Ten Folk Duets

8/16/2019 Ten Folk Duets

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by

Colin Spence

All rights reserved © 2003 Sweetone Music www.sweetonemusic.com

With Original Second Parts and Arrangements

of Irish and Scottish session tunes

http://www.sweetonemusic.com/http://www.sweetonemusic.com/


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Acknowledgements

Thanks to all teachers past and present, endowed with the spirit of patience andhumour – Eric Kershaw, Pat Evans, Dave Parry, Andy Holdorf, Al Potts, Ian McHarg,the gang of ‘contrafunk’ – Jules, David, Steve, Stan and Anne – who took contrafunk-alism seriously (a gem of time).

The chaps of the Maythorne band for tolerating my clumsy footfinding, and to Eddie,Clive, Gary and Anne (again) for compadreship in ‘Trevor’s Fetish’. The folk-dancespirit definitely grows on you.

Charlie Crabtree, John Holt, John Daniel – molto supportivo. My family, for support,and Anne - without whom, definitely not..


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4

INTRODUCTION

Playing a duet holds the promise of good conversation, whose ebb and flow can take us beyond tired prejudice, and open us to the thrill of enquiry and fresh insight.

The duo are companions, sharing a common topography (the piece) and language (music).

Each simultaneously experiences the uniqueness and the inter-relatedness of both his own,and another’s, perspectives.

Like a good conversation, a duet refreshes and grounds us in our common humanity.

On its own, a melody line will - sooner rather than later - tire both player and listener. But

add a second part to a tune – make it a duet – and you bring a variety of formal performance options to the table.

Say, for instance, our duo - players ‘A’ and ‘B’ - decided to play seven choruses of a tune.A possible format might be:

1st

Chorus 2nd Chorus

3rd

Chorus 4th

Chorus 5th

Chorus 6th

Chorus 7th

Chorus

Player

‘A’ Melody (Solo)

Melody Melody Second Part

Improvisa-

tion

Harmony/Part of

choice

Melody

Player

‘B’Melody8va

Bassa:(reversing)

Second

Part

Melody Harmony/Part of

choice

Improvisa-

tion

Second Part

Exploring such possibilities, a duo quickly becomes adept at ringing its own changes.Confidence grows; soon, a nod and a wink is enough to access a repertoire of customised

performance techniques.Playing becomes vital, freer, and a lot more fun.

The options for changes of texture and voicing are still more varied when two lines are played in a band context. A rhythm instrument can often double on melody and - as player ‘C’ - take any of the above roles, while the remainder of the rhythm section maintains a

steady pulse.

A relatively stable rhythmic continuity is an excellent basis on which to build subtlety of variation in the permutations of front line voicings and effects. Conversely, the rhythm

section can stretch out and groove when most solo instruments drop out, and the melody or improvised line is expressed simply, by one.


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Because the formal options are greater, and more musicians are involved, a longer period

of trial and error is often necessary for a band to achieve the duo’s level of integration.Sheer playing together, experiment, and communication, however, gives any band its own

character.

Notice - the example above makes room for improvisation. If you keep the spirit, why notchance the arm occasionally, against the relatively simple chord changes found in so manyfolk-dance tunes?

While working on the parts, I had no choice but to form a relationship with these ten popular folk-dance tunes. I had to listen respectfully to each, and I hope that these pagesconvey at least some of the good talk, and hide much of the argument that led to it.

I hope you enjoy them.


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6

Notes on Recording the CD

Not all members of our band, ‘Trevor’s Fetish’, were available before press, so I recordedthe parts (electric, acoustic and bass guitars) myself. I hope that ‘TF’ can make good this

omission and - in its inimical (and more acoustic) way - record the tunes soon.

Nonetheless, despite the absence of violin, double bass and specialist acoustic rhythm

guitar, I hope this recording demonstrates that the parts work together regardless of instrumentation.

In order usefully to serve as a play-along, the tunes are generally recorded at slightlyslower than performance tempo.

The Stereo spread of the recording concentrates the original melody on the left, bass andacoustic guitar in the centre, and the second part on the right.

On many of the tunes both the original melody and the second part are doubled

In this case, the stereo spread is:

LEFT RIGHT

It remains the case that the melody is preponderantly to the left, and the second part to theright. To focus on either part, adjust the stereo balance on your system.

Guitarists, remember that the guitar sounds an octave lower than it is notated, so transposeup an octave!


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Track Information

(Track 01) Flowers of Edinburgh, a reel, is recorded at MM = 160.

(Track 02) *The Lisdoonvarna, a polka, is recorded at MM = 120.

(Track 03) Donneybrook Fair is a 32 bar jig, recorded at MM = 112.

(Track 04) Father Kelly’s, a reel, is recorded at MM = 160

(Track 05) Behind the Haystack is a 40 or 48 bar jig. Here, it’s a 40. MM = 112.

(Track 06) *The Irish Washerwoman is a 32 bar jig, recorded at MM = 112.

(Track 07) *Drowsy Maggie is a 16 bar reel, recorded at MM = 136.

(Track 08) Boys of Ballisodare, is a slip jig, often used to ‘strip the willow.’ MM =

112.(Track 09) Strike the Gay Harp is a 48 bar jig, recorded at MM = 104.

(Track 10) *Old Rosin, the Beau, a 32 bar jig, is recorded at MM = 112.

Notes

· Three choruses of each tune are recorded, except for Behind the Haystack (Track 05),which has two recorded choruses.

· On tracks marked *, the entrance of instruments, and/or parts, is staggered.

· In the scores of each of the final three tracks, certain notes are enclosed by brackets

(…).This indicates that they can often be omitted to good effect.My choices of when and where are on the recording.


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Table of Contents

Acknowledgements ………………….. 3

Introduction ………………………….. 4

Notes on recording the CD …………... 6

Track Information ……………………. 7

The Duets

Flowers of Edinburgh ……………….. 10

The Lisdoonvarna …………………… 12

Donneybrook Fair …………………… 14

Father Kelly’s ……………………….. 16

Behind the Haystack ………………… 18

Irish Washerwoman …………………. 20

Drowsy Maggie ……………………... 22

Boys of Ballisodare …………………. 24

Strike the Gay Harp …………………. 26

Old Rosin, the Beau ………………… 28

About the Author …………………… 30

Accompanying CD on thick inside back cover


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Flowers of Edinburgh - Second Part

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Donneybrook Fair

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Donneybrook Fair - Second Part

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Father Kelly's

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Behind the Haystack

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Behind the Haystacks - Second Part

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The Irish Washerwoman

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The Irish Washerwoman - Second Part

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Drowsy Maggie - Second Part

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Boys of Ballisodare

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Boys of Ballisodare - Second Part

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* Notes enclosed by a pair of brackets ...( ) on this, and the succeeding tunes, can be ommittedto good effect.Listen to their treatment on the recording, and experiment.

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Strike the Gay Harp - Second Part

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Old Rosin the Beau - Second Part

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About the Author

Colin Spence has been performing music, on both guitar and piano, for forty years, and teaching and writing music for varying ensembles for over thirty.

His study of jazz at Leeds College of Music in the 70’s wascut short by a bike accident. He took this as a blessing indisguise: “Instead of trying to be a speedy gonzales, I slowed

down, and rediscovered my appreciation of the emotionalexpressiveness of music.”

After recovering, he spent some years busking around Britainand Europe, then playing in local (yorkshire) rock and jazz

bands.

Colin and wife Anne live in the Yorkshire Pennines, wherethey walk the hills, and work - both as a duo, with ‘Two for

the Road’, and with Ceilidh band ‘Trevor’s Fetish’.

Documents

Ten Folk Duets