Key signature: Adorian
Submitted on July 15th 2002 by Mark Cordova.
This tune has been added to 134 tunebooks.
Also known as Chicago, The Chicago .
Recordings of a tune by this name:
X: 1
T: Chicago, The
M: 4/4
L: 1/8
R: reel
K: Ador
cded cAGE|~G3E GAcd|ecgc acgc|eaag edcA|
cded cAGE|~G3E GAcd|eaag (3efg ed|cABG ~A3B:|
|:cdef g2ef|gfgd BG~G2|cdef g2fg|eaag aged|
cdef ~g3e|~a3f ~g3e|~f3d efed|cABG ~A3B:|
Good Reel
My version is quite a bit different than Henrick's so this is a bit of a rip off. I used his version. I learned it by ear and as usual I put so much of myself into the tune that I had no I idea where the real tune began and I ended. Henrick Norbeck provides a variation you might be interested in but you will have to go to his site.
Enjoy,
Mark
# Posted on July 15th 2002 by Mark Cordova
The Chicago Reel
This is a version I was taught today in a workshop at the Hibernia Centre in Bristol (UK). I believe it has sufficient differences to merit this posting.
M:C|
K:Ador
cded cAGE|EGGE GAcd|ec (3ccc acgc|eaag eged|
cded cAGE|EGGE GAcd|eaag eged|cABG A3B:|
|:cdef geaf|gedc BAGB|cdef gedg|eaag aged|
cdef ~g3e|~a3f gbag|effe dfed|cABG A3B:||
Trevor
# Posted on May 3rd 2003 by lazyhound
The reel at hand . . .
it sounds good if you play
cd and then cded double fast (sorry don't know notation off top of head) in the 1st 2 beats
# Posted on August 16th 2003 by micelfife
Problematic 3rd bar for the pipes and possible workarounds
Playing a rocking pedal figure from second octave g and a down to a TRUE C natural on the pipes is nigh on impossible even with responsive reeds.
Instead pipers cheat their way through the 3rd part in a number of ways.
I will sometimes do this: ~e2 ge aege l gaag ~e2 is a "shake" or "shiver".
or eg g2 ag g2 l eaag etc. Roll the g2's.
Some pipers with unusually strong masochistic tendencies and lots of time on their hands will develop the ability to play a "tight" c as a pedal tone, in reality a C# but played so staccato and clipped its effect is purely rhythmic rather than melodic in effect. Playing it this way forces the piper to really pay attention to the lengths of the e's, g's, and a's, as these must be given their full value and then some. If you play at a moderate pace with a good swing, this approach can work.
Tom Ennis, a great piper who lived in both Chicago and New York for a time, used to do something like: eAgA eAgA l eaag etc., often popping the g's. He might have substituted tight C's for the A's there, too.
One nit: That long f# in the penultimate bar is NOT played as a true F#, nor is it an F natural, but somewhere between. I usually lift the chanter and shade that f# tonehole to produce a slightly sharp f natural (or a very flat f#). It's a rude rude blue note and not pretty but it's not supposed to be pretty. You want pretty music, go play baroque chamber pieces and leave the gritty stuff alone : P
# Posted on December 8th 2005 by Hanley
More pseudo F naturals
In addition to what was mentioned above about the pseudo F naturals, I've always played the 4th and 7th measures of the A part as:
eaag efed
with the f being natural or something closer to natural than sharp.
I also play an f natural of sorts on both of the f's in the penultimate measure of the B part. I agree that it definitely does give the tune a bit of grit, but that's what makes it fun.
# Posted on December 31st 2005 by Jason G
My banjo version
i love this tune. ive only heard the old Edward Mullaney & Patrick Stack version though.
Ive been playing it a lot on the banjo recently.
I tend to play it like a fast hornpipe, i tend to "squawk" some of the notes and throw in triplets, and grace notes but i changed certain bits to suit the banjo, but its based on the original post by Mark.
T: Chicago, The
M: 4/4
L: 1/8
R: Reel
K: Ador
cded cAGE|GEDE GAcd|eAcd edcA|eaag edcA|
cded cAGE|GEDE GAcd|eaae gedB|cABG A3B:|
|:cdef g2ef|gfgd BGG2|cdef g2fg|eaag aged
|cdef g2fe|(3aaa ef (3ggg ge|fedB gedB|cABG A3B:|
# Posted on February 28th 2007 by DubChieftain