ceolachan
February 22nd, 2012 ~ But always in serious need of an overhaul, like me...
Back with the passion ~ ;-) Who luvs yuh?
* ~ Apologies for 'previous' apparant absence, if anyone had been missing this presence, and fully realizing some might even be glad of my lying low, a few having openly treated me as an irritation, bless 'em. Life can be rocky at times and right now it's a slippery field of scree we're navigating barefoot on a very steep slope, and the stones are hot and sharp, painful. Folks close to us are in a worse situation and it's for them, in greater part, we're doing this navigation, for whom we're giving most of our time and attention right now. So, circumstances are having me less than present and less than capable. I have been doing a little lurking, and for those I've promised tunes or contact, I will get back to it. Thanks for your many kindnesses and heart. Some of the listens currently giving me strength are courtesy of friends made on this site, and are very appreciated, highly valued. Go raibh mile ma'agat... ~ 'c'
There's also the matter of promises and projects. While I've managed some small ones, and the occasional transcription or comment here, of late, computer woes mean that there are some larger projects for others that are on hold. It's still the same old cantankerous computer, but those promised projects are still in guilt in my heart and mind, and I will do them justice. The unexpected and the unfortunate seem to still be punctuating this life. It is a bit of that Chinese curse of late ~ interesting times...
Ceol = music / Olachan = drunk or drunkard…
In other words, those of the person who put this on me ~ "someone who gets drunk on music..."
When I first came on site here diactritic marks, like Ó & á tended to cause problems, and often resulted in strange diamond shaped splodges. The nickname 'ceolachan' was given to me by a speaker of the language, never written out. I have recently been reminded of my 'mistakes' in how I'd had to write it out when first joining this site ~ here:
Ceol + Ólachán = 'ceoláchán' not 'ceolachan'
# Posted on December 6th 2008 by csparpd
http://www.thesession.org/discussions/display/19953
Out of respect for the language as it is 'supposed' to be written I gave it a try, if only for a few minutes. I added those previously missing diacritic marks, but have decided to keep with the earlier imperfect and uncapitalized form ~ probably a better representation of me and my failings ... ;-) I'm working on those, as I am also continually trying to gain a better understanding of language, communication and community...
"Irish dance (& its varied music and contexts) was not something that existed only in remote mountain fastnesses or in certain designated areas of rural Ireland. ~ it was there in every city, town and village in the country ~ "
Helen Brennan, page 13 of her book and dedication "The Story of Irish Dance"
The history of Ireland, including its traditions of music and dance, has never been out of context with the rest of the world. The nature of many things purified is their toxicity... IMO 'c'
CONTENTS:
Including a few basics & resources: Music & Dance
MUSIC ~
i.) Tune search tools
ii.) ABCs
iii.) DIGITAL MUSIC ~ Some Resources for the Ears
iv.) Small Things: a passion for the affordable & portable
v.) MUSIC in discussion
DANCE ~
vi.) DANCE HISTORY
vii.) DANCE DESCRIPTIONS
viii.) DANCE: VARSOVIENNES & MAZURKAS
ix.) DANCE in discussion
x.) DANCE : ALBA & BEYOND
QUOTES ~
xi.) QUOTE: Roche: Note On Irish Dancing
xii.) QUOTE: Reg Hall
ETC…
xiii.) Personally speaking
xiv.) Compositions
MUSIC ~ MUSIC ~ MUSIC ~ MUSIC ~ MUSIC ~ MUSIC ~ MUSIC
I. ) ~ TUNE SEARCH TOOLS
For a kick of information check out ~
ANDREW KUNTZ'S ~ THE FIDDLER'S COMPANION:
http://www.ibiblio.org/fiddlers/index.html
NOTICE: 1/1/12 The Fiddler’s Companion is being converted to a Wiki format and is renamed to the Traditional Tune Archive (TTA) at www.tunearch.org. The new wiki will provide greater utility for searches, data submission, querying, etc., and each and every entry is being re-researched for the latest information, and new entries are being added. If you have found the F/C useful, please check the TTA at www.tunearch.org.
CHRIS WALSHAW'S
amassed insanity of ABCs, but there is order to his madness:
http://www.walshaw.plus.com/abc/
RICHARD ROBINSON'S TUNEBOOK:
http://www.leeds.ac.uk/music/Info/RRTuneBk/tunebook.html
JOHN CHAMBERS' (JC's) ABC Tune Find ~ on trillian.mit.edu
John Chambers' Homepage
http://trillian.mit.edu/~jc/homepage.html
ABC SEARCH: JC's (John Chambers) ABC Tune Finder / Match
~ for finding tunes published in abc on the web.
http://trillian.mit.edu/~jc/cgi/abc/tunefind
John Chambers' ABC music collection
http://trillian.mit.edu/~jc/music/abc/
ABCs on the WWW =
numbered and alphabetical index ~ not all links are active...
http://trillian.mit.edu/~jc/music/ndx/
example ~ ABC tunes starting with ~ examples ~
http://trillian.mit.edu/~jc/music/ndx/00.html
http://trillian.mit.edu/~jc/music/ndx/55.html
http://trillian.mit.edu/~jc/music/ndx/98.html
http://trillian.mit.edu/~jc/music/ndx/AA.html
http://trillian.mit.edu/~jc/music/ndx/BU.html
http://trillian.mit.edu/~jc/music/ndx/MM.html
http://trillian.mit.edu/~jc/music/ndx/ZY.html
Reverend Pete's ABC Phantasmagoria
http://www.thesession.org/members/display/11048
http://abctunesearch.com
ALAN NG'S ~ IRISH TRADITIONAL MUISC TUNE INDEX
http://www.irishtune.info/
ALAN SNYDER'S ~ CAPE BRETON FIDDLE RECORDING INDEX
http://www.cbfiddle.com/rx/
TUNEPAL DOT ORG ~ Dr. Bryan Duggan
A query-by-playing search engine for traditonal irish dance tunes...
http://tunepal.org/tunepal/index.php
JC's Scandinavian Folk Dance Music
http://trillian.mit.edu/~jc/music/abc/Scand/
II. ) ABCs ~ etc.
STEVE MANSFIELD'S recommended introduction to the ABCs:
http://www.lesession.co.uk/abc/abc_notation.htm
JOHN CHAMBERS
http://trillian.mit.edu/~jc/music/abc/doc/ABCtutorial.html
http://trillian.mit.edu/~jc/music/abc/doc/ABCprimer.html
CHRIS WALSHAW's site, the modern influence on an old from of notation. We have him and his associates to thank for moving ABC notation into ASCII code for computer use...
http://abcnotation.com/
http://abcnotation.com/learn.html
http://abcnotation.com/examples.html
WIKIPEDIA
http://en.wikipedia.org/wiki/Abc_notation
~ ETC. ~ a few resources to help clear up some of the issues? :-/
A rich mix on modes and scales, courtesy of member Mix O'Lydian
http://www.intermix.freeuk.com/index.htm
ABCs in Discussion:
How Does One read the ABC charts here?
# Posted on August 14th 2008 by Big Dog
http://www.thesession.org/discussions/display/18756
Now I know my ABCs: ABC help & suggestions for learning and teaching
# Posted on June 10th 2007 by ceolachan
http://www.thesession.org/discussions/display/14069
III. ) ~ DIGITAL MUSIC ~ Some Resources for the Ears
DIGITAL MUSIC ~ FROM CYLINDERS & 78s:
University of California, Santa Barbara
Donald C. Davidson Library
Department of Special Collections
Cylinder Preservation and Digitization Project
http://cylinders.library.ucsb.edu/index.php
http://cylinders.library.ucsb.edu/search.php? ~ the search page
Juneberry 78s:
http://www.juneberry78s.com/
The Listening Room:
http://www.juneberry78s.com/sounds/index.htm
Irish Dance Music:
http://www.juneberry78s.com/sounds/ListenToIrishDance.htm
Internet Archive
http://www.archive.org/
Open Source Audio
http://www.archive.org/details/opensource_audio
The Dunn Family Collection: Francis O'Neill Cylinders
http://archives.irishfest.com/dunn-family-collection.htm
http://archives.irishfest.com/dunn-family-collection/Music/Cylinders1.htm
Discussion: 78s online - finally!
