Complete Celtic Fingerstyle Guitar
April 21, 2017 | Author: romane1310 | Category: N/A
Short Description
Fingerstyle Guitar...
Description
MBi5217BCD
http://faridhaidar.blogspot.com
THE COMPLETE
CELTICFINGERSTYLE GalTARBoOK Preface by Stefan Grossman Playing Perspectives by Duck Baker and EI McMeen . .Explanation Of The Tab System AIRS Pretty Girl Milking A Cow. . . . . . . . . . . . . .. . . . .. The Bonny Bunch Of Roses . . . . . . . . . . . . . . . . .. B\.ind Mary . . . . . . . . . . . . . . . . . . . . . . . . • . . . • .. Bridget CrUise .................... , • . . . . .. Bridget Cruise 3rd Air . ...............•.•... Bridget Cruise 4th Air ...................... Lament For Owen Roe O'Neill . . . . . . . . . . . • . . .. lnisheer Air ..... .....•..........•.......... The South Wind. . . . . . . . . . . . . . . . . . . . . . . . . ..
JIGS Elsie Marley ........................... " The Blarney Pilgrim (Version One) ........... ; The Blarney Pilgrim (Version Two). . . . . . . . . . .. The Blarney Pilgrim (Version Three) .......... Swedish Jig. . . . . . . . . . . . . . . . . . . . . . . . . . . .. The Killmoulis Jig ...•.. ~ . . . . . . . . . . . . . . . .. The Humours Of Ballyloughlin ............• :. Irish Washerwoman. . . . . . . . . . . . . . . . . . . . . ..
21 24 25 28 31 34 36 38 39
SUP JIGS
HORNPIPES ~udlock's
Hornpipe. . . . . . . .. . . . . . . . . . . . . .. Wick low Hornpipe ......•.........•...... :. Callaghan's Hornpipe. .. . • . . . . . . . . . . . • . . . . .. Chief O'Neil . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Bantry Bay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. The Rights Of Man (Version One) .•........••. The Rights Of Man (VersionTwo). . . . . . . . . . . . ..
Come Onder My Dimity . . . . . . . . . . . . . . . . . . .. The Humors Of Whiskey .... ~ ... '.' . . . . . . . .. The Kid On The Mountain (Version One) . . . . . .. The Kid On The Mountain (Version Two) ...... , Gusty's Frolics ....•....•...... ~ . . . . . . . . ..
46 48 51 54 56 58 60
Duke Of Fife's Welcome To Deeside . •. . . . . . . .. The March Of The King Of Laolse . . . . . . . . . . .. Sir Sidney Smith's March. . . . . . . . . . . . . . . . . .. Brian Boru's March .......................
66 68 70 72 74
165 169 172 175 .
CAROLAN COMPOSITIONS Sheebeg And Sheemor (VersionOne). .. . . . . .. 184 Sheebeg And Sheemor (Version Two) • . . . . . . .. 188 The Fairie Queen ......••.•. " • • . . . . . . . . .. 190 Carolan's Concerto (Version One) . . . . . . . . . . .. 193 Carolan's Concerto (Version Two) • • . . . . . . . • .. 196 Carolan's Receipt ........•••••...• ' .' . . . . .. 199 Carolan's Quarrel With The Landlady (Version One)?02 Carolan's Quarrel With The Landlady (VerslonTwo) ·,205 Carolan's Cottage ..•...••.. .' . .. . . • . . . . . .. 208 Carolan No. 179 ....•..••................ 210 Carolan's Farewell To Music ....... ;........ 212
PLANXTIES Planxty Irwin ................•............. 84 Planxty Hewlett (Version One) . . . . . • . . . • . . . . .. 86 88 Planxty Hewlett (VerSion Two) .............. '" PlanxtyKelley . . . . • .. . . . . . . . . .. . . . . .• . . . .. 90 Charles O'Connor (Version One) . . . . • . . . . . . . .. 92 Charles O'Connor (Version Two) . . . . . . . . . . . . .. 94 Morgan Magan (Version One) ........ . . •• . . . .. 96 Morgan Magan (VerSion Two) ................ 98 O'Hara's Cup (Version One) ...•.....•...... 102 O'Hara's Cup (Version Two) ..............•. 104 JamesPlunkett ...... '.' ..... ; . . . . . . . • . . .. 106 Eleanor Plunkett ......................•.. 108 Fanny Power ........... ' .' . . . . . . . . .. . . ... 110 Sir Festus Burke .........•........•.•... " 112 Hugh O'Donnell ............•.....•. , •.... 115
SONGS Danny Boy. . • . . . . . . . . . • . . . . . . . . . . . . . . . .. Mist Covered Mountains Of Home (Version One). Mist Covered Mountains Of Home (Version Two). The Castle Of Dromore . . . . . . . . . . • . . . . • . . .. Will Ye Go, Lassie, Go? ..•...........•..• '.. One Morning ·In May/Boys Of The Ould Brigade . One Morning In May/Boys Of The Ould Brigade . Jock O'Hazeldean . . . . . . . . . . . . . . . .. . . • .. .. My Mary Of The Curling Hair . • . . . . . • . . • . . . .. The Gypsy Rover. . . . . . . . . . . . . . . . • . . . .. . ..
