That might give you Boys of the Lough (D major), Dunmore Lasses (E minor), and Peeler's Jacket (G major). Realize that the formula can be set up however you want, and it's just a tool to get you started. Once you know enough tunes, they'll start falling together based on your own tastes and predlictions. On fiddle, I happen to like going from "flat" keys (F major, G minor, anything with Bflat) to G major or D major. Sometimes tunes go together well because they share a similar phrase (listen to the Bothy Band go from Martin Wynne's #2 into the Longford Tinker on their 1975 cd), and sometimes the change is effective because the two tunes are so startingly different. One last word of advice...use your practice time to allow tunes to fall together. Start playing a tune, play it three times, and then jump into another tune without premeditation. See what happens. After a few weeks of such practice, you'll learn to trust the flow of your own inner ear for picking tunes. You can also trade tunes this way with a friend: you start, they carry the next tune, then you, back and forth. The only rule is that you can't pick a tune the other person doesn't know (that way you both get to play).
Another trick we use at our local session is to take a "standard" set (one we've all played the same way a hundred times) and reverse the order.
Finally, most sessions do heed a few rules of thumb. These don't necessarily apply beyond the session environment, and their are local variations, but they help strangers (and friends) play together with a minimum of disruption. And they're always broken at least once a night.
Sets should stick to one type of tune (don't mix jigs and reels).
Strive for interesting key changes, but keep the rhythm consistent (i.e., going from The Scholar into Pigtown Fling might dislocate a few elbows among the more strenuous players).
Play each tune the same number of times--twice, or thrice, or four times each--before moving on to the next tune. Some sessions complicate this "rule" by playing tunes three times each when played in sets of two tunes, but twice each when played in sets of three tunes.
Pick tunes that people are likely to know, unless you enjoy soloing and don't mind being known as a tune hog.
Lastly, throw out all the rules when you're just playing by yourself or for performance arrangements.
Hope these ideas help.
Will
# Posted on July 30th 2001 by Miss Lonelyhearts
Re: Putting Tunes into Sets
Thanks for the advice, exactly what I was looking for!! I will be playing sets with confidence in no time at all!!!
thanks
Jenny
# Posted on July 31st 2001 by Jenny
Re: Putting Tunes into Sets
When I'm putting a set together I go by a couple of guidelines, most covered by Will's post. I try to keep to relative keys, either up or down a 5th, or relative minors. But I disagree that the dance rhythm should be kept the same all the time. It's ok to go from a jig to a hornpipe or a hornpipe to a reel. I wouldn't change it up too much though, just a jig or a hornpipe then some reels. Also don't go from a reel to a jig or a hornpipe or play the same tune two times in a set, sometimes acceptable if it's played in a different key. But I still think it's kind of tacky, after all there are over 5 zillion tunes out there that can be played, why beat the same one to death?
A nice set to practice the jig to reel combo is the "The Old Geese in the Bog" (CMaj Jig) into the Earl's Chair (GMaj Reel)
# Posted on July 31st 2001 by Brad Maloney
Re: Putting Tunes into Sets
Thank you all for all these god hints and ideas - I agree with Brad, that switching from one rhythm to another is possible, but as my own experience teached me: that should be done with much care ... as we say in germany: there is a difference between "I want to" and "I know how to" .... but anyway - if it ends up in a mess of confused musicians and dancers, just laugh and start again ;o)
# Posted on August 20th 2001 by crannog
Re: Putting Tunes into Sets
I have to say that I agree with Will -- at least in an open session, it's sort of "grandstanding" to be switching types of tune in the middle -- it smacks of people having to be "in the know" about the set when it does tricky little things like going from a jig to a slip jig and back. In performance, though, I think it's lovely.
Zina
# Posted on August 22nd 2001 by Zina Lee
Re: Putting Tunes into Sets
Sorry I like the changing up of tune rhythms, it is very traditional in Ireland but not common in the diaspora. When this is done though it is usually a hornpipe or jig to itroduce a set of reels. Switching between slides & jigs happens all the time & is far from tricky or 'grandstanding'.
# Posted on August 23rd 2001 by Brad Maloney