# Posted on June 5th 2007 by Kevin Rietmann
http://www.thesession.org/discussions/display/14008
"After a couple false starts I've found a home for my dubs of 78s - the Internet Archive. Am starting with pipers, search for "uilleann" and you'll see what I've done to date. I'm keeping a daily log of what I've added at the Chiff and Fipple Uilleann Pipes Forum, too, it's a "Sticky" topic at the top, "78 RPM recordings available online." Will proceed to fiddling, then fluting. I'll be throwing in most anything that isn't commercially available at the moment, lots of sides that have never been reissued too. Enjoy!"
EXAMPLES:
Phil Martin, uilleann pipes: The Cup of Tea / The Flogging Reel
http://www.archive.org/details/PhilMartinTheCupofTeaTheFloggingReel2
Michael Coleman: Lord McDonald / Ballinasloe Fair
http://www.archive.org/details/Coleman
Paddy Killoran: The Gold Ring / Haste to the Wedding
http://www.archive.org/details/PaddyKilloranTheGoldRingHasteToTheWedding
Library and Archives Canada
The Virtual Gramophone: Canadian Historical Sound Recordings
Discographical information & audio files: RA RealAudio & MP3
Library and Archives Canada
http://www.collectioncanada.ca/
http://www.collectionscanada.gc.ca/
Le Gramophone Virtuel / The Virtual Gramophone:
Canadian Historical Sound Recordings
http://www.collectioncanada.ca/gramophone/
http://www.collectionscanada.gc.ca/gramophone/
Introduction
http://www.collectioncanada.ca/gramophone/index-e.html
http://www.collectionscanada.gc.ca/gramophone/index-e.html
Collection Search
http://www.collectioncanada.ca/gramophone/m2-5000-e.html
Collection Search ~ complete digital collection - sorted by performer
Gigue De Touristes
A
http://www.collectioncanada.ca/gramophone/m2-9003a-e.html
http://www.collectionscanada.gc.ca/gramophone/m2-9003a-e.html
Q
http://www.collectioncanada.ca/gramophone/m2-9002q-e.html
http://www.collectionscanada.gc.ca/gramophone/m2-9002q-e.html
A few MP3s as examples
"Reel De L'aveugle"
http://www.collectionscanada.gc.ca/obj/m2/f7/14026.mp3
"Quadrille Quadrille français"
http://www.collectionscanada.ca/obj/m2/f7/13937.mp3
"Quadrille des Montagnards"?
http://www.collectionscanada.ca/obj/m2/f7/14599.mp3
IV. ) ~ SMALL THINGS: a passion for the affordable & portable
The Whistle
Discussion: YouTube Lessons
# Posted on March 11th 2007 by RyanDunsSJ
http://www.thesession.org/discussions/display/12983
Discussion: Can someone lecture on the evolution of whistle playing?
# Posted on May 29th 2007 by Bob himself
http://www.thesession.org/discussions/display/13911
Discussion: HELP!!! ~ learning the whistle (& muting it)
# Posted on October 6th 2007 by Greg M
http://www.thesession.org/discussions/display/15402
Discussion: Lowering down the volume (for neighbors' sake)
# Posted on January 22nd 2008 by Anal
http://www.thesession.org/discussions/display/16471
Discussion: Playing a roll on D ...
# Posted on January 25th 2008 by iloveyouliam
http://www.thesession.org/discussions/display/16504
Discussion: Whistle question - The Mason's Apron
# Posted on February 18th 2008 by jamascc
http://www.thesession.org/discussions/display/16771
Not just another review ~
http://www.thesession.org/recordings/display/2499/comments
V. ) ~ MUSIC in discussion & contemplation
Comments: Tune: Danish Contra
Under the influence ~
# Posted on February 19th - 20th 2011 by ceolachan
http://www.thesession.org/tunes/display/11071/comments
Discussion: 5-Part Jigs ~ (& if you want to go higher, that's OK too) :-D
# Posted on June 26th 2010 by ceolachan
http://www.thesession.org/discussions/display/24935
Discussion: 5-Part Single Reels ~ not 2, 3, 4 or 6 ~ 5!
# Posted on June 25th 2010 by ceolachan
http://www.thesession.org/discussions/display/24927
Discussion: By Heart
# Posted on January 31st 2010 by ceolachan
http://www.thesession.org/discussions/display/23710
Discussion: What One Octave Tunes in D exist?
# Posted on September 19th 2007 by Sarah the Flute
http://www.thesession.org/discussions/display/15202
The Phrost is All Over - - - 4 bar second endings...
# Posted on February 3rd 2005 by ceolachan
http://www.thesession.org/discussions/display/5739
DISCUSSIONS ~ Sadly, not always the case... ;-)
The Good, The Bad, and The Ugly - Objective Measures of Tradition?!
# Posted on March 7th 2010 by ceolachan
http://www.thesession.org/discussions/display/23982
When my mind is attentive but the feet don't move
# Posted on July 31st 2008 by ceolachan
http://www.thesession.org/discussions/display/18616
Invasion of the Body Snatchers ~
# Posted on July 23rd 2007 by ceolachan
http://www.thesession.org/discussions/display/14548
Am I the only one who doesn't like all the Additives and all the other trendy E's?
Re: Am I the only one who doesn't like Lúnasa and all the other trendy trad types?
# Posted on August 4th 2006 by frisbee
http://www.thesession.org/discussions/display/10832
Are we losing the tradition to academics and commercialism?
# Posted on June 12th 2006 by Bernie
http://www.thesession.org/discussions/display/10335
"Neppendorfer Laendler" ~ comment
Key signature: G Major
Submitted on June 12th 2006 by ceolachan.