SET DANCES The Blackbird ............................ The Ace and Deuce Of Pipering . . . . . . . . • . . ...
153 154 156 158 160
MARCHES
REELS Green Fields Of America . . . . . . . . . . . . . . . . . . .. The Golden Keyboard ................... '" Temperance Reel. .. . . . . . . . . . . . . . . . . . . .. . .. Jenhy Picking Cockles .................... ;. The Boys Of Ballisodare ...•.........•....•.
130 131 135 140 142 144 146 148
120 123
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227 230 232 234 236 240 · 242
EXPLANATION
OF THE TAB SYSTEM
Tablature is a guide and should normally be used in conjunction with the recordings. Tablature is not like music notation; however, the combination of tab and music in an arrangement forms a complete.language. Used together and with the original recordings, they give a total picture ofthe music. The tab system does not attempt to show rhythms or accents. These can be found in the music or heard on the recordings. Music notation tackles these articulations to a degree, but the overall sensations - the feel and the sound of music cannot be wholly captured on the written page. In the words of the great Sufi, Hazrat Inayat Khan, "The traditional ancient songs of India composed by great Masters have been handed down from father to son. The way music is taught is different from the Western way. It is not always written, but is taught by imitation. The teacher sings and the pupil imitates and the intricacies and subtleties are learned by imitation." This is the theme I've tried to interpolate into the tablature. Tablature is the road map and you are the driver. Now to the tab: ' Each space indicates a string. The top.space represents the first string, the second space the second string, etc. A zero means an open string, a number in a space indicates the fretted position. For instance, a "1 "in a space indicates the first fret of that string. fl
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Generally, for fingerpicking styles, you will be playing with the thumb, index and middle fingers of your picking hand. To indicate the pi(:king finger in tab, the stem~ go up and down from the numbers: 1. A stem means that your thumb strikes the note. 2. If a stem is up, your index or middle finger strikes the note. The choice of finger is left up to you, as your fingers will dictate what is most comfortable, especially when playing a song up to tempo! 3. The diagram below shows an open sixth string played with the thumb followed by the second fret of the third string played with the index or middle finger:
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I In most cases the thumb will play an altematingbass pattern, usually on the bass strings. The index and middle fingers play melodic notes on the first, second and third strings. Please remember this is not a rule; there are many exceptions. In fingerpicking, there are two "picking" styles: regular picking and "pinching" two notes together~ A pinch is shown in the tab by a line connecting two notes. A variation of this can also be two treble notes pinched with a bass note. Follow the example below from left to right: 1. The open sixth string is played with the thumb. 2. The first fret of the sixth string is pinched together with the third fret of the third string. The sixth string is played with the thumb, the third string with the index finger. 3. The thumb strikes the third fret of the fourth string. 4. The sixth string/first fret is played with the thumb; it's pinched with two notes in the treble. The index and middle fingers strike the first string/first fret and the second string/third fret. 5. The next note is the index finger hitting the second string/first fret. 6. Lastly, the bass note is played with the thumb on the fourth string/third fret.
