Key signature: Edorian
Submitted on January 5th 2008 by fynnjamin.
This tune has been added to 9 tunebooks.
X: 1
T: Foot Of Our Stairs, The
M: 4/4
L: 1/8
R: strathspey
K: Edor
|: E<BB>A G<BG>F|E<BB>A G<ED>F|E<BB>A G<BF<A|G<EF<D E<BE>F :|
|: (3GBd c>A d<Bc>A|(3GBd c>A B<EE>F|(3GBd c>A d<Bc>A|d<Bc>A B<GA>F :|
|: B<EE>D E>FG>A|B<EE>D (3FGA (3Bcd|B<EE>D E>FG>A|(3Bcd A>G F<DD>F :|
|: (3GBd c>A d<Bc>A|(3GBd c>A B<EE>F|(3GBd c>A d<Bc>A|d<Bc>A B<GA>F :|
The default note-length should be 1/16 i.e. semiquaver... not used to ABC, and not sure how triplets are written in ABC, but I have grouped them in threes...
# Posted on January 5th 2008 by fynnjamin
OK I think that's sorted...
# Posted on January 5th 2008 by fynnjamin
True dorian
I love tunes that really explore the potential of a mode- a lot of tunes are classified dorian that don't do much with the rsised 6th tone, but this one is beautifully written! (although the argument could be made that the b part is really A mixolydian)(and it doesn't really make one whit of difference, since modes are just abstract constructs devised as means for discussion, and as such are arguably useless if they distance one from the organic nature of the tune. and that whole crock of pedagogy doesn't say a thing about whether or not it's a great tune, which this one certainly is, and is all I really wanted to say anyway---
# Posted on January 11th 2008 by mandolala
Modes
thanks for the comment
I might be pedantic and say that I see the B part as being in G Lydian, but it really doesn't matter. Modes are not really as important as people make out. Percy Grainger had some theory (which perhaps applies more to folksong than to tunes) that they weren't actually different modes, rather variations: a scale with changeable 3rd, 6th, 7th, (occasionally 4th, 2nd & 5th). End of lecture...
# Posted on April 27th 2008 by fynnjamin
What an interesting tune! Thanks
# Posted on April 28th 2008 by Dow