http://www.thesession.org/tunes/display/5855/comments
DANCE ~ DANCE ~ DANCE ~ DANCE ~ DANCE ~ DANCE ~ DANCE
VI.) ~ DANCE HISTORY
An American Ballroom Companion: Dance Instruction Manuals Ca. 1490-1920
The Library of Congress
http://memory.loc.gov/ammem/dihtml/dihome.html
Dance Manuals on CD, 1490 - 1920
http://www.ushistoricalarchive.com/
http://www.ushistoricalarchive.com/cds/index2.html
Library of Congress
http://www.loc.gov/
American Memory: Historical Collections for the National Digital Library
http://memory.loc.gov/
American Sheet Music
http://memory.loc.gov/ammem/smhtml/
VII. ) ~ DANCE DESCRIPTIONS
DANCE ~ TANZ ~ RINCE ~ links to DANCE DESCRIPTIONS in the 'comments':
discussion: Ceili(dh) Dances
dance: "Rince Mhor Mixer", a circle mixer
http://www.thesession.org/discussions/display/22715
tune: The Gates of Derry = The Quaker's Wife
dance: The Gates of Derry
http://www.thesession.org/tunes/display/8247/comments
tune: Nos Galan
dance: Dawns Calan / New Year's Eve Dance ~ a Welsh Twmpath Dawns
http://www.thesession.org/tunes/display/8086/comments
tune: Glanbargoed
dances: 2 x Twmpath Dances - Drioedd / Dances for Threes (Triads)
1.) "Benthyg Dwy" / "Borrowing Two" & 2.) "Seren Tair Llaw" / "The Three Hand Star"
http://www.thesession.org/tunes/display/9395/comments
tune: The Westphalia Waltz
dance: The Waltz of the Bells - - - including a mini rave of mine on 'giving weight'
http://www.thesession.org/tunes/display/6876/comments
tune: The McCusker Brothers'
dance: a couple of 'Germans' - - - including - - - VIDEO DANCE LINKS & NOTES
http://www.thesession.org/tunes/display/3371/comments
tune: The Cherry Blossom Polka
dance: The Kickin' Polka / Polkie
http://www.thesession.org/tunes/display/5664/comments
tune: Petronella
dance: Petronella / Cirtonella
http://www.thesession.org/tunes/display/1083/comments
tune: Bjorn's Polka
dance: Scanidinavian / Norwegian / Paris / Seattle Polka
http://www.thesession.org/tunes/display/3881/comments
tune: Lucy Farr's
dance: The 7-Step
http://www.thesession.org/tunes/display/1307/comments
tune: The Sliabh League Schottische
dance: a Schottische/Barndance
http://www.thesession.org/tunes/display/3359/comments
tune: Paddy McGinty's Barndance
dance: a couple of barndances/highlands
http://www.thesession.org/tunes/display/3357/comments
tune: Corn Reeks / Corn Rigs
dance: The Corn Rigs
http://www.thesession.org/tunes/display/1094/comments
tune: Down the Glen
dance: a Schottische
http://www.thesession.org/tunes/display/3397/comments
tune: Peach Blossoms - barndance
dance: Barndance - short/long
http://www.thesession.org/tunes/display/3469/comments
tune: Hayes' Barndance
dance: The Canadian Barndance/Barn Dance
http://www.thesession.org/tunes/display/3462/comments
tune: Paddy Joe's Highland
dance:
http://www.thesession.org/tunes/display/3368/comments
tune: The Bluebird's Schottische
dance:
http://www.thesession.org/tunes/display/3482/comments
tune: The Marine ~ single jig
dance: The Marine
http://www.thesession.org/tunes/display/3370/comments
tune: The Peeler and the Goat ~ single jig
dance: The Peeler and the Goat
http://www.thesession.org/tunes/display/5327/comments
tunes: The Old Crossroads March; The Centenary March; The Halting/Pikeman's March
dance: The Heel & Toe / The Military Two-Step
http://www.thesession.org/tunes/display/3659/comments
http://www.thesession.org/tunes/display/3655
http://www.thesession.org/tunes/display/1330
tune: Major Molle ~ a little history in the 'Comments'
http://www.thesession.org/tunes/display/3306/comments
THE RANT!!! ( something I might be accused of )
tune: "Jimmy Allen" ~ in the comments
http://www.thesession.org/tunes/display/6354/comments
Money Musk
http://www.thesession.org/tunes/display/1387/comments
Discussion: The Good, The Bad, and The Ugly - Objective Measures of Tradition?!
Dance: The Millennium Barndance
http://www.thesession.org/discussions/display/23982
VIII.) ~ DANCE: VARSOVIENNES & MAZURKAS
- - - THE MAZURKA / Mazourka / Mazoulka / Masolka / Mazur -
VARSOVIENNE / Varsovien / Varsouvienne / Varsoviana / Varsovianna = Shoot the Donkey!
tune: Versevanna / Varsovienne
dance: Varsovienne - Shoe the Donkey
http://www.thesession.org/tunes/display/2320/comments
tune: Jackie Donnan's Mazurka or Varsovienne
dance: Mazurka-Waltz
http://www.thesession.org/tunes/display/3305/comments
Discussion: Re: good mazurkas
http://www.thesession.org/discussions/display/4712
Approaches to notation:
"Dick's Quadrille Call-Book, and Ball-room Prompter" - 1878
Polka-Redowa - NN | NN N2 NN | N>N N2 N2 |
Redowa - | NN N2 N2 |
Varsovienne - | N>N N2 N2 |
Mazurka - | N>N N2 N2 | N>N N>N N>N |
More links with relevant 'comments', including variations,
not all mazurkas or names on site are listed:
Garrett Barry's/The Hag With The Fiddle/The Old Donegal/Sonny Brogan's
http://www.thesession.org/tunes/display/1276
Tommy People's
http://www.thesession.org/tunes/display/1302
The Donegal/James Byrne's/Johnny Doherty's - M or V
http://www.thesession.org/tunes/display/1323
The Glenties/Vincent Campbell's/Francie Mooney's/Phroinsias'
http://www.thesession.org/tunes/display/1332
The Barnacle Redowa
http://www.thesession.org/tunes/display/1908
Versevanna/Varsovienne/Shoe the Donkey
http://www.thesession.org/tunes/display/2320
Johnny Doherty's
http://www.thesession.org/tunes/display/2497
The Kilcar - V or M
http://www.thesession.org/tunes/display/3286/
Hugh Gillespie's - V or M
http://www.thesession.org/tunes/display/3293
Rachel on the Rock/Varsovienne
http://www.thesession.org/tunes/display/3298
Varsovienne - or M
http://www.thesession.org/tunes/display/3315
Varsovienne - or M
http://www.thesession.org/tunes/display/3316
The Preston City Mazurka
http://www.thesession.org/tunes/display/3341
Mick Hoy's Recipe for Bioled Cabbage - 3-part
http://www.thesession.org/tunes/display/3343
McCuskers' M or V
http://www.thesession.org/tunes/display/3499
Barring Controversy
http://www.thesession.org/tunes/display/3505
IX.) ~ DANCE in discussion
RELATED ISSUES (if I've missed any you'd recommend let me know):
What is a barndance, mazurka, strathspey, etc ?
Posted by monkeyos ~ January 25th 2006
http://www.thesession.org/discussions/display/9005
Social Dance
Posted on Friday, September 3rd 2004 by Paul Brennan
http://www.thesession.org/discussions/display/4413
Barndances, Germans, Hornpipes, Highlands, Flings, Highland Flings, Schottisches, etc.
Posted on Thursday, July 29th 2004 by Dow
http://www.thesession.org/discussions/display/4149
Barn Dance on BBC2Folk
Posted on Thursday, November 13th 2003 by Janek
http://www.thesession.org/discussions/display/2392
Wot's a barndance?
Posted on Friday, September 28th 2003 by Dow
http://www.thesession.org/discussions/display/2180
Bauern Dance
Posted on Thursday, May 29th, 2003 by paul95
http://www.thesession.org/discussions/display/1741
Flings-what are they????
Posted on Sunday, December 8th 2002 by fiddlefeet
http://www.thesession.org/discussions/display/1132
Flings
# Posted on July 8th 2006 by Dow
http://www.thesession.org/discussions/display/10585
What is a "Schottische"?
# Posted on March 6th 2008 by buyseps
http://www.thesession.org/discussions/display/16939
sliabh luchra polkas / Sliabh Luachra Polkas
# Posted on September 2nd 2008 by dickens metrognome
http://www.thesession.org/discussions/display/18948
X.) ~ DANCE : ALBA & BEYOND
SCOTTISH DANCE - some traditions shared with the Irish:
NOTE: Despite some recreations recently circulating and being promoted in Eire, including visuals, the couple dances as danced in Eire were not so pompous and pretentious as found in 'The Royal Scottish Country Dance Society' / 'RSCDS' Balls, not is it 'ballroom dancing' as TV knows it - better craic was had all around in Eire, at least in its past! It just isn't generally in the Irish nature to prance around so, with airs, though you can always find exceptions. Nor is it the usual in the countryside traditions of Eire or Alba/Scotland, that is pre that overwhelming dogma of Miss Jean C. Milligan and her phalanx/cadre/cohorts/cronies/fogies. The 'Royal' in their regimental identity is a clear giveaway to these pretentions... You can still find some great Scottish ceilidhs that have managed to keep the kick and stave off the starchy influences of the 'RSCDS', more especially in the islands, sans the kit, Prince Andrew's kilt and the ball dresses... It is the attitude not the costume that is the spoiler.