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There are certain places in.blues and contemporary guitar that call for the use of either strumming techniques or accented bass notes. The tab illustrates these as follows:
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1. The thumb hits the open sixth string, and the second fret on the first -string should also sound. For example, play an E chord. Now strike the open sixth string and vary the force of your attack. Try hitting it hard enough so that the fifth string vibrates, as well. This technique is very important for developing a full sound and the right alternating -bass sound. ' 2. Next, the arrow notation indicates a brush, and the arrowhead indicates the direction of the brush. a. If the arrowhead is pointed down, the hand brushes up toward the sixth string. b. If pointed up, the hand brushes down toward the_first string. c. The number of strings to be played by the brush is shown by the length of the arrow. For example, this arrow shows a brush up towardthe sixth string, but indicates to strike only the first, second and third strings. - d. The brush can be done with your whole hand, index finger, or-middle and ring fingers. Let comfort plus a full and "right" sound guide your choice. 13
3. The third set of notes again shows the sixth string/open bass note played with the thumb and being struck hard enough to make the fifth string/ second fretted position.sound. 4. Once more, an arrow pointed downward indicates a brush up. This example forms an E chord, and the brush up includes the first, second, third and fourth strings. 5. The last set of notes has an arrow pOinted upward, indicating a brush downward striking the first,second and third strings. Here are several effects that are also symbolized in tablature: h ®
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1. Hammer-On: Designated by an "H" which is placed after the stem on the fret to be hammered. In the example above, fret the fifth string/second fret and pick it with your thumb. Then "hammer-on" (hit hard) the fifth string/ third fret, i.e., fret the fifth string/third fret. This is an all-in-one, continuous motion which will produce two notes rapidly with one picking-finger strike. 2. Wham: Designated by a "W." In the example the second string/eighth fret is "whammed" and played with the first string/seventh fret. Both notes are played together with your index and middle fingers respectively. The whammed note . is "stretched." You do this by literally ·bending the note up. You can wham the note up a half tone, full tone, etc. 3. Harmonics: Symbolized by a dot (e). To playa harmonic, gently lay your · finger directly above the indicated fret. (Don't press down!) The two notes · in the example are both harmonics. The first on the third string/twelfth fret is played with the index/middle finger, while the second - fourth string/ twelfth fret - is played with the thumb. 4. Slide: Shown with a 'dash (-). Play the sixth string/second fret and then slide up to the fourth fret of the sixth string. This is a continuous movement; the string is struck once with your thumb. 5. Pull-Off: Designated -with a "P." Fret both the seventh and ninth frets on the second string. Play the ninth fret with your index/middle finger and 14
then quickly remove it in the same stroke, leaving the second string/sev. enth fret. Pull-offs are generally in a downward direction. 6. In certain cases, other specific symbols are added to the tab. For instance: a. Artificial Harmonics: An "X" is placed after the fretted position. b. Snapping: For snapping a note, an indication may be given with a symbol or the written word. Many times these special techniques are combined; for instance, putting a pull-off and a hammer-on together. Coordination of your fretting and picking hands will be complex initially, but the end results are exciting and fun to play.
15
AIRS Pretty OiriMilking A Cow The Bonny Bunch Of Roses Blind,Mary Bridget Cruise Bridget Cruise 3rd Air Bridget Cruise 4th Air Lament For Owen Roe O'Neill Inisheer Air The South Wind
16
PRETTY GIRL MILKING
A Cow
"Pretty Girl Milking A Cow" is an unlikely title for s~ch a beautiful tune. I learned it from the Matthews Brothers, L~rry, and_Jerty, who informed me that the air was stolen from the good people. If a mortal was heard singing or playing this tune by the leprechauns, vengeance would be swift and terrible. So, beware! Suggested Ustening Finbar Furey: (Transatlantic XTRA 1077) Stefan Grossman: Music Of Ireland (Shanachie 97004)
THE BONNY BUNCH OF ROSES I learned this from O'Neil's Music Of Ireland which contains a wonderful selections of airs (which simply means melodies of songs.) Being American and even less acquainted with Irish song than I am now, I did not know that this song is very well known indeed, though the melody here is somewhat different than the one usually heard.
