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[Roger Hare]

My italics.

Generally, a notation time signature change for Morris is just an attempt to give you a feel for the speed in the "slows", and
should not be taken seriously. You need to learn the speed for your team, and take your cue from the dancers.
Generally, if you have the speed far wrong for the slows, they will notice... and you will be told...

Ah, got you. Morris tunes are quirky things. As I read (and hear) it, the rhythm shifts from triple to square for a few bars in
the C part (i.e. first part of the slows). The first 3/8 bar is a  lead in to the part. The second is a lead in to the change back
to 6/8 and  the repeat of the end of the A part. Notating it this way preserves the tempo, which stays pretty rock solid, as written.

Got me indeed!

Gentlemen, thank you very much! You have understood my predicament exactly. One of the 'problems' I have
had is a feeling that the changes in time signature in the score for some of the Morris tunes I am playing are a
bit of a fudge (for whatever reason), with the excursions into the changed time signatures being a little  'academic'
when it comes to actually playing the b*gger. I have simply been following the lead melodeon player and hoping
for the best...

Thank you!

Now, back to baking that special Xmas Marzipan Shortbread...

Roger

PS: I notice that this thread started as 'Can you practice too long'. We seem to have drifted away from that
a little. I hope that's not my fault.

[Thrupenny Bit]

Roger, by following the lead musician is the absolute best thing to do for Cotswold Morris.
Slows are difficult to interpret and *every* side will dance the same dance differently, so time signatures will be difficult to assign.
Follow the lead player is the best approach!
Q

[george garside]

Cotswold is not the only form of 'morris'   but is perhaps the only one where some tunes are dance specific 0 .  North west, rapper  and border may well have tunes that a particular side treats as dance specific but in reality  any tune with the right tempo works fine and different sides have their specific tunes for particular dances.

george

[Thrupenny Bit]

There's Border and North West, but as far as I know both the others do not have sudden changes of music such as that necessary for Cotswold slows, which as you say are dance specific and probably 'dance side specific'! It will be specific for each side, as the slow is danced differently by each side even if it is within the same traditional style. its a tricky thing playing for Morris, and a good Morris musician should be respected, and cherished!
Q

[howard mitchell]

Some NW dances change from 6/8 to 4/4 and visa versa and some have a Nancy Dawson figure at the end which can involve changes of tempo.

M

[Thrupenny Bit]

Ah thanks Mitch.
I knew I was on slightly shaky ground for some NW dances.
The last time I danced with a NW side it was Chiltern Hundreds so had DTN and Jimbo of this parish full bore on Bincis just going for it all weekend. Just brilliant!
I haven't heard much NW recently so the memory's fading!
Cheers
Q

[Accordion Dave]

If you call it "practice" it will seem too long. "Playing" an instrument is a joyful experience and time seems to fly away. This may seem to be a play on words but not really.

I am teaching a teenager to play both the piano accordion and a two row button accordion. I never ask how long he practiced this week. I ask what he has been playing this week. Did you discover anything new? Did you hear any songs on the radio that we could learn? How is that Doo-Wop chord structure coming along on the button box? Let's try something in the minor key on the outer row.

I sit across from my student and we try new things and then review next week. I have discovered that you can toil at something for too long and it becomes counter-productive. Try something new and come back to it the next day after a rest period and it then becomes easier each time you do it.

I was attempting to teach an adult to play piano accordion. He had a year of formal lessons and was unable to play a song for me. He was sitting in front of the music stand struggling with a complicated piece of music. I suggested that we set the music aside and play around with the chord buttons and simple melodies. I think he was offended.

His choice of words was interesting when asked about the accordion. I practiced for two hours. I am hammering along on such and such a tune. He refused to attempt to play a song without that piece of paper with the lines and the dots. He fired me after 3 or 4 lessons. I saw him several weeks later. When asked how the accordion playing was going. He was toiling along at some piece of music. I now forget which tune.

[Roger Hare]

If you call it "practice" it will seem too long. "Playing" an instrument is a joyful experience and time seems to fly away.

I'm going to interpret that as meaning that the best 'practice' is actually 'playing'.

Good thing we have a Boxing Day gig later one then...

Roger.

[Accordion Dave]

The word "practice" often has unpleasant connotations. I HAVE to practice. It's my obligation. I must do this a certain number of hours a day, keep a log, and report back to my teacher who will probably be disappointed.

For me "playing" is fun. I try to impart that joy to my students. My attitude is that if it isn't fun it isn't worth doing. My teenage student looks forward to my visit each week and is disappointed if we have to cancel for some reason. We sit across from each other and try new things each week. I encourage him to develop his own style.

The older student had that unpleasant connotation of "practice" instilled in him by a couple of years of formal lessons. As I mentioned, he was unable to play a tune for me, and refused to try anything I suggested. I asked him if his former teacher would play the accordion during the lessons to demonstrate. He said no. The teacher would assign sheet music to learn and then critique the playing the following week. I wonder if this teacher could actually play the accordion.

I have an accordion in each room of the house and when the mood strikes, I grab a box and squeeze away. I was listening to a shortwave radio station from Brazil one night. I heard an accordion playing. It was in the key of one of my boxes and I learned a new tune. I encourage my student to do the same. He has been able to pick up songs he heard on the radio. I am quite impressed with his progress. Teaching him to play can be summed up in one word. FUN!