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[Chris Ryall]

In tunes that really REALLY needed a solo line, eg Fieldtown "Signposts" I had a facile policy of dropping out. Actually I'd sometimes pop off to bar or loo; such dances done to a chop sui of slightly variant timings are frankly not to my taste.

Chuggers like eg Adderbury shooting or some of the Bampton dances … fine. All in somehow ambled through, though however hard I tried to finish sharp on the last clack of sticks and "all up", someone would always continue playing, or do a cliché "da-daaah" with accordion bellows  To me this seemed more of a self indulgence than any possible "support for the dance's structure"

"Multi instrument Morris, only works, with a charismatic leader" might make a useful thread?

[jonm]

I'd always advocate a solo musician, but most sides have so many ex dancers now only playing that any dancer would never get a look in.

Requires agreement on starts and endings. Doesn't require the leader to be charismatic, just in control and watching the dance with a practised eye.

[Bob Ellis]

I appreciate why several posters are advocating a solo musician for Morris, but let's not lose sight of the fact that most people dance and play for Morris because it is enjoyable to do. It would deprive a significant number of musicians (some of whom are retired dancers) of this pleasure if all sides were to stick to a 'solo musician' rule. It would also deprive the world of many melodeon players because a goodly number got started through Morris and many others use Morris as a first step towards playing with other musicians, playing in public and playing for dance. Morris is also a very social thing, and ex-dancers might find it difficult to justify remaining in a side if the route of becoming a musician was not open to them.

Therefore, in my opinion, we should be encouraging, not discouraging, more Morris musicians and focusing the discussion on how to ensure that the music is as together as it can be when there is more than one musician. My advice in this respect would be to have a single musician play the 'once to yourself' to establish the tempo for the dancers and for the other musicians and for those other musicians to join in when the dancers start dancing. I would discourage harmony lines and ornamentation so that the rhythm and structure of the tune is communicated as clearly as possible to the dancers. I would also advocate crisp endings. All of this won't just happen naturally. The musicians need to talk to one another about it and, if possible, have the occasional practice without the dancers, so that they can focus on making their performances as crisp as possible.

[IanD]

Since Smiffs and me have been mentioned several times...

Playing with more than one musician for Cotswold -- especially with slows, and following dancers who dance differently in corners -- is undoubtedly more difficult to get right. It needs good musicians playing suitable instruments who practice together and watch the dancers and play with/for them, not just play the music -- it helps enormously if you know how all the dancers in the side dance. It needs much more attention to tight playing so that gaps in the music -- as important as the notes! -- are still gaps, not filled in. You need to play differently to playing solo, listening to what the other musicians are doing -- you know, like playing in a band. Any ornamentation and harmonies have to add to the dance/sound, not detract from it, and certainly not by turning the music into a mushy mess.

Having said all that, done properly -- like I hope we do! -- it can add things to the sound that a single instrument can't while being just as good to dance to -- or even better, depending on the dance. Unfortunately many teams don't seem to put this amount of thought and effort and practice into making this happen, and it shows.

Just like dancing, really... 

[Andy Next Tune]

Little to add, except:

- Practice playing together (without the dancers!) - starting, finishing, going in and out of slows, etc
- 6 dancers - one lead musician - the rest of the musicians must listen to and follow the lead. This is vital as tempo within a dance will vary with Cotswold e.g. for capers. It is not metronomic like North West or Border. That is why drums rarely work for Cotswold, unless played by the lead musician as pipe and tabor.
- Keep it simple - dancers dance to the pulse/beat, not twiddly arrangements

Multiple melodeons/boxes - staccato is best and probably just one playing basses. Need to avoid mush!

Finally keep the band close together, too often you see 'trainee' musicians lurking behind physically and half a beat behind musically.

Back to the OP's question - second melodeon options when working closely with the lead musician? Depending upon the dance,  you do have options to add variety. E.g. only playing for the chorus and not the figures, or vice versa, play some in upper octave to vary the sound. But all need planning ahead and practice.

[Chris Ryall]

I'd always advocate a solo musician, but most sides have so many ex dancers now only playing that any dancer would never get a look in.

My experience at festivals, is that the point where an "average" side has more musicians* than dancers is more or less with us .. 

*including tapped and shakey whatevers

[baz parkes]

I'd always advocate a solo musician, but most sides have so many ex dancers now only playing that any dancer would never get a look in.

My experience at festivals, is that the point where an "average" side has more musicians than dancers is more or less with us .. 