B"LIND MARY "Blind Mary" is attributed to harper/composer Turlough O'Carolan (1670-1738) who is credited with over two hundred surviving tunes. I have some doubts as to whether "Blind Mary" is really an O'Carolan composition; it has a much "folkier" quality than his other tunes. In this case I have notated several different ways of ornamenting the melody, particularly the 2-bar phrase which ends each section. In performance, it would be unlikely for all of these ornamentations to be used, but they are indicative of the kinds of flourishes that can be added to slower tunes. The grace notes should be played as quickly as possible, the index finger and ring finger doing the hammeron/pull-off combinations. In the 5th bar of A-2, the index finger starts on the 2nd fret of the 3td string, then bends down to bar the top three after the middle finger reaches over it to play the 2nd fret, 5th string. This situation, where the 1st finger holds a higher string than the middle on the same fret, may feel strange at first, but solves " many problems in the long run. The harmonic chord at the end is made by playing 7th fret harmonies on the 2nd, 3rd, and 4th strings with the index finger, but not allowing it to touch the 1st, string. The little finger gets the 12th fret harmonic on the high string. After striking
17
this chord, reach behind the nut and bend the 2nd string for a striking effect. (This is a favorite trick of avant-garde guitarists.) .Sugge§ted Ustening Derek Bell: Carolan's Receipt Claddagh CC 18 The Chieftains: Bonaparte's Retreat Shanachie Patrick Ball: Celtic Harp/TheMusic Of Turlough O'Carolan Fortuna 005 Stefan Grossman: Music Of Ireland Shanachie 97004 Duck Baker: The Kid On The Mountain Kicking Mule KM 169 Angelo Eleuteri: The Music Of O'Carolan Shanachie 97023
BRIDGET CRUISE (3RDAIR) Carolan wrote many pieces named for the love of his youth, of which this is one. She certainly inspired a beautiful melody in this simple, direct, and very evocative tune. I had the great pleasure of recording a duo version with Alistair Anderson playing Northumberland small pipes some years ago, of which I am still quite fond (not the case with all my recordings, I fear.) Suggested Ustening Duck Baker: The Music Of O'Carolan Shanachie 97023
BRIDGET CRUISE (3RD AIR) The first two Bridget Cruise airs are beautiful, but they seem a little short, and look backward to an earlier harp tradition. The 3rd air, however, has a beautiful melody and sense of completeness about it that appeal to modern players and listeners. We can still understand today the love (or infatuation) that Carolan felt for his old flame Bridget Cruise nearly 300 years ago. SuggeSted listening Derek Bell: Carolan's Receipt Shanachie SH 79013; Claddagh CC 18 John Feeley: Traditional Airs on the Classic Guitar Gael-Linn CEFI09 Joemy Wilson: Carolan's Cup Dargason DM 102 Duck Baker & Alistair Anderson: The Music of O'Carolan Shanachie SH 95009 Beryl Marriott: Weave the Mirror Wormwood WRC 016 _ Dance Across the Sea NS 0031 EI McMeen: Irish Guitar Encores Shanachie 97017
18
