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Discussions => General Discussion => Topic started by: Jack Campin on August 30, 2015, 11:45:15 PM

Title: A
Post by: Jack Campin on August 30, 2015, 11:45:15 PM
I am a non-melodeon player, and this question has had me puzzled for a long time.

A large proportion of Scottish tunes are in A.  Often with only two sharps, which should mean a G/D melodeon ought to be capable of playing them.  Nonetheless, if I start one I will never get an English melodeon player following me, however universally familiar the tune.  I've given up trying; at places like Whitby this feels like playing with one hand tied behind my back, since so much of my repertoire comes from the pipes.

Is there a technical limitation behind this?

Is it true of all English G/D melodeons?

If not, how do I identify which ones (and their players) are capable of playing in the pipe scale, for A mixolydian or B minor?

Any chance you guys down there could wear badges to show which keys you can play in, or put appropriate stickers on your melodeons?
Title: Re: A
Post by: Bob Ellis on August 31, 2015, 12:35:07 AM
You are right, Jack. With the exception of one or two tunes that seem to have been accepted as 'playable' by most D/G melodeonists, such as Atholl Highlanders in A major and Sportsman's Hornpipe in A minor Dorian, most English melodeon players seem reluctant to venture outside the keys of D, G and E minor. It is a shame because they are denying themselves access to many fine tunes, which they could play relatively easily, some without ever touching the accidental notes on their boxes.

In some cases, they transpose non-English tunes that are played in different keys in their 'home' countries into the keys that are easiest to play on the D/G melodeon, e.g. several popular French tunes that are played in A minor in that country are transposed into E minor by English melodeon players. Sessions would be more interesting, in my opinion, if more tunes were played outside the keys of D, G and E minor.

In theory, there is no technical reason why they can't play in different keys because most melodeons have accidentals on their keyboards, but they are not as easy to reach on two-row melodeons as the notes in the home keys, which is why melodeons tend to drive sessions towards playing most tunes in D, G and E minor
Title: Re: A
Post by: Mike Hirst on August 31, 2015, 12:54:13 AM
Speaking from a purely personal perspective, I take great pleasure in playing Scots and Northumbrian repertoire in A on my D One Row. By contrast I am more likely to play Kerry polkas in G on the same instrument. Kerry slides tend to be in D or A mixolydian. Southern English dance tunes an pub singalongs are mostly D.
Title: Re: A
Post by: Ebor_fiddler on August 31, 2015, 12:55:10 AM
I think that the main reason why A is not popular with some people is that such tunes are often hard to play using the common LH Basses. They feel uncomfortable playing without, and so tell everyone that it is not possible to play these tunes on a D/G box.
Title: Re: A
Post by: Steve_freereeder on August 31, 2015, 01:12:12 AM
I will confess that I find playing in A major on a D/G box awkward, mainly because I'm lazy and haven't really got familiar with the fingering patterns in that key. I suspect I'm not alone. I am aware that some players fly along with such tunes as Atholl Highlanders in A and I really should practice it. The other issue with A major is the G# if and when it occurs. On a two-row melodeon it's at the chin end of the D-row, which can be awkward to get to in a fast tune. Again it's just practice...

Playing in A minor (dorian) on a D/G box is easier than A major. It's pretty much like playing in E minor, except based largely on the G-row, not the D-row. I agree with Bob - 'Sportsman's Hornpipe' sounds much better in Am than Em.

B minor (dorian) on a D/G box is a wonderful key. It can involve some cross-row fingering patterns which are slightly unfamiliar at first, but not too hard to pick up. The rewards of playing tunes like 'If you will not have me...' in the proper key are definitely worthwhile. E minor is far too low-pitched and growly for that tune and it goes out of range.

Some people on the forum attended my 'passion and darkness' workshop at Witney last November, experiencing the joys of playing in Am and Bm.  8)
Title: Re: A
Post by: Theo on August 31, 2015, 08:15:54 AM
I like playing in A on my DG, but then I'm happy playing a minimal left hand, whereas many DG players seem to want to have a constant oom-pah bass going on every tune.  You also have to learn a different fingering pattern which some never do.
Athole Highlanders is a good examle.  It can be played more fully on a DG box in A than it can in G.  If played in G it needs an F chord in the 4th part.  In A that becomes a G chord. And there are no G#s.  To my ear it sounds dead played in G, so why do DG players not learn it in A? It's a mystery.
It's not just box players either.  I remember a session in Suffolk where the one fiddle player had to go a long with the dominant key if G from the boxes. I felt sorry for him so I played something in A and he put down his fiddle! I was amazed.  I have sometimes attempted to play fiddle, and I always found G fingering more awkward than D or A.
It's what you are accustomed to I suppose.
Title: A Major
Post by: Chris Ryall on August 31, 2015, 09:14:05 AM
Apologies to Jack - I'd picked up more on the follow ons and his OP was more about the sociology of melodeons in A. As above: basically it takes some work - whether that is in minor or major and you need to think about modal scales and practice a bit. Not all melodeonists have done that and a lot enjoy the safety of playing essentially 'in chord' against push G, D or pull Em oom-pah.