(Recommended view: an Australian comic gem - "Strictly Ballroom", written and directed by Baz Luhrmann.)
from 'Grand Chain: The Edinburgh Scottish Dance Resource'
http://www.scottishdance.net/
'Ceilidh Dance Instructions'
http://www.scottishdance.net/ceilidh/dances.html
- The Canadian or Highland Barn Dance
- The Gay Gordons
- The Highland Schottische
- The Military Two-Step
- The Pride of Erin Waltz
- The St. Bernard's Waltz
James Scott Skinner ~ etc... The University of Aberdeen
http://www.abdn.ac.uk/scottskinner/
THE SCHOTTISCHE:
The Schottische/Scottish in Scotland ~
A fracas between two know-it-alls:
"The steps ~ are as contrived as Skinner's stage garb." - Weejie
"The Orange And Blue" / "Brochan Lom"
Submitted on October 26th 2003 by Kenny.
http://www.thesession.org/tunes/display/2091/comments
& this tune elsewhere - as a reel and otherwise:
"Allt-y-Caethiwed" / "The Orange And Blue" / "Brochan Lom"
Submitted on December 22nd 2002 by Trevor Jennings.
http://www.thesession.org/tunes/display.php/1245
"Kitty Jones' Reel" / "The Orange And Blue" / "Brochan Lom"
Submitted on February 13th 2004 by slainte.
http://www.thesession.org/tunes/display.php/2499
Another Scottish Schottische, by James Scott Skinner:
"The Balmoral Schottische"
Submitted on February 6th 2012 by ceolachan.
http://www.thesession.org/tunes/display/11764
'To Double or Not to Double'
Having left that fracas, seeing no end to it, or useful direction, the other side having resorted to aspersions, perjoratives and name calling, in some cases understandable, but rather than continue to rise to the quotes, I'll have my last word back here in the quiet of my own 'details'. Sometimes an exit is best...
The 'frracas' was about the 'schottische' and that family of generally swung dance music and, for me, enjoyable dances, which includes a wide variety that includes the 'Highland Schottische/Fling' and a wide sampling of other schottisches and barndances. It doesn't surprise me the limits of some people's imagination, especially where nationalist associations can make one blinkered, blind to the wider associations, across history. I understand, but I haven't much tolerance for those kind of brick walls to reason. The idea that there is and has only ever been 'the one' schottische that was ever danced in Scotland, is, to be direct, balderdash. What survives as 'official' is an exaggerated jingoistic cartoon of a dance, in my opinion, dressed up, expanded, silly, again, a personal opinion.
Any fantasy that Scotland was ever completely cut off from the rest of the world, hopefully believed by only a rare few of the deluded, as most I suspect would agree, is also silly. The variety of dances that fall under the heading 'schottische' is amazing, exciting, fun. That only one of these were ever danced in Scotland, is, repeating myself, silly. Of those forms there are 2-hand dances, 3-hand dances, 4-hand, 8 hand, and up to and including 'as many as will', such as and including circle mixers. The history of the forms in books, and the survivors world wide, and in memory, but especially including in places like Scotland, England, Wales, Cornwall and Ireland, and we can likely also include further abroad, at least Europe, are likely also a part of Scottish dance history, and some have studied this in depth, as best they could, such as Joan and Thomas Flett. I recommend all their works, but for starters: "Traditional Dancing in Scotland"... Many of those who were still connected to that history have even mentioned learning the music and dance via Scotland. To conclude, in my opinion, any idea of a 'one and only' schottische in Scotland, officially sanctioned by the RSCDS or not - is - 'silly'...
AUSTRALIAN DANCE - more correlations:
'Queensland Colonial and Heritage Dancers'
http://home.quicknet.com.au/colonialdance/default.htm
'Australia's Social Dance History' - page 1
http://home.quicknet.com.au/colonialdance/page11.htm
1815 - Waltz
1825 - First Set (French - also known as 'The Plain Set' and 'The Quadrilles', the first 'set of figures' in a booklet of seven, sometimes refered to as 'The Paris Sets')
1830 - Waltz Cotillon
1844 - The German Polka/German/Plain Schottische
1850 - The Varsovienne
1854 - Highland Fling Schottische
1855 - Highland Schottische
1860s - Barn Dance / Pop Goes the Weasel
1875 - The Mazurka
1888 - Military Schottische
1890 - Schottische/The Two Step
1900 - Valeta/Valeta Waltz/Pride of Erin
1902 - Boston 2-Step
1904 - Military Two-Step/St Bernard's Waltz
1909 - Latchford Schottische
1914 - Fox Trot
1915 - Four Sisters Barn Dance
1919 - Bradford Barn Dance (Progressive)/Canadian Barn Dance
1924 - Pride of Erin (Scottish)
An excerpt ~
http://www.folktrax.com/folktrax2/BST001.php
"One thing we found particularly interesting in listening to the older players in the collection was the emphasis on the tunes as dance music. With tunes as we know them these days tending to have a much more rarefied life of their own, it was quickly apparent to us that for the older players the tunes were intimately tied with their function as music for dancing. Repertoires were consequently shaped to a large extent by the demands of the dancers, who evidently insisted on great variety! The old dance players had to have a wide array tunes from jigs and reels to mazurkas, varsoviennas and schottisches. This impetus is still apparent in the tunes and styles of playing which are today thought of as constituting Australian traditional music, with close linkages maintained between music and dance."
Adrian Barker (fiddle) and Ben Stephenson (flute), March 2006.
BRETON DANCE & MUSIC:
http://www.thesession.org/discussions/display/4405/
http://www.breizh.net/icdbl/saozg/guide.htm#Chapters
QUOTES ~ QUOTES ~ QUOTES ~ QUOTES ~ QUOTES ~ QUOTES ~ QUOTES
XI. ) ~ QUOTE: Roche: Note On Irish Dancing
“The Roche Collection of Traditional Irish Music, Volume III”, 1927
NOTE ON IRISH DANCING
A few remarks on certain aspects of Irish Dancing, as they affect our National Music, may form a suitable introduction to a Collection in which our dance tunes are such a prominent feature.
Up to the beginning of the present century, or for some time thereafter, the traditional style of dancing the Jig, Reel, Hornpipe and many social figure dances—four and eight-hand jigs and reels, etc.—was in vogue amongst a considerable number of our people, and was still taught by a few of the old masters of the art, but as these retired or passed away a notable and regrettable change set in; the old style began to wane until, as time wore on, it became submerged in what has been called "revival dancing," with injurious effects on our dance music.
This deterioration did not materially affect the double Jig tunes as these continued to be extensively played, the dance itself having been kept up with vigour, but the style peculiar to this, and the hornpipe for females no longer survived, and it was not unusual to find numbers of both sexes competing in the same items, and dancing the same kind of steps at Feiseanna and Aeridheachta.
It was unfortunate that in the general scheme to recreate an Irish Ireland the work of preserving or reviving our old national dances should have largely fallen to the lot of those who were but poorly equipped for the task. For the most part they were lacking in insight, and a due appreciation of the pure old style, and had, as it appears, but a slender knowledge of the old repertoire.
For instance, the Single and Hop Jigs, the Fling —Irish version—the fine solid Double Reel for men, and the sprightly Single Hornpipe for females, as well as many of our Set Dances must, if known to them, have been regarded as possessing neither Artistic, Social nor National value, as they all either languished or died out during the period of their activities, the result being that some of the best and most characteristic of our dance tunes were never heard at all.