BRIDGET CRUISE (4TH AIR) The 4th, and last, Bridget Cruise air is a most sl;lbtle and musically complex piece, not in speed or difficulty, but in its interv~ls and phrasing, and its series of musical tensions and releases. It's hard to do it justice. Por example, the interval (a fourth) in the 1st measure is so unusual and upon us so quickly that it surprises and pleases us with a hint of the romantic nature of the piece to unfold. Suggested Ustening Derek Bell: Carolan's Receipt Shanachie SH 79013; Claddagh CC 18 Joemy Wilson: Carolan's Cottage Dargason DM 104 Patrick Ball: O'Carolan's Dream Fortuna 17061-2 El McMeen: Irish Guitar Encores Shanachie 97017
LAMENT FOR OWEN ROE O'NEILL This lament fora great Irish general (who died a generation before Carolan's birth) is a most powerful elegy, and should be played in a soulful spirit, akin to the tenor of "Carolan's Farewell to Music". Yet, like the "Farewell", this lament is not wholly funereal; there is still an Irish sparkle in it that lifts it toa redemptive level. Suggested .Listening John Renbourn: The ·Hermit Shanachie SH 97014 Kings GalHard:Dolphin DOLM 5014 Alan Stivell: Harpes du Nouvel Age Rounder 02140 Linn Barnes & Allison Hampton: The Gael Oak Leaf CD 2104 Simon Taylor: The Irish Guitar Ossian OSS-OI John Renbourn & Stefan Grossman: Uve in Concert Shanachie 95001 . Dolores Keane & the Reel Union: There Was A Maid Claddagh CC 23
INISHEERAIR This is a beautiful song by Thomas Walsh that I've heard most recently played by guitarist John Sherman on his recording Farewell to the Creeks (available through Walhalla Productions, 410 Clinton Heights, Columbus, Ohio 43202). This recording contains wonderful Irish arrangements and performances,especiallyreels! Suggested Listening Buttons & Bows: The First Month of Summer Green Linnet SIF 1079 El McMeen: Irish Guitar Encores Shanachie97017
19
THE SOUTH WIND This is a gorgeous song of longing for one's home, and speaks to all of us who travel or who, in the parlance of the late 20th Century, are "relocated". The "South Wind" brings to us the memories of home, not merely the leaves and twigs that scuttle along the ground or are carried in the air by its gusts. Suggested Listening Duck Baker: Irish Reels, Jigs, Airs, and Hornpipes Shanachie SH 97011. (The song is called "The West Wind" on the recording.) Harvey Reid: Of Wind and Water Woodpecker 104 Joemy Wilson: Celtic Dreams Dargason DM 107 Michael Rugg: Rugg's Celtic Collection for Dulcimer Kicking Mule KM 223 Melissa Morgan: Erin's Harp Kicking Mule KM 315 Carol Thompson: Irish Harp Music Musical Heritage Society MHS 7021F Eileen Monger, etc.: The Lilting Banshee Musical Heritage MHS 7448Y Trapezoid: Toubadour TR-l EI McMeen: Of Soul and Spirit Shanachie 97012
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HORNPIPES Proudlock's Hornpipe Wicklow Hornpipe Callaghan's Hornpipe Chief O'Neil Bantry Bay The Rights Of Man (Version One) The Rights Of Man (Version Two)
42
PROUDLOCK'sHoRNPIPE An unusual feature in this arrangement occurs in bar 1 of the 2nd section, where the thumb plays the melody note on the 3rd stFing while the middle finger plays the lower note, the open 2nd string. Syggested UsteniQg Duck Baker: Irish Reels, Jigs, Airs, and HornpipesShanachie 97011 . The High·Level-Ranters: Ranting Lads TOPic 297 . .
.