Playing in A means taking some risks, as a C# in a minor A tune, or Gnat in a major can be a shock. But it is as much about 'avoid' notes as anything else and as such a shame that more of us don't have a go.

I'd laboured (pre coffee ::)) out some 'tricks that helped me to play in A' but have moved these to a new thread as it wasn't really addressing Jack's point. I think the real answer is that … we are a bit scared of it.
Title: Re: A
Post by: Mike Carney on August 31, 2015, 09:34:40 AM
Without forcing myself to go to the next workshop that offers playing in A, I think this thread has come up at a good time in my playing development, giving much to think about and work on. As one of those who got a lot out of the passion and darkness workshop with Steve Free_reeder last November, I am glad of the challenge to move out of my comfort zone. This may give us a lead-in to a Tune of the Month chosen from four A keyed tunes, or a simple recommendation for one or two tunes in A [that are not Atholl Highlanders].

Very interesting also to read Theo's comment about players who want to keep up the oompah on all tunes. I think this connects well with the points made on the Whitby thread about a room-full of melodeons and the effect that it has on tunes. On reflection this may be one of the several key stages of development in playing, when you realise that the guitars, bodhran and acoustic bass have got the rhythm covered and it doesn't help to have all boxes playing basses and you are able to savour the tune with just the melody side of the box.  I suspect it is because of the fiendish challenge of stringing it all together on the melodeon that once you have mastered playing a tune with both sides and the role that automatic or learned movements play in this it is hard to give that up and risk just playing the tune.
Mike  :||:
Title: Re: A
Post by: OrchardAshley90 on August 31, 2015, 09:40:58 AM
You can solve this with just using an ADG box for the sake of an extra row you can play in the home keys of ADG. A minor on the G row
E minor on the D row
B minor on the A row
Even E in various modes comes quite easy

Plus ADG boxes usually comes with two octaves of F and the accidental on the d row you can change to get rid of the G# to a low C cause you already have G#s on the A row. Then the key of C is more available and even f with the Bb you have with the accidental on the D row. And you still have to octaves of Eb where you Fs are.

Fair enough you do have to mess around with getting notes changed but it's just the one....

Granted you will have trouble with standard left hand bass but most tunes in all those keys except F are all there just need to juggle with cross rowing and bellow directions will have it sounding great
Title: Re: A
Post by: Chris Ryall on August 31, 2015, 10:41:17 AM
Oysterboy: yes, to play in D or G is to play 'in' chord and is stable. 'A' as a cross rows key offers instability (as per above)

OrchardAshley90: Of course an ADG solves all this but a 3rd row of accidentals/helpers takes you further for the same weight/outlay
                           However if you play only in folk key circles it could be a shrewd choice. Again offering intrinsically stable harmony :|glug
Title: Re: A
Post by: Theo on August 31, 2015, 12:32:21 PM
This may give us a lead-in to a Tune of the Month chosen from four A keyed tunes, or a simple recommendation for one or two tunes in A [that are not Atholl Highlanders].


A really good one to start with is The Britches Full of Stitches, It has no G# but gets you into the fingering pattern.  I also like Bill Malleys Schottisce in A, though it is a little more demanding.  Then just for getting the hang of it try any fairly simple tune that you know in G and play it in A. 
Title: Re: A
Post by: Sebastian on August 31, 2015, 01:03:43 PM
Is there a technical limitation behind this?
Yes. There is no dominant chord in the left hand.