The musicians were, apparently, as slack in tunes as most of the others proved to have been in dances. Despite the great extent and variety of our dance music a few only of the more commonplace single reels and double hornpipes were to be heard during the years under discussion. The Double Reel and Single Hornpipe were never touched, but those few were specialised in ; they were served out on all occasions with unfailing regularity, and an assurance not always commendable, until, through constant and excessive hacking, they had become a downright infliction. But the musicians were not entirely to blame, for the dancers, having in most cases been taught certain dances to one particular tune only, could keep time to no other—the single and figure reels danced invariably to the tune of Miss McLeod is an example.
The spectacular and difficult dances for the few were cultivated to the neglect of the simple ones for the many, leaving the social side untouched, except to criticise, or condemn. The ballroom dances in vogue at the time were the Quadrilles, or Sets, Lancers, Valse, Polka, Schottische or Barn Dance, Two Step, and Mazurka. These were all banned and nothing put in their place but a couple of long dances.
An exception should have been made, one would imagine, in favour of the popular old Sets (that had become Irishised), if only on account of the fine old tunes with which they were usually associated; but they were decried amongst the rest.
It seems strange that such a policy should have been decided upon and pursued considering that no substitutes were provided beyond those mentioned, A few years later, however, the Bridge of Athlone, Siege of Ennis, and an incomplete form of Haste to the Wedding were introduced, but, as might have been expected, these simple contre dances proved inadequate as substitutes for all those that had been prohibited. The showy and intricate four and eight-hand jigs and reels of the Revival, although interesting to the spectator, were generally looked on as designed only for competition or display on account of their difficulty, and, consequently, had no appeal as social dances. A praiseworthy effort was made some years ago by Bean Sheain O Cuirrin of Limerick in arranging a new dance for couples on Irish lines suitable for the ballroom, but it has not, so far, appeared beyond a rather limited circle. It is to be regretted that this, and others of a similar nature had not been provided earlier, and popularised, as they would have removed the anomaly complained of as well as helping as a protection against those corrupt foreign influences that have been creeping in, and spreading so widely amongst us, for the past decade, or more.
B'fheidir na taithneoch gach a bfhuil scriobhte again thuas le cach, ach ni mor an fhirinne a radh ma's mian linn an sceal do leigheas.
The object of this "Note" is not to apportion blame or affix censure, but to suggest that a united effort should now be made to remedy as far as possible the mistakes and errors of the past.
The Double Jig appears to have been regarded by those not conversant with Irish dancing as the most admired and favoured of our national dances because of the much larger number of tunes in that classification, and of hearing them oftener apart from dancing than the others. The disparity in this respect between the jigs and the hornpipes, for example, indicates no preference whatever for this dance beyond the reel or the hornpipe by dancers, but it probably denotes a greater liking for its simpler rhythm by the average player, or the unskilled musician. This disproportion may be explained by stating that our old music abounded in airs and tunes of the jig type, and that very many of them have been utilised for the dance, or adapted to it, and classified as double jigs, while in the hornpipe, the tunes are for the greater part original. At present the Double is danced only as about consisting of elaborate and difficult steps, but, formerly, it also included a range of easy steps called the "Moinin Jig" which was in much request on social occasions.
The Reel, in the old style, had two distinct sets or ranges of steps—single and double. The former, being simple, were danced to lively tunes in single or two-four time, while for the latter, which are of a difficult hornpipe character, the slower old double reel tunes in ¢ (= 2/2, cut time) time were employed. The steps, as a whole, ranged from very easy to very difficult. As a social dance with partners it was a general favourite, for many of the steps were so easy that young and old could participate. The double steps towards the end (if used) were danced by the girls with a becoming grace, and free from any appearance of vulgarity. When danced as a bout it comprised a selection from both ranges of steps. These formed a splendid item—varied, robust, and enthusing; the music contributing in no small degree thereto, for two tunes contrasting in style were required for its performance. The change from one to the other was made on a signal from the dancers—usually a promenade in the bout, and hands across in the other case. In comparing the merits of this truly national and fine dance with the feeble, flurried, forced, and generally inferior style of that which has been put in its place the conclusion to be drawn is obvious.
The Single, or Ladies' Hornpipe, to which reference has already been made, was a special set of steps for the fair sex. They ranged from very easy to moderately difficult, and were in many respects not unlike the more advanced steps of the single reel, excluding their peculiar hornpipe finish. In style it was, appropriately, light, easy and graceful, and was danced to the lively simple tunes in two-four time. The Male, or Double Hornpipe, with which we are all familiar, is composed of difficult trebling steps, and necessitates the employment of the slower and more complex tunes in ¢ (= 2/2, cut time) for performance.
All noisy masculine movements of the drumming and grinding description were rigidly excluded from female dancing by the old masters, and both the shuffle and light batter used instead. The teachers of the old school were strict regarding style and neatness of execution, and were of courteous manner. They were carefully and thoroughly trained for their calling, and taught the art to their sons, so that the traditional style became a heritage which it was their privilege to preserve and to impart to others—a duty which they performed with the utmost fidelity. Alas, that this fine old type should have passed away, and that we should be compelled to witness so much that is spurious and vulgar, and altogether at variance with our great traditions.
The Single and Hop Jigs, although danced as bouts, are mainly social dances. They are of a simple, sprightly and graceful character and include steps and figures; for example, the slip and side-steps for changing places, hands across and hands four round alternatively.
Regarding our national dances in general, it may be observed that the Slip or Hop Jig is the oldest as well as the most characteristic of them. Other nations also have their gigas, reels, and hornpipes, but none of them a dance in any respect like this. We can, therefore, claim it as being exclusively our own.
The Fling has been danced in Ireland for generations and is the only dance in which gestures are used. The steps are varied and interesting, some of the movements resembling those of the Single Jig.
Set Dances are special solo dances or "bouts" resembling the jig, reel and hornpipe in character, but, owing to their irregular structure in comparison with them, are more difficult, and demand a more finished technique from the performer. They have always appealed, accordingly, to accomplished dancers as a medium giving full scope for a display of skill and dexterity. We have about twenty of these fine dances, and in such a variety of style and rhythm as to embrace all our step dances, but, with the exception of the "Blackbird," and one or two others, they have been sadly neglected all these years during which we have been surfeited with "Miss McLeod" and her progeny. Apart from those in one movement only, their chief peculiarity lies in the irregularity of form or development of the second move¬ment which constitutes the "Set." This varies from four to twelve bars in length and generally modulates into the first movement, or a strain thereof, with which it is brought to a close. Competitions were usually decided in former times, particularly between rival teachers, according to the degree of proficiency displaced by the competitors---often on a soaped table—in all these dances.
Rinnci Fada are simple social dances in which any number of couples may take part. There are about ten of these Long or Contre Dances, five of which call for no special reference, or comment, as they are regularly danced at Ceilidhthe, and sometimes at other reunions also. Details regarding An Rinnce Mor, and the Fairy Reel would be of little use here, for they are more elaborate than the others, and an adequate knowledge of them can only be acquired where they are taught, or practiced. The Cotillion was formerly well known in the south, but it is now, apparently, quite forgotten; the tune is inserted in this volume not so much in the expectation of its revival as in the hope that a new dance may be supplied to replace it. The "Limerick Lasses" is a quiet easy dance in quadrille, or reel time. The dancers stand in two lines opposite their partners—gents with left shoulders to top. First couple join hands and lead down the middle, and return (8 bars); change sides, balence, or set to 2nd lady and gent respectively and turn (8 bars); face partners, set and turn (8 bars); lead down, and return as before; change sides, and dance with 3rd lady and gent. When the 3rd couple has been danced with, the 2nd joins in after the 1st and so on until all are engaged. When the leading couples reach the end, having danced with all in succession, they fall back to their respective sides, remain in line and keep moving gradually up until reaching their original position. To finish, advance, retire and turn partners. Should a very large number be engaged, and the dance considered too long, it may be brought to a close whenever desired, or by the dancers falling out as they reach the end until only two couples remain, who may wind up by dancing some reel steps. "Haste to the Wedding" is a lively dance in jig time. The dancers range themselves in two lines as in the "Limerick Lasses." First couple step forward to about a pace from each other before commencing. Change places, balence twice (heel, toe and grind for gents), and turn partner (8 bars) ; lead down and return (8 bars); hands three around with 2nd lady, gallopade by left (4 bars), form an arch allowing her to pass through during accented notes, and change hands (4 bars); repeat figure with 2nd gent, and resume starting position (8 bars); next time hands round with 3rd couple, after which 2nd couple join in, and so on to the end. This dance may be concluded in a similar manner to the previous one, the steps, of course, in this case being of the jig variety. Sir Roger, though not of Irish origin, has, like the Fling, been danced here for generations. It is a simple lively dance in 9/8 or slip time, and is uncommon on that account. A description of it may be found in a Ballroom Guide.