Are you counting the jingle rings and shakey eggs tho?

[nudiefish]

A few years ago I ventured to England and found myself at the Rochester Sweeps Festival (2010).  While being exposed to a crazy variety of wonderful Morris experiences I must admit to being completely overwhelmed by a particular group of musos from the Witchmen Border Morris.   Now there is a gaggle of musios who had a sense of something or other.  Even though I am a Cotswold Dancer first and foremost, I was fascinated by this group because their music was so well tied together.  I'm still charmed by them. 

This is what I recorded:

https://www.youtube.com/watch?v=2TOjtGc1iEA&list=UUnJlheJDSSxL0mSsygqc4gQ
 

[Anahata]

If you liked Witchmen's band you'd love Boggart's Breakfast. A band that's clearly properly rehearsed,and with drummers who really know how to play drums!

[Chris Ryall]

.. now there is a rarity!

[Rob2Hook]

Funnily enough I play for two sides - one North West and the other Border.  I lead the North West band (unofficially) and play very strict tempo and loud to hold all the others together.  I find that many of the learners actually play ahead of the beat (nerves, I guess).  As leader, I can only allow myself a few decorations, no flights of fancy.   Noew with the Border side, whether with our old band of several boxes or the new fiddle based version, I still end up playing loud and steady as all the others wander off into counter melodies and rythmic diversions.  I suppose it depends on the individual, then.

I know my place...

Rob.

[nudiefish]

If you liked Witchmen's band you'd love Boggart's Breakfast. A band that's clearly properly rehearsed,and with drummers who really know how to play drums!

Thanks Anahata, I looked them up and they are indeed pretty good to listen too, as you say. 

I guess that it is horses for courses and its all dependant upon personal opinions.  Morris is always like that, I guess?  Personally, I have never seen much of a problem having several musios playing for the morris with the exception of the music speeding up on occasion.  Dancers generally give you a good bollocking if you get carried away.   Sometimes having several different sides playing together for massed dancing can be a trial, given the nature of the folk music process and the sometimes subtle (and not so subtle) tune variations on display.   We tend to have a primary musician for any given tune (this is not always the same person) and they lead the music.   We now have a couple of expat English hurdy-gurdy players in the side and I would not have credited the fill-in sound they offer amongst all the boxes and concertinas.  I also take the point about a solo player being clean, undistracted  and in control. 

[IanD]

If you liked Witchmen's band you'd love Boggart's Breakfast. A band that's clearly properly rehearsed,and with drummers who really know how to play drums!

Agreed -- likewise Shropshire Bedlams/Martha Rhoden's band(s), who also are but don't.

(because tambourines don't count as drums, even when played properly -- which theirs are...)

[george garside]

I think that what differentiates between  ''groups of morris musicians'' is that  the less good are simply  ''motley collections of players'',  skilled or otherwise,  who happen to be there on a particular occasion.

 The good to excellent  are proper ''bands'' with a clear leader, regular band practice and carefully chosen line up of instruments.

Sadly a great many sides do not have the luxury of a proper ''band''  so cannot be criticised  for getting by as best they can.

george

[Chris Ryall]

.

   I've played for four Morris sides in my  time, though one was Whitby Scratch.
   I don't think the word "practice" came up amongst the musicians .. even once

[Andy Next Tune]

.

   I've played for four Morris sides in my  time, though one was Whitby Scratch.
   I don't think the word "practice" came up amongst the musicians .. even once

Dancers go to practices to practice dancing. Morris musicians go to practices to play for the dancers' practicing. In my experience, most dancers assume that the music will just happen, and never give thought how/where tunes are learnt or that the musicians might need to practice.

Equally, again in my experience, many established Morris musicians don't think about how their skills and knowledge will be passed on to the new players.

to pick up George's points, while selecting the mix of instruments can be difficult, there is no reason why any Morris 'band' cannot have a leader and regular practices.

It just requires some determination to overcome inertia, tradition, and lots of excuses. And musicians with a will to do it.

And yes Chris, I did finally achieve that with one of those four teams, although admittedly it did take a number of years 

[Chris Ryall]

I'm sure they do practice individually. My point was more that a Morris band needs to "practice" rather than just "play" together if those individual idiosyncrasies are to be ironed out? And the reflection phase would probably benefit from a senior dancer feeding back about how it felt to dance to?

But Morris ain't like that, and all the dance feedback I've ever had has been "right speed"; or otherwise..