This applies to tunes in A major. Don't know about mixolydian chord accompaniment, 'cause I don't do those.
Title: Re: A
Post by: baz parkes on August 31, 2015, 01:35:59 PM
I have a 1 row in A gifted by Brian of this parish....is that cheating? >:E
Title: Re: A
Post by: Mike Carney on August 31, 2015, 05:24:22 PM
I have a 1 row in A gifted by Brian of this parish....is that cheating? >:E
Yes.
M
Title: Re: A
Post by: blue eyed sailor on August 31, 2015, 05:37:22 PM
Is there a technical limitation behind this?
Yes. There is no dominant chord in the left hand.

This applies to tunes in A major. Don't know about mixolydian chord accompaniment, 'cause I don't do those.

Should work - you would prominently need Emin and Gmaj chords, as well as some Dmaj and Bmin (which would have to be faked then) - IOW: it's simply a mode parallel to Dmaj... (:)
Title: Re: A
Post by: george garside on August 31, 2015, 06:12:20 PM
getting the hang of playing in A is not difficult once you move away from the thumpy bumpy bass idea and  concentrate,as do semitone players, on the melody.  Alternatively treat the box as mainly melody instrument like a fiddle, whistle or whatever.

Its simply a question of learning the A scale starting on the 6th button on D row on standard DG 2 row.

A B C# D E F# something/nothing  A

There are  loads of tunes eg pipe marches that just don't require the ''something/nothing alias G#'' in which case a bit of faking is not requird

The simplest fake is to play either the note before or after the G sharp twice (lightly).  Otherwise just root about at random to find a quick note that sounds ok. If playing with eg guitar. piano, keyboard drum etc leave the 'dunt' to them and play ''nothing'' - keeping time with the foot gives the correct length of 'nothing'.

In playing in A ( intermediate) workshops I use the very well  known non A tune winster gallop as it saves teaching a new tune anad wasting half the workshop.  The A part is G#less so is quite intuitive- the B part is a bit of a bugger to begin with until a suitable 'fake' is found and so provides a very good learning experience

george
Title: Re: A
Post by: Sebastian on August 31, 2015, 08:30:21 PM
once you move away from the thumpy bumpy bass idea and  concentrate,as do semitone players, on the melody.  Alternatively treat the box as mainly melody instrument like a fiddle, whistle or whatever.
Than I would better have chosen the recorder, not the melodeon.
Title: Re: A
Post by: Anahata on August 31, 2015, 08:44:24 PM
Is there a technical limitation behind this?
Yes. There is no dominant chord in the left hand.

This applies to tunes in A major.

Who needs chords? There's an E bass, and if you have no LH thirds, or a switch to cut LH thirds, you can use the bare fifth as an E chord as good as any chord you're going to get without thirds.

I have no trouble with playing in A/Amix on a D/G melodeon because many years ago I used to have a B/C/C# box and playing in G on that is mostly the same pattern as playing in A on the D row, so my fingers are already trained in the patterns. It's not quite the same because you need the pull A on the G row to get the basses right, and there isn't a high G sharp, but for many Scottish (pipe) tunes you don't need that anyway.
Title: Re: A
Post by: Howard Jones on August 31, 2015, 08:53:19 PM
Air control can also be an issue.  Both the A and the E chords are on the pull, so you can end up getting more and more extended until an all-too-brief opportunity to play a few notes on the push comes along.  This can be reduced with careful air button control but it needs thinking about.
Title: Re: A
Post by: Sebastian on August 31, 2015, 09:16:58 PM
Who needs chords?
I do.
Title: Re: A
Post by: GBbox on August 31, 2015, 10:31:50 PM
Never tried to play in A major on a D/G box, and I've moved to the A/D/G a lot of years ago, so it's too late. Yet, with both the tonic and the dominant chords on the pull, I really think that playing a regular pattern with the left hand for me would be most of the times impossible. At least is what I've found trying to play in D major on my G/C 2 and 1/2 row box, with the D and the A both available as pull chords only, and the Bm chord that's pull only too.

Maybe the odd tune where you can use the subdominant, since the D chord on the D/G is available both as a push and as a pull chord, could offer here and there a chance to recover, and I guess one could try to move from the A chord to the E chord, or the other way round, via a bar or two in C, if they could be played mainly on the push, but the exceptions do not break the rules.
Title: Re: A
Post by: squeezy on August 31, 2015, 11:07:45 PM
It's definitely possible for a lot of tunes - and many melodeon players do learn some of the more well known tunes in A.

However ... that sinking feeling when you realise that you're in a session with a load of fiddle players with Scottish/Northern repertoire is something I have to admit that I identify with.