Hop Jig tunes lend themselves admirably to contre dances like Sir Roger, as the Double Jig tunes do to the "Kerry Dance," "Haste to the Wedding," etc., while the Single Time has always been a great favourite for some figures of the old sets.
The habit of dancing too fast and accelerating the speed, so prevalent of late years, should be checked and discouraged; it tends to spoil the effect of both dance and tune and is at variance with the traditional style in which the pace was moderate and steady. This undesirable practice is particularly noticeable in the Single Reel, which is usually danced nowadays ar nós an sidhe gaoithe.
Children's deportment should be attended to during the course of their training so that they may not dance with their toes turned in, or with shoulders stooped or contracted.
Irish Dancing is cultural, graceful and diversified, it is also manly and athletic, and, as stated on high authority, "it does not make degenerates." The difficulty of step dancing has often been made to serve as an excuse for the apathy and indifference of many towards Irish Dancing altogether, but we have a number of interesting figure and other dances, some so simple that all may take part in them.
Pernicious and degrading foreign influences must be combated and suppressed if our dancing and music are to be restored to their rightful place in the social life of our people.
Proinsias de Roiste / Frank Roche ~ Nodlag / December , 1927
XII. ) ~ QUOTE: Reg Hall
Somewhere I have the Reg Hall quote (a book of his exploits and observations is long over due), though I still haven't found it, and we also own the Roche collection, but this is where I was remined of the two following quotes and lifted them via cut-and-paste:
http://www.mustrad.org.uk/reviews/leitrim.htm
Reg Hall: "'The Gaelic League's proscription of what it believed was foreign material resulted in a section of the rural repertory rarely being represented in radio programmes, and certainly not being tolerated at Gaelic-revival events, while the League's approval of what it believed was genuinely Irish boosted that section of the repertory. Thus, in music competitions at feiseanna, for example, the reel, jig and hornpipe were given equal status and playing time, while tunes for the barndance, schottische and waltz were disallowed, which was a distortion of the values then current among rural musicians themselves.
The presentation of instrumental music on the feis competition stage and on the radio took it one step away from its primary rural function as dance music towards programme music. ~
(at this point Reg Hall, lacking that understanding, dishes the 'march' as being introduced by the 'League' for ceili band competitions and he wrongly states that it was not a regular part of the repertoire in the countryside, when it was, along with the schottische and other 'dance' music.)
The Gaelic League's influence made some rural music-makers self-conscious about their inherited repertory and made them devalue parts of it in their own esteem. Apart from contributing to a reshaping of repertory, the League, in promoting slow airs and marches (!), introduced a nationalist dimension to music-making. Under this influence some rural musicians in Ireland began to think of their music as Irish rather than simply as their own music.'
ETC… ETC… ETC… ETC… ETC… ETC… ETC…
XIII. ) ~ Personally speaking
Things are often not as bad as they seem, and there is no way we can fully fathom the struggles of others, their demons... High emotions are where I was when I stumbled across this site, almost losing my best friend, my wife, she was in hospital. I returned to some of the work I had done on this music, including field recordings and notes, to give me a distraction from the mounting worry. If not for all that turmoil I probably would have never signed up to this website and become an active member. Since emotional turmoil brought me here, and my connection with tradition and with my sources included emotions, sometimes they get the better of me, I apologize for that.
Apologies also to any who might take anything I say personally ~ about highland flings, other tunes and forms, recordings or whatever. With me, whenever I make comment it is generally about a 'thing' an 'action' an 'attitude', not an attack on one's person specifically, though I do understand that the connections can exist to cause personal irritation, defense and even offense. Those times are not pleasant for me, not ever, and I regret ever hurting another, so I do try to keep my clumsiness to a minimum, but sometimes I trip up. Though I slip with the occassional tease, or irritation if pushed to it, sometimes regretfully so, I should clarify that I only tease people I like, and I generally only get irritated when pushed, or over dumb, disrespectful and inconsiderate things ~ or ~ when I am not in the best of situations and would be better kept in a locked closet. This can be the occassion when I've suffered too much lost sleep or under pain of something more serious than someone else’s lack of consideration or sense. In general there isn't a want or intent with me to make things personal, however passionate I may be about these shared traditions... Don't take any of my clumsiness to heart, please, unless it was obviously intended... I do know, as passion does, that sometimes I step in it... When I do I usually come out the worse for it. Having some of the ‘rural’ in my background I have shovelled shight before, even my own, literally. I am always willing to work to adjust my consideration for others upward, and work against my own ignorance, B.S. and occassional cantacerousness...
GO RAIBH MA' AGAT
Thanks to all those hearts out there that have helped me face some difficult times, and with some humour. Thanks to Jeremy for all the hard work to create and maintain this site, and thanks to TheSesh for bringing us all together from different places and inclinations and allowing us to interact and share, thanks for the opportunities and introductions and for having a place for my 'ways', however off kilter of norm...
AFTER THOUGHTS & MINOR IRRITATIONS
Some of you are damned good, informed, gifted. On the other extreme are you copiers ~ cutting and pasting from Henrik and Richard, and from other collections online and in print ~ Breathnach, Bulmer & Sharpley, Mallinson, Miller, Sully ~ etc... I just wish you who cut-and-paste would have the courtesy to give credit where credit is due, GIVE YOUR SOURCES!
There is one other thing that can needle me into being less than reasonable and considerate, and that is after a string of self-compositions ~ offered up by the composer themself, so far all MALE! While I honour the muses, there are times when it just seems obvious that for the contributor it is more about them than the music, or so it seems, convinced of their own genius and just wanting to show us all. Originally it took about four or five in a row to get me reactive. Mostly, my opinion based on some iota of experience, it tends toward compostable cr*p, showing little understanding of any tradition except modern self-obsessing narcissism...
However, some folks have had the courtesy to strike a happy medium by adding their own compositions in their 'Details'. I love this, a bit like a treasure hunt and a joy to stumble upon and give an airing. Here's one of the best examples I've come across, someone with obvious insight and understanding, and they've had the consideration to entertain further, make connections, by also including the stories attached to their inspiration, their tunes. I loved the stories, but I also enjoyed playing these so much that after playing one in particular, that grabbed ahold and had its way with me, I ended up adding it here on site:
Reverend ~ blessed with a mix of talents
http://www.thesession.org/members/display/11048
"The Cornerstone" C: Reverend Pete ~ a lovely jig with a mind of its own ;-)
http://www.thesession.org/tunes/display/8148
IF I MIGHT BE ABLE TO HELP ~
If anyone thinks I might be able to help them with anything, whether direct or with reference to someone or somewhere else, you know I'll do my damnedest for you if I can. You can always email me via this site. It will be welcome, as long as it isn't antagonistic or with vitriol, not that I might sometimes deserve that...
