Key signature: Amajor
Submitted on June 8th 2006 by fiddle?hockey?.
This tune has been added to 16 tunebooks.
Also known as The Rector At The Feis.
Recordings of a tune by this name:
X: 1
T: Rector At The Feis
M: 4/4
L: 1/8
R: reel
K: Amaj
ef | g2gf gedB | g2gf gedB | eaag aged | cded cAAA |
g2gf gedB | g2gf gedB | eaag aged | c2A2 A2Af |
g2gf gedB | g2gf gedB | eaag aged | cded cAAA |
g2gf gedB | g2gf gedB | eaag aged | c2A2 A2AB |
|: c2A2 A2eA | cdeA cdeA | g2d2 d2fd | adgd fdcd |
c2A2 A2eA |cdeA cdeA | g2gf gedB | deBd cAAA :|
G#'s should be G Naturals
The G#'s (2nd finger on the E string for the fiddlers) should be G Naturals (Low 2's).
Great tune!
Patti
# Posted on June 8th 2006 by fiddlechickpatti
"The Rector at the Feis"
Boy, 'Patti' two times. Anyway, here's another bit of playfulness late at night with this melody:
K: A Dorian
|: ef |
g2 gf gedB | ~g3 f gedB | e ~a3 aged | cded ^cdef |
g3 f ge d2 | e ~g3 gedB | ~e2 ag aged | B/c/ded ^cd :|
|: AB |
cAA/A/A ~A2 eA | B/c/deA cdef | gdd/d/d d2 ed | B/c/dgd ed^cd |
cA ~A2 ~A2 eA |c2 eA cdef | ~g3 f gedB | dgBd cA :|
finishing it ~ | dgB/c/d A4 ||
# Posted on June 9th 2006 by ceolachan
You changed your name 'fiddlefreak/hockey', but that's your perogative. I have been trying to find someway to combine hockey and fiddling into a nickname, but haven't yet come up with anything I like that I'd be willing to offer... Wood is important in both instances...
# Posted on June 9th 2006 by ceolachan
"The Rector at the Feis" ~ treble, duple, triplification ~
Recent talk about triplets in treble time with regards to jigs and the like, and other influences (see below), I started converting to that 'way' elsewhere, like here, above. It isn't 'wrong', probably more rhythmically correct, nor can the choice of using triplets ~ (3Bcd ~ be considered at fault. While the above notation might show a clearer idea of what rhythmically actually happens, the long time ABC and dots convention with regards to Irish tunes in Irish collections, with tunes in 4/4, as with reels, more often than not they are treated in a similar way to 'swung' tunes, hornpipes and the like. So, reels, 4/4, in many instances are notated with triplets. As an example, here's the above given that treatment, which might be easier to read for some of you. At least it presents a point of comparison:
K: A Dorian
|: ef |
g2 gf gedB | ~g3 f gedB | e ~a3 aged | cded ^cdef |
g3 f ge d2 | e ~g3 gedB | ~e2 ag aged | (3Bcd ed ^cd :|
|: AB |
cA (3AAA ~A2 eA | (3Bcd eA cdef | gd (3ddd d2 ed | (3Bcd gd ed^cd |
cA ~A2 ~A2 eA |c2 eA cdef | ~g3 f gedB | dgBd cA :|
finishing it ~ | dg (3Bcd A4 ||
I blame Dow & Donough & the 'season' I'm currently suffering ~ hay fever, asthma and loss of sleep... But, I still think the earlier take may give a clearer show of what actually happens to those groups of 3 in a straight tune under the bow and/or fingers or picks ~ in other words: B/c/d ~ or Bc/d/ ... or in similar with it's closer mate of a time signature 2/4, which as with polkas and marches (and marches in 4/4) is more usually defined this way...unless 'swung'...
# Posted on June 9th 2006 by ceolachan
Key?
Duh - I'm confused - if all the G# should be G nat, then is the key not A mix?
# Posted on June 9th 2006 by domnull
~ and all the C# are C nat too... Figure it out from there...
# Posted on June 9th 2006 by ceolachan
Oh yeah, except for those occassional variations that rise up to C# (^c) at the end of certain four bar phrases...but those are not the 'norm'...
# Posted on June 9th 2006 by ceolachan
I just did it the way patti showed me accept the g#
# Posted on June 14th 2006 by fiddle?hockey?
We still need a name for you, but as you like it, one that somehow incorporates both passions...for which there is not question (?) or doubt that you have passion for your fiddle and your hockey...
Don't worry about the #'s or nats, they'll sort themselves out...
# Posted on June 15th 2006 by ceolachan
I think that's patti in the first comment, your teacher? ~ she starts off by mentioning that the G's are not sharp but natural... I suspect she already knows the C's are also natural, or mostly...
# Posted on June 15th 2006 by ceolachan
The G#'s are G naturals because it is a pipe tune and Scottish pipes do not normally have G#s. It can still be considered to be in A though - Pipe A.
The tune is by Ryan J. MacNeil of Beolach from Cape Breton.
# Posted on June 16th 2006 by No Cause For Alarm
It is good to know the composer... However, I think it is A Dorian whatever instrument you play it on... And despite the limitations of pipes, I am unfamiliar with anything called the key of A-pipe, except maybe those lead things used in pumbing...
# Posted on June 16th 2006 by ceolachan
Ryan J. MacNeil & Mac Neil Woodwinds
http://www.macneilwoodwinds.com/
# Posted on June 17th 2006 by ceolachan
Diff. ABC
I've only heard it played in Edor as: (no nasty C naturals, and for my opinion a much cleaner sounding piece)
ef |: g2gf gedB | g2gf gedB | eaag aged | cded c~A3 |
g2gf gedB | g2gf gedB | eaag aged |1 c2A2 A2Af :|2 c2A2 A2AB |
|: c2A2 A2eA | cdeA cdeA | g2d2 d2fd | adgd fdcd |
c2A2 A2eA |cdeA cdeA | g2gf gedB | deBd c~A3 :|
Also, for what I've heard, this is very heavily a Cape Breton tune. Anyone else heard such?
# Posted on January 23rd 2008 by dubhghaill
A Mixolydian! ~ F# & C# and resolving on A... That also works for me...
It may be that Cape Breton connection that has it familiar to me, but I don't think I have a recording of it to check, I'd looked, or any notes to turn to...
# Posted on January 23rd 2008 by ceolachan