The fact is that even if there are no G# notes in the tunes - A is really quite an uncomfortable key to play in.  If you naturally play across the rows with an eye towards playing the right chords too on a D/G, most tunes in A have a great deal more pull notes than push ones leading to an imbalance where you need great bellows control and a gulping air button to stop the bellows from ending up at full extension.  A far better way to approach A tunes is to stick to the D row and play like you would on a one-row which is nice and spiky, cajun-like even.  Unfortunately this push pull approach doesn't match brilliantly with the more flowing Scottish type tunes and can sound a little out of place.
Title: Re: A
Post by: Jack Campin on August 31, 2015, 11:44:37 PM
This would be something like a worst case, then?

Code: [Select]
X:1
T:The Lea Rig
S:Chambers, Songs of Scotland Prior to Burns
M:4/4
L:1/16
Q:1/4=50
K:A
(c>B)| c2E2     E2F2  (A3B)     A2c2  |(B3c)     (dcBA)   c2F2F2
(c>B)| cE3      E2F2  (A3B)     A2(ae)| f3e      (fgae)   c2A2A2||
 e2  |(fe)(f>g) a3c   (dc)(d>e) f3A   |(BA)(B<c) (dc)(BA) c2F2F2
(c>B)| c2E2     E2F2   A3B      A2(ae)|(f3e)     (fgae)   c2A2A2|]

The G#s are unimportant, but your bellows would end up stretched out like a bandoneon?
Title: Re: A
Post by: Chris Ryall on September 01, 2015, 08:07:16 AM
Last year I went to the bar in W Wales's "Fire in the Mountain (http://www.fireinthemountain.co.uk) festival - found myself in with a bluegrass session, and joined in with the plucky banjos. Most tunes had a mixolydian blue b7 (so mode 5 of my D row) and yes, all on the pull but … hey, "this is fun"!

But after 14 consecutive tunes in A my left arm told me to leave for elsewhere :|glug
Title: Re: A
Post by: Anahata on September 01, 2015, 08:23:30 AM
This would be something like a worst case, then?

Code: [Select]
X:1
T:The Lea Rig
S:Chambers, Songs of Scotland Prior to Burns
M:4/4
L:1/16
Q:1/4=50
K:A
(c>B)| c2E2     E2F2  (A3B)     A2c2  |(B3c)     (dcBA)   c2F2F2
(c>B)| cE3      E2F2  (A3B)     A2(ae)| f3e      (fgae)   c2A2A2||
 e2  |(fe)(f>g) a3c   (dc)(d>e) f3A   |(BA)(B<c) (dc)(BA) c2F2F2
(c>B)| c2E2     E2F2   A3B      A2(ae)|(f3e)     (fgae)   c2A2A2|]

The G#s are unimportant, but your bellows would end up stretched out like a bandoneon?

Haven't tried playing it, but I think the F sharps would come to the rescue as push notes on the D row, and D bass/chord usually fits with them too.
Title: Re: A
Post by: Theo on September 01, 2015, 09:04:49 AM
It's definitely possible for a lot of tunes - and many melodeon players do learn some of the more well known tunes in A.

However ... that sinking feeling when you realise that you're in a session with a load of fiddle players with Scottish/Northern repertoire is something I have to admit that I identify with.

I live with sessions like that and they are great!   It's not really more difficult, just different, and as with all learning it gets easier with regular practice.  The air management becomes a non issue too with a bit of practice.
Title: Re: A
Post by: george garside on September 01, 2015, 09:10:34 AM
and those who get to that stage would find a BCC# quite easy to get the hang of!


george ;D
Title: Re: A
Post by: Sebastian on September 01, 2015, 12:12:40 PM
The G#s are unimportant, but your bellows would end up stretched out like a bandoneon?
The notated G#s are unplayable, because they are not there on a melodeon. A normal two-row has them only in the lower octave (where they don't appear in the melody). That was already said here.

It tried to play the ABC you provided. The first bar plays quite easily, but from the second bar on you have to make sacrifices, and it is a pitty, because the tune could be played really nicely if you would start one note bellow.

(As others have mentioned, too: After ten minutes of playing it in A I was reminded of those "300 pushups a day" contests.)
Title: Re: A
Post by: Mike Hirst on September 01, 2015, 02:12:59 PM
This version of The Lea Rig, from the Athole Collection, works well on D One Row, so should be no problem for D/G players.