DIVISIONS OF LABOUR ~ & THANKS FOR ALL THE FISH
As emotions brought me here, probably too often they have also had times where they ruled over what reason and senses I have. I feel a debt to my sources and to this site, and now looking at my history here, I suspect I've paid some small amount of that back. If I consider added debt from my occassional rambles and rants or tredding on the feet or ego of others, the debt mounts. I'm here because of situations that have insured my favourite dance partner and best friend is still present and I can hold her in my arms and we can dance, in the kitchen, to the bath, on walks in the countryside, anytime the whim gets us. My dear wife gets angry about things like attacks on my character, for which there have been a few, but mostly my experiences here and memories are of grand and generous people, characters who have kind enough to share their time, experiences and humour with us all, which includes music, dance, idiocyncrasies and concerns. I have those blessings like water wings keeping me afloat. That I irritate folks here occassionally doesn't surprise me, I get irritated with myself. Some might value my presence, some might be fed up with it. I'm not here to win friends, but that's lovely when it happens, I'm here because I love and care passionately about this music...
For anyone that might feel under risk of being misguided by me, here are a few recommended reads to fill out your understandings and widen your perspectives on it all. Again, apologies for when my passion gets the better of me and I sound less than open and welcoming, and when I slip into making statements as if I were the font of all wisdom. If there is any that gets through, it isn't mine, it would have been my attempt to pass on what was given to me, not to possess, and apologies if I ever stood in the way and misrepresented it... Here's a short few of the reads I recommend... ~
"The Northern Fiddler" Allen Feldman & Eamonn O'Doherty
"The Story of Irish Dance" Helen Brennan
"Set Dances of Ireland: Tradition & Evolution" Larry Lynch
"The Stone Fiddle" & "Where Songs do Thunder" Paddy Tunney
"Between the Jigs and the Reels: The Donegal Fiddle Tradition" by Caoimhín MacAoidh
"Blooming Meadows: The World of Irish Traditional Musicians" Fintan Vallely & Charles Piggott
"Stone Mad for Music: The Sliabh Luachra Story" Donal Hickey
"The Companion to Irish Traditional Music" Fintan Vallely
"See You at the Hall: Boston's Golden Era of Irish Music and Dance" Susan Gedutis
Breandán Breathnach's works, some of which I have yet to set eyes on:
"Folk Music and Dances of Ireland"
"Dancing in Ireland"
"The man & his music: An anthology of the writings of Breandan Breathnach"
"The Use of Notation in the Transmission of Irish Folk Music"
Captain Francis O'Neill's works:
"Irish Folk Music: A Fascinating Hobby", 1910
"Irish Minstrels and Musicians: Story of Traditional Irish Music, Its Collectors and Performers ", 1913
etc., etc., etc...
The list could be endless, and nothing is complete, as the bearers I would rather have you know are no longer with us except their music, and that would seem an endless list. As with all things, even this tradition, EARS FIRST! It is too easy to misread the written or to let our biases colour the tone of what we read or write... Listen and listen well, within the playing of that musician or musicians is a whole lifetime, good and bad, and there's humour usually to be found, and if you relax and open up to it you'll find a smile and a nod of welcome. Step in, set yourself at ease, join in the craic...
RECIPES ~ remind me of any I've missed...
# Posted on June 4th 2009 by Carabus
Guinness cake
http://www.thesession.org/discussions/display/21737
# Posted on May 23rd 2007 by ceolachan
Callie / Cally / Champ / Pandy / Poundies / Stampy ~
http://www.thesession.org/tunes/display/2666/comments
Submitted on May 2nd 2007 by ceolachan.
Dublin Coddle
http://www.thesession.org/tunes/display/7133/comments
THE GOOD, THE BAD, & THE UGLY
Over time, aside from immediate friends and family, around a dozen folks have gotten past the alias, 'ceolachan'. One friend did it by cunning, using my first details where I'd obviously given away too much. The rest were by invitation, sometimes on the end of seeking help, sometimes because I liked the heart they'd shown here on site. Out of that only two, one seeking aid and the other offering a Trojan Horse, went sour, what others besides myself have called 'nasty', and are regretted. To be fair, there might be another couple who soured but had the grace to not make an issue of it, keeping shtrum, quiet and to themselves. If so, that consideration is appreciated, and apologies if I did end up on your list of irritations to avoid. So, out of a dozen or so, if I take it there might be four, only a third that may have not been for the best, one way or the other. Do I regret the risk, opening up to the other 8? No!, though my wife thinks I should never have bothered. There is some security in anonymity. For me it has mostly been good, my impression of it all, on reflection. For that greater kindness and patience, and generosity, even those that may have been fed up with me but kept it to themselves, thanks, go raibh mile ma' agat.
I'm small fry, insignificant but passionate, sometimes too much so, apologies for when I effuse, when I lose it...
It's nice knowing you lot and sharing some time together, giving your submitted tunes, ideas and recommendations a go... I really do lurk more than comment, listen more than I talk, read more than I write...
I wish the best of health for you and yours and your music too...
For those who might value it, a friend in the digital quagmire ~ 'c minor'
XIV. ) ~ COMPOSITIONS
~ ~ ~ on the most part, some 'adaptations', the most recent first:
slide: "Marshmallows" - inspired by "The Rakes of Mallow"
http://www.thesession.org/tunes/display/11744
jig: "The (Bubba Martin's) Ceilidh / Ceili House Jig"
http://www.thesession.org/tunes/display/11722
reel: Big John Campbell
http://www.thesession.org/tunes/display/11506
hornpipe (straight & swung): Billy on the High Ground
http://www.thesession.org/tunes/display/11317
jig: The Martin House
http://www.thesession.org/tunes/display/11139
hornpipe: The Statistician
http://www.thesession.org/tunes/display/10624
bardance / reel: The Bare Assed
http://www.thesession.org/tunes/display/10615
mazurka: 2D or not 2D
http://www.thesession.org/tunes/display/10543
highland fling: Just Another Fling / Catherine's Fling ~ D Major & D minor in comments
http://www.thesession.org/tunes/display/10395
schottische: The Amaryllis Schottische
http://www.thesession.org/tunes/display/10329
jig: Emily's Gigue
http://www.thesession.org/tunes/display/10257
reel: The Yuletide Log
http://www.thesession.org/tunes/display/10088
jig: A Jig For Sarah
http://www.thesession.org/tunes/display/10035
hornpipe: Michael Joseph Dunne
http://www.thesession.org/tunes/display/9905
barndance/hornpipe: The Gimboling Gyre
http://www.thesession.org/tunes/display/9644
mazurka: Nikita's Hackbrett
http://www.thesession.org/tunes/display/9630
waltz: Hats off to Hatao / The Ferris Wheel Waltz
http://www.thesession.org/tunes/display/9594
waltz: A Chara / Bubba Martin's Waltz
http://www.thesession.org/tunes/display/9410
hornpipe: Cliff's Edge