WICKLOW HORNPIPE There are a couple of tricky bits here, the triplet in bar 40f section A is played M- I-M (right hand fingers) and the Istbar of sectionS utilizes the three finger roll described in "Carolan's Concerto" (I-M-R).Be sureJo alternate your index finger and thumb for the bass figure in the bars that end each section, ~while the middle finger plays the melody notes (open D). Also watch out fot:the -encl6f bar 2, ,section B,and the beginning of bar 3, where we will want to uset!teM-R~~\tightfinger alternation described in "Lord Inchiquin". The 16th-note trill in bar 4 of section B is similar to the hammer-on,double pull-off ornament 1stnoted in Sir Sidney Smith's March, except the 1stfiriger now bars the top 3 strings on the 2nd fret while the middle finger will be on the 3rd fret, 2nd string to begin with and the hammer-on to the 5th fret will be done with the little finger. Finally, we would note that this is another case where alternating the rightindex and middle fingers is useful for playing consecutive melody notes on fhe ·same string. . Suggested Ustening Duck .Baker: Irish Reels, Jigs, Airs and Hornpipes Shanachie 97011 Tony McMahan: GaelUnn 033
CALLAGHAN'S HORNPIPE _ This very attractive melody was certainly given what currency it has by O'Keefe, a Kerry fiddler of legendary proportions. The music ofCounty Kerry has similarities with American old-timey playing that are almost uncanny,thpugh there doesn't seem to be any direct connection. Note that the triplets in bars 13 and 14 of section A are played by alternating the right hand middle and index fmgers, M-IM-1.
43
Suggested Listening Padraig O'Keefe: Kerry Fiddles Topi~ 309 Tommy Peoples: Comhattas Ceoltoiri Eireann CL 13
CHIEF O'NEIL'S FAVORITE There are so many hornpipes listed in O'Neil's Music Of Ireland and the collection Waifs and Strays that we are justified then, in expecting Chief O'Neil's favorite hornpipe to be an exceptional tune and it certainly is. This version has more changes between natural and flatted 3rds and 7ths than O'Neil gives, but this may have to do with less than perfect transcriptions in the great collector's work (it would be an appropriate irony.) Certainly these changes add a great deal of character to the melody, which uses in fact 9 tones to great effect. The alternate version of the 1st bars can be substituted where appropriate to give a different feel throughout the tune.
BANTRVBAV Here we encounter the D-G-D-G-B-E tuning. Originally I had this piece set in standard tuning in A, but it proved a bit easier just·to transpose the arrangement to G with this tuning. Still, it's no picnic. The stretch in the 4th bar of A is a bit unpleasant. The trickiest bits are in the B section. At the beginning of bar 2, barre the two low strings with the index finger on the 2nd fret, but bend the finger so that the high string is open. Make the hammer-on/pull-off on the high string 2nd fret with the middle finger, then bring the index finger down for a full barre on all the strings still 2nd fret-at the same time putting the little finger down on the 4th fret, 2nd string. This puts you in shape for the rest of bar 1, and for bar 2, just move the barre up to the 5th fret and the little finger to the 8th fret. The most difficult position for me occurs in the last half of the 4th bar. Suggested Listening Martin Byrne: Leader LEA 2004 Paul Brady & Andy Irvine: Mulligan 008
44
RIGHTS OF MAN We have included two versions of this majestic mel9dy. The first is played in a dropped D tuning while the second in C-G-D-G-..,A-D. For the first arrangement you will have to concentrate on your right hand technique and playing the melody line with two harmony lines. This is done by using your thumb, index, and middle fingers. The resulting sound is quite different from our second arrangement which uses a more "harp-like" technique that highlights cascading and sustained tones. Suggested Listening The Chieftains: Bonaparte's Retreat Shanachie 97026
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GREEN FIELDS OF AMERICA This is an American setting of an old Irish reel wpose title reflects the optimistic side of the immigrants view of the New World; the Other side of the coin is well expressed in many other tunes. Here the technique is mostly hammers, pulls, and slides with some finger alteration thrown in to change the flow (bars 3-4 of section A). Attention should be given to second ending ofB, where hammer-on and pulloff notes occur at the same time as, rather than in between. bass notes. Suggested Ustening Art Rosenbaum: Five String Banjo Kicking Mule 208 Tom Gilfellon: In the Middle of the Tune Topic 282 Willie Clancy: The Pipering of Willie Clancy, Vol I Claddagh CC 32 Micheal Coleman: Shanachie 33002
THE-GOLDEN KEYBOARD Judging from the title, this very attractive _melody was originally a squeeze-box vehicle, but I know very little else about it. It can be played a little slower than the other reels here, and will probably present fewer problems.