Code: [Select]
T:Lea Rig, The
T:An Oidhche a Bha Bhainis Ann
R:Reel
B:The Athole Collection
M:C|
L:1/8
K:A
c|AFEF A2AB|A/B/c BA BFFB|AFEF A2Aa|f2ec eAA:|
|:a|f2 (ec efac|B/B/B (BA BFFB|1 AFEF A2 (Aa|f2 (ec eAA:|2
AFEF ABce|faea cAA|]

Same setting is also found in Bremner (http://imslp.org/wiki/A_Collection_of_Scots_Reels_or_Country_Dances_%28Bremner,_Robert%29) (and other sources) under the alternative title 'My Ain Kind Dearie'.
Title: Re: A
Post by: Sebastian on September 01, 2015, 04:52:11 PM
This version of The Lea Rig, from the Athole Collection, works well on D One Row, so should be no problem for D/G players.
It's interesting. I just played it on a one-row, and it works. But when I try to play it on a two-row box, I become aware of the wrong LH chords.
Title: Re: A
Post by: Steve_freereeder on September 01, 2015, 06:21:13 PM
This version of The Lea Rig, from the Athole Collection, works well on D One Row, so should be no problem for D/G players.
It's interesting. I just played it on a one-row, and it works. But when I try to play it on a two-row box, I become aware of the wrong LH chords.

I am often aware of this when playing a one-row four-stop instrument with only two basses/chords.
Because of the richness of the LMMH right-hand side playing the melody, you can somehow get away with harmonic murder on the bass side. The 'wrong' chords and basses don't seem to matter quite so much; they begin to take on a percussive quality. I think it was Anahata of this parish who described the effect as 'grunt' and 'different grunt'  (:).  But when played on a normal two-row instrument, even a three voice on LMM setting, you lose that effect and the wrong chords start to jar.
Title: Re: A
Post by: Jack Campin on September 01, 2015, 06:51:55 PM
That reel from the Athole Collection is only remotely related to the "Lea Rig" song tune.  (I thought of it because it's a flowing, lyrical tune without much harmonic movement - that reel is a lot choppier).
Title: Re: A
Post by: Anahata on September 01, 2015, 06:55:25 PM
I am often aware of this when playing a one-row four-stop instrument with only two basses/chords.
Because of the richness of the LMMH right-hand side playing the melody, you can somehow get away with harmonic murder on the bass side. The 'wrong' chords and basses don't seem to matter quite so much; they begin to take on a percussive quality. I think it was Anahata of this parish who described the effect as 'grunt' and 'different grunt'  (:).  But when played on a normal two-row instrument, even a three voice on LMM setting, you lose that effect and the wrong chords start to jar.

It may be the LMMH treble side, but I think part of it is that the basses and chords on a 1 row (especially a Hohner) have a less well defined pitch. I suspect this is because lower pitched reeds are used. On my Castagnari Max, I found the LH bass notes were too well defined and I taped off the highest of the three reeds (converting LMH to LM). Those top reeds are well into treble clef range and really interfere when they aren't actually the right note.

I haven't checked the actual pitches of the component notes in the chords of a one-row, but they certainly sound different from a two row and I'd guess they are a lower pitched inversion of the chord. Either that or there's something about the mechanical construction that filters out more harmonics - perhaps the "growl box" cavity does this.

All part of the elusive magic of the one row melodeon...
Title: Re: A
Post by: GBbox on September 01, 2015, 07:27:37 PM
It's definitely possible for a lot of tunes - and many melodeon players do learn some of the more well known tunes in A.

...

The fact is that even if there are no G# notes in the tunes - A is really quite an uncomfortable key to play in.  If you naturally play across the rows with an eye towards playing the right chords too on a D/G, most tunes in A have a great deal more pull notes than push ones leading to an imbalance where you need great bellows control and a gulping air button to stop the bellows from ending up at full extension.  A far better way to approach A tunes is to stick to the D row and play like you would on a one-row which is nice and spiky, cajun-like even.  Unfortunately this push pull approach doesn't match brilliantly with the more flowing Scottish type tunes and can sound a little out of place.

I didn't stated that playing a regular pattern in A on a D/G box it's impossible, but rather  - I hope you'll appreciate a distinction that's not subtle! - that I would find it most of the times impossible.

Maybe you're right, it could be my approach that fails. I play cross row style to get the right chords, and when I plan the fingering to learn a new tune I tend to think in terms of (mainly) pull and (mainly) push bars. Until  the ratio isn't up to 3 to 1, that's fine, more than that thing are getting harder.