http://www.thesession.org/tunes/display/9373
jig: The Ooh Arr Of Ee Arr / Y Llaw o Llig
http://www.thesession.org/tunes/display/9297
march: A March For Giving Thanks
http://www.thesession.org/tunes/display/9122
polka: A Dram at the Wake and then We Dance
http://www.thesession.org/tunes/display/9105
jig: Obamas In The White House
http://www.thesession.org/tunes/display/9059
reel: Gypsy Meghan ~ a twist on "Small Coals and Little Money" ("Sleepy Maggie")
I was spurred on by others... ;-)
http://www.thesession.org/tunes/display/9029
jig: Ye Buddin' Bodhranistas
http://www.thesession.org/tunes/display/9020
slide: Holoholo
http://www.thesession.org/tunes/display/8959
gypsy curse, 24/8 ;-) ~ Yr Hen Gythraul
http://www.thesession.org/tunes/display/8865
barndance: Dancin' With My Sweetie
http://www.thesession.org/tunes/display/8851
mazurka: The Broderick Brothers' Bike
http://www.thesession.org/tunes/display/8814
reel: The Horologist's Reel
http://www.thesession.org/tunes/display/8796
hornpipe: Bubba Martin's Old Time Kick About
http://www.thesession.org/tunes/display/8737
slip jig: The Mermaid's Bridal March
http://www.thesession.org/tunes/display/8694
inspiration ~ "The Papa Stour Bridal March"
jig: By Way Of The Dow
http://www.thesession.org/tunes/display/8649
waltz: Bouchard's Waltz Quadrille
http://www.thesession.org/tunes/display/8632
adapted from the 6/8 melody, 'Bouchard's Quadrille' ~
http://www.thesession.org/tunes/display/8631
single jig: A Quantum Singularity
http://www.thesession.org/tunes/display/8612
single jig: Follies Sean Nos
http://www.thesession.org/tunes/display/8480
hornpipe: The Lurgy
http://www.thesession.org/tunes/display/8288
mazurka: The Flowers Of Alston
~ extracted from "The Alston Hornpipe"
http://www.thesession.org/tunes/display/8163
slip jig: The Grumpy Old Fart / The Gillard Family Slip
http://www.thesession.org/tunes/display/8004
GROUP EFFORT ~
jig: Sauerkraut, Wurst Und Kartoffelbrei
http://www.thesession.org/tunes/display/7786
single reel: Three Knocks To The Noggin
http://www.thesession.org/tunes/display/7687
march/mazurka: The Baiji March
http://www.thesession.org/tunes/display/7613
jig: The Accidental Tourist
http://www.thesession.org/tunes/display/7536
two-step / jig: Many Happy Returns
http://www.thesession.org/tunes/display/7243
barndance / schottische: Adam Rennie / Adam Rennie's
http://www.thesession.org/tunes/display/7196
varsovienne: "Dublin Coddle"
http://www.thesession.org/tunes/display/7133
hornpipe: "The Dhow "
For Dow/Mark's 30th birthday
http://www.thesession.org/tunes/display/7094
jig (waltz): "O For I For"
This came easily, as they seem to, but I have some suspicion of a 'prehistory' rather than just the usual divine inspiration? ;-)
http://www.thesession.org/tunes/display/6979
jig: Glasgow's Passion For Fashion
~ for Dick Glasgow of Antrim way
http://www.thesession.org/tunes/display/6963
reel: The Fiddler’s Settle / Fiddlers Settle / Fiddlers’ Settle
Inspiration courtesy of Maryland Highlander's tune “The Fiddler’s Chair”
http://www.thesession.org/tunes/display/6926
jig: The Curlews
~ Josephine Keegan's reel as a jig
http://www.thesession.org/tunes/display/6814
jig: Roast Gander And Tatties
~ messing around with "Gander in the Pratie Hole"
http://www.thesession.org/tunes/display/6733
hornpipe: Corsydd Lleidiog Crawcwellt / The Mucky Bogs Of Crawcwellt
http://www.thesession.org/tunes/display/6703
slip jig: Mark In The Dark
http://www.thesession.org/tunes/display/6630
jig: A Jig For Jay Witcher
http://www.thesession.org/tunes/display/6593
jig: an 'arrangement' ~ I Saw Three Ships
http://www.thesession.org/tunes/display/6494
hornpipe: Zina Warrior Princess
http://www.thesession.org/tunes/display/6483
RIP-OFF: from another's efforts: Ricky's Hornpipe by Jakob Robinson
march: Richard Robinson's March
http://www.thesession.org/tunes/display/6449
mazurkas: Hwylie / Hwylie Un A Ddau (x 2)
http://www.thesession.org/tunes/display/6391
slip Jig with a bit of a shlide: The Jig in the Hopper
http://www.thesession.org/tunes/display/6262
slide: The Lads In The Loo
http://www.thesession.org/tunes/display/6024
highland fling: Dick Glasgow's Toup ~ an evolution with Ptarmigan
http://www.thesession.org/tunes/display/5987
slide / single jig: The Ptarmigan Flushed ~ an evolution with Dow & Ptarmigan
http://www.thesession.org/tunes/display/5986
jig: How Can I Keep My Maidenhead - inspired by the historic songs and melodies
http://www.thesession.org/tunes/display/5980
slide: Shlide Aside ~ extraction from another tune
http://www.thesession.org/tunes/display/5954
highland fling: The Anderson Family Fling
http://www.thesession.org/tunes/display/5911
slide: Maggie In The Woods ~ not really a comp, the result of a faulty memory? ~ polka into slide?
http://www.thesession.org/tunes/display/5945
7/8: Skolios
http://www.thesession.org/tunes/display/5761
polka: The Cherry Blossom Polka
http://www.thesession.org/tunes/display/5664
reel: Sláinte Ag An Doras
Highland Fling: Hiro's Highland Fling
http://www.thesession.org/tunes/display/5624
slide: Rosebud
http://www.thesession.org/tunes/display/5343
7/8 (& 5/8 in the 'Comments') : Myxamatosis
Inspited from something Dow / Mark was experimenting with
http://www.thesession.org/tunes/display/5334
slide: Damned if I Know
http://www.thesession.org/tunes/display/5156
hornpipe - adapted from the reel: The Hornpipe on the Turnpike / The Turnpike
http://www.thesession.org/tunes/display/5150
jig: Wakin' Nancy (& dance)
http://www.thesession.org/tunes/display/5147
mazurka: Steak & Ale
http://www.thesession.org/tunes/display/5103
mazurka: Joanie's
http://www.thesession.org/tunes/display/5098
schottische: I Schottische Lan Yr Wyddfa
? ~ this just feels too damned familiar, but it is an old friend revisited...
http://www.thesession.org/tunes/display/5043
schottische: Le Schottische Pistou
http://www.thesession.org/tunes/display/5041
jig: Blueberry Rhubarb
http://www.thesession.org/tunes/display/4753
7/8: The Whiz ~ for Jeremy
http://www.thesession.org/tunes/display/4727
waltz adapted from the jig:
Hommage à Elmer Briand / The Cheticamp Waltz
All I've really done is sing Elmer's tune "The Cheticamp Jig" into waltz time. It just happened...
http://www.thesession.org/tunes/display/4674
jig: A Pride of Ignorance
http://www.thesession.org/tunes/display/4630
GROUP EFFORT ~
jig: James and the Giant Peach / Peach Schnapps
http://www.thesession.org/tunes/display/4605
slangpols: Dancin' Nancy
http://www.thesession.org/tunes/display/4503
mazurka: La Citernalia
http://www.thesession.org/tunes/display/4144
Polka: Nathan's Study
http://www.thesession.org/tunes/display/3926
Jig: Taoing the Mark / Mark on the Box
http://www.thesession.org/tunes/display/3898
jig, 3-part: Keeping Mary Up Late
http://www.thesession.org/tunes/display/3762
Breton four finger study/dance: Peder Bis
http://www.thesession.org/tunes/display/3733
mazurka: The Rain in Slane
http://www.thesession.org/tunes/display/3683
reel, single: The Feakle Fiddle
http://www.thesession.org/tunes/display/3646
waltz: The Otters Waltz
http://www.thesession.org/tunes/display/3587
barndance: Dancin' at the Gate
http://www.thesession.org/tunes/display/3582
barndance: Jack Gilder's Beard
http://www.thesession.org/tunes/display/3558
mazurka: Barring Controversy
http://www.thesession.org/tunes/display/3505
hornpipe -
Tunes in ceolachan's tunebook: 515