TEMPERANCE -R EEL This is one of the best-known Irish tunes, being very popular under a wide va'riety of names in America as well as in "Ireland. It is also the best place to thoroughly discuss the technique of alternating the index and middle fingers of the right hand, which is used throughout. The simplest way to approach this is to remember that every time a melody note is played with a bass note, it is struck with the middle finger. The melody notes in between the bass notes are played with the index finger. Thus we have a right hand pattern of M-I-M-I-M-I etc. Regardless of which string is being played. The fact that the index finger must sometimes playa higher string that was just struck by the mIddle finger takes some adjusting to. Still, this technique is essential for playing at quick tempi with any kind of flow. The left hand fingering for the first two bars of section A is simplest with the ring finger 3rd fret, 6th string, and middle finger, 2nd fret, 5th string throughout, the other two fingers playing all the melody notes which aren't on open strings. Suggested Ustening -Franklin George (as Teetotaller): Kanawha 307 or Saydisc 229 Art Rosenbaum: Five String Banjo Kicking Mule 208
63
JENNy -PICKING COCKLES This tune certainly stresses the tonality of the flatted 7th, so much so that, when the natural 7th is used in the B section, the effect is like that ota key modulation. The trick here is to coordinate the right hand finger alternating with the left hand effects. Suggested Listening Frank Ferrell: Fiddle Tunes Voyager Willie Clancy: The Pipe ring Of, Vol I Claddagh CC 32 Martin O'Connor: The Connachtman's Rambles Mulligan 027
THE BOYS OF BALLISODARE The B section here differs somewhat from the usual setting of this tune and the issue is confused by the fact that it is mistitled on Tony McMahan's album The Breeze From Erin as "The Ewe". This is certainly a very different reel. The unusual tuning here is useful for getting a bass G drone on two strings; all of A-I is played with the left thumb on the 3rd fret, 6th string. The most difficult phrase here is the first two bars of B, where all of the melody lies on the I st string. Suggested Listening Tony McMahan: The Breeze From Erin Topic 184 (As the Ewe Reel)
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THE BLACKBIRD "The Blackbird" is one of the most popular.of all Irish tunes, both as a slow air and as a set dance. The title was originally a reference to King James II, who was viewed by the Irish as a potential liberator. It goes without saying that Jamesdidn 't live up to the aspirations expressed in this tune. Suggested Ustening Leo Rowsome: Topic 259 The Bothy Band: Out of the Wind Into the Sun Mulligan 013 Michael Coleman: Shanachie 33006
THE ACE AND DEUCE· OFPIPERING - -To judge from the title, this is something of a test piece for pipers. It's no piece of cake on the guitar either. Bar 7 of B took me as long to get down as aU the rest of the piece. Syggested Listening Paddy Keenan: Gael Linn 045 Finbar Furey: Intercord Cenophon 161007
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126
ELSIE ·MARLEY "Elsie Marley" is quite a popular Northumberland song, though, as Tom Gilfellon pointed out, "It's the devil to sing." Also the devil to understand for nonGeordies. A clue to the foreign language nature of the Northumberland dialect is given.in the first line of the chorus of this song "Do ya kin Elsie Marley .... " On the West Coast of Denmark·· "Do You Know?" Would be said ",Kinja Do?" It's said that Danish and Northumberland fisherman converse with each other with little more difficulty than they do with their own countrymen. Suggested Listening The High Level Ranters: Ranting Lads Topic 296
