October Workshop Recap
Playing his fiddle this time, Neil presented a three part Cape Breton reel John Morris Rankin, in D major, composed by fiddler Dougie MacDonald for his friend and fellow musician John Morris Rankin.
Click here for a recording of Neil playing the tune and a parallel harmony line for the 'B' part. Click here for the dots and scroll down for page 36.04a.
He used the tune to highlight many specific, and general musical aspects to aid in playing this traditional type of dance tune.
Structure: The tune uses the pentatonic scale (omitting the 4th and 7th notes of major scale), also it is played in 'Cut' time, meaning 2 beats per bar (2/2). Neil further demonstrated how weak the melody sounds, if played as a 4/4 tune, with 4 beats per bar.
Looking at each part of the tune; he introduced how the phrasing of the tune implies a question (bars 1 & 2), an unresolved answer (bars 3 & 4), repeating of the question (bars 5 & 6), landing on the tonic D with the resolving answer phrase (bars 7 & 8). The second, 'B' part has a simpler chord structure, and Neil taught us (by ear) a simple parallel harmony line that could be used in an arrangement.
The 'C' part is a variation of the 'A' part that ends with the same resolving answer.
Ornaments: But the notes are not all the same, you say! Yes. But that is because in bar 7 the ornamental note (E) in the ‘A’ part is explicitly written out in bar 7 of the ‘C’ part. The first ornament that Neil told us to use is what Anna Wendy Stevenson calls a 'lazy' note. Play (on the beat) the note that will lead to the melody note (often the last note you played). For example, in the second bar, playing another A to lead into the B quarter note. Treat almost every quarter note in this tune similarly.
Neil told the wind players not to tongue the ornament notes, and for all melody players not to shorten them too much in this style of playing. Talking about quarter notes, you can play one anywhere you find a 'cut' or 'birl'. And fiddlers should remember to slur the next two 8th notes on the up-bow.
Another ornament that Neil used is playing an A (open string for fiddles!) against the repeated F# notes (bars 2 & 6) in the B and C parts. He also played the same A with the E quarter note (C part 4th bar). Lastly, Neil changed the C to a D in the 'turn-around' of the B part. (Last note of the 3rd line)
Arrangement: The second hour Neil spent time suggesting alternate bass lines, and an arrangement for performance. He talked about walking bass lines that lead to the target note, and a sort of chromatic bass run that either leaves off the resolution, or completes it. For example: E F# G G# A B C C#, or E F# G G# A B C# D.
Arrangement ideas included playing (on the second time through the tune):
A part: The winds and reeds take the melody in the A part while the fiddles play the chord note on the back strings (with a rhythmic 'groove').
B part: The harmony line would be included.
C part: Rhythm change, chords reduced to staccato block chords, once each beat, returning to the original 'Boom-chick' pattern for the last two resolving bars.
Altogether it was a very successful look at a rather nice reel, including a close examination as well as a look at the surrounding musical ideas.
A fun workshop, thank you, Neil.
On the piano is Annelise Papinsick, a third year law student from Concord. Anne Baier met her through the Acadia Trad Festival. Hopefully this won’t be the only time she drops in for a workshop!