Or maybe we just give a different meaning to the the expression “regular pattern”. For me, it implies to play not just the left hand in time, but to play a correct – i. e. harmonically meaningful – chord progression. If you stick strictly to the D row, how can you play an A bass/chord when you play an A in the melody?

On the D/G box both the A and the E bass/chords couples are pull only. You can't fake them, you can't use any substitution - you miss the C#, the F# and the G# sharp chords -, and only the E bass can be replaced on the push by a B bass note. Even with the tightest control of the bellows, if you don't throw in some push chords I dare say you won't be able to play a correct chord progression.

If you don't mind the basses or the chords you actually play, of course the perspective changes... but then why not playing a one row instrument?

Title: Re: A
Post by: squeezy on September 01, 2015, 07:44:43 PM
Hi GBbox - I think you'll find if you read my post again that I was completely agreeing with everything you say, not arguing against it.
Title: Re: A
Post by: Gary P Chapin on September 01, 2015, 08:26:43 PM
I have a 1 row in A gifted by Brian of this parish....is that cheating? >:E
Yes.
M
No.

G
Title: Re: A
Post by: GBbox on September 01, 2015, 10:03:02 PM
Hi GBbox - I think you'll find if you read my post again that I was completely agreeing with everything you say, not arguing against it.

Sorry Squeezy. I'd just said that something for me was impossible, than you started with that "it's definitely possible..." I got it the wrong way!
Title: Re: A
Post by: Mike Hirst on September 01, 2015, 11:52:14 PM
That reel from the Athole Collection is only remotely related to the "Lea Rig" song tune.  (I thought of it because it's a flowing, lyrical tune without much harmonic movement - that reel is a lot choppier).

This is true, however, the point here was not to get involved in discussion on the possible derivation of historical Scots melodies, but to provide an example of a melody which can be played in the key of A on a D or D/G melodeon without compromise or unnecessary difficulty.
Title: Re: A
Post by: TomBom on September 02, 2015, 01:03:42 AM
I love playing in A (mix) on a one row in D. Of course there is no A chord on push. My workaround is either leaving out basses and playing A in octaves or substite the melody with A bass & chord.
Title: Re: A
Post by: rees on September 02, 2015, 08:40:43 AM
After spending a week in Miltown Malbay with Johnny Connolly, I am now able to play The Boys of Bluehill in A entirely on the D row.
I would never have thought it possible but it turns out to be much more fun than the usual boring old D version.
I'll post a video dreckly.
Title: Re: A
Post by: Anahata on September 02, 2015, 09:26:25 AM
All pure Pentatonic tunes can be played in three keys on a one-row.
E.g.Spootiskerry in G, D and A on a D box.
Title: Re: A
Post by: Mike Hirst on September 02, 2015, 11:01:40 AM
After spending a week in Miltown Malbay with Johnny Connolly, I am now able to play The Boys of Bluehill in A entirely on the D row.
I would never have thought it possible but it turns out to be much more fun than the usual boring old D version.
I'll post a video dreckly.

That's addictive.

I had loads to do this morning and I've ended up spending most of my time playing the bl**dy boys of new bl**dy hill  ::)

http://libtrad.eu/mp3/BoysOfBluehill.mp3
Title: Re: A
Post by: Jack Campin on September 02, 2015, 01:40:21 PM
That version has terrific zing.
Title: Re: A
Post by: rees on September 02, 2015, 02:55:29 PM
After spending a week in Miltown Malbay with Johnny Connolly, I am now able to play The Boys of Bluehill in A entirely on the D row.
I would never have thought it possible but it turns out to be much more fun than the usual boring old D version.
I'll post a video dreckly.

That's addictive.

I had loads to do this morning and I've ended up spending most of my time playing the bl**dy boys of new bl**dy hill  ::)

http://libtrad.eu/mp3/BoysOfBluehill.mp3

I know, I can't stop playing it either. What fun!
Title: Re: A
Post by: oggiesnr on September 03, 2015, 08:06:35 PM
Going back to Jack's starting point, the lack of G# just isn't an issue for pipe tunes on a box as there is no G# on the pipes either, there is only G natural.

There are fiddle versions of pipe tunes that use a G# but that totally changes the nature of the tune.  A piping friend of mine claims that it "sweetens" the music.

It's also why "Flower of Scotland" sounds a bit odd on the pipes, Roy Williamson didn't right for the pipes, in fact I think on the earliest version he played it on bouzouki!
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