THE BLARNEY PILGRIM "The Blarney Pilgrim" is a real foot tapper. . We present three different arrangements. Each is played in a different setting. Whe'n the Matthews Brothers showed me this one we spent a long time trying to figure out whether it was in Dmajor or minor, before deciding it was neither. Actually, many performers play it with the melody the same but in the key of G (as one sharp would seem to denote). The first arrangement reflects this. Undoubtedly the Bsectionis·in G,butlhearA and C in D. There is plenty of room for added ornamentation inthis piece, especially in the first A and B, where the bass is monotonic. The 2nd version is played in D-A:-D-G-A-D tuning while the third in a dropped G tuning (D-G-D-G-B-E). Each arrangement creates a unique feel and atmosphere, and illustrates how tuningscan be successfully used. Suggested Listening. Andy Irvine & Paul Brady': Mulligan 008 Alistair Anderson: Concertina Workshop Topic 501 Duck Baker: Irish Reels, Jigs., Airs and Hornpipes Shanachie97011 EI McMeen: Irish Guitar Encores Shanachie 97017 Laurie Riley & Bob McNally: The Flowers 'Of Edinburgh Handcrafted Recordings 102
127
SWEDISH JIG This very unusual tune comes from Donegal, it seems, though it cannot be said to have a particularly Donegal flavor to it. The modulation for the B section is very striking, much more like moving form 0 to F than from 0 major to 0 minor. This arrangement brings us back to "harp-style" guitar, with left hand fingerings that should be becoming more familiar in the 1st section. In the B section, the consecutive 8th notes in the high ~tring should be played with first the middle, then the index finger. Suggested Ustening Le Cheile: Inchecronin 7424 John Doherty (as Arthur Darley's Jig): Gael Linn CEF 072/73 Stefan Grossman & John Renbourn, Music Of Ireland Shanachie 97004
THE KILLMOULIS JIG It is fun to play Irish jigs in C-G-O-G-A-O tuning, and this is one of my favorites. I got the idea from a recording by John Sherman, a guitarist from Columbus, Ohio, called "Farewellto the Creeks'\ I am told that a killmoulis is a kind of Irish troll with a huge nose ·and no mouth.
THE HUMOURS
OF BALLYLOUGHLIN
This is one of my two favorite jigs. It's in four parts, and everyone who hears it has a favorite. (Mine is the second; my wife's is the third.) O-A-O-G-A-O is a good tuning for this, since it allows us to keep a steady bass pattern while we go among the open and fretted strings in the middle and high ranges. Suggested Ustening Noel Rice: Ught Though the Leaves·Rounder 6014 Kathleen Collins: Traditional Music of Ireland Shanachie SH 29002 Sean Keane: Gusty's Frolics Claddagh CC 17 Matt Molloy: Matt Molloy Mulligan LUN 004 Maire Ni Chathasaigh: The New Strung Harp Temple TP 019 Planxty: The Well Below the Valley Polydor 3170-140 EI McMeen: Irish Guitar Encores Shanachie 97017
128
THE IRISH WASHERWOMAN My friends Jim and Rozan Ensor of Rocky Ford, Colorado, asked me to learn and play this familiar jig for them, so I did. It fits very nicely into O-A-O-G-A-O tuning, in which we can play the tune in different registers with relative ease. This tune is the quintessential Irish jig for many casual listeners of traditional Irish music. Suggested Listening Joe Gallagher: Sean O'Riada's our Musical Heritage RTE FR 001/002/003
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Readers may find some of the recordings recommended in this volume difficult to find. Although persistence is the first rule, the following listing of certain mail-order companies, and other pertinent addresses, may prove to be helpful. Mail Order Companies-Gengral Elderly Instrumgnts 1100 N. Washington P.O. Box 14210 Lansing, Michigan 48901 Tel: (517) 372-7890 Fax: (517) 372-5155 Down Home Music 10341 San Pablo Avenue EI Cerrito, California 94530 Labels. etc. Shanachig Records Corp. 37 E. Clinton Street Newton,N.J.07871 Tel: (201) 729-5544 Fax: (201) 726-0568 Green Unnet Rgcords 43 Beaver Brook Road Danbury, Conn. 068-l-O Tel: (1-800) 468-6644 (exec. Conn.) Tel (Conn.): (203) 730-0333 Fax: (203) 730-0345 Kicking Mule Rgcords P.O. Box 158 Alderpoint, California 95411 Tel: (1-800) 262-5312 Fax: (707) 926-5250 Flying Fish Records 1304 W. Schubert Chicago, Ill. 60614 Tel: (312) 528-5455
243
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