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Author Topic: Tune of the Month for October 2010 - Canal in October / Le Canal en Octobre  (Read 40514 times)

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Simon

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No, it's on a D/G...and I play it in G. I bet it would be much easier on a G/C. My hands are not made for playing on the inner row:(
There is version for G/C on diatonia.net, but it's in C. You could steal the chords from that one.
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Susi

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Oh, cool. I'll check it out. I did have some success in the end, but it would be nice to see what chords they chose there!
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Simon

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Here's my first try (mp3) on a Selli C/F. This tune is more difficult than I thought it would be. Hopefully a better version at the end of the month.  ;)
I think these are the chords I play:
|:F Bb|F Bb|Bb C|C|F Bb|F Bb|Bb C|F:|
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juker

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A couple of takes filmed yesterday in anticipation that Canal in October would win.

Filmed on board NB Serenade on Shropshire Union Canal on 30 September 2010 after some very hasty practice from memory of the tune  -  not perfect but it is the setting that counts for me

http://www.youtube.com/watch?v=fUeAyQmTcjY
http://www.youtube.com/watch?v=uSiSYb-Gxk0

This is delightful! Is that a canal......in October? Perfect  :-)
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summerstars

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http://www.youtube.com/watch?v=fUeAyQmTcjY
http://www.youtube.com/watch?v=uSiSYb-Gxk0

This is delightful! Is that a canal......in October? Perfect  :-)

Yes it is a Canal  -   and it was very nearly in October  - the first of October was dreadful weather wise, so I took the liberty of playing it a day early.   Am back out on the boat towards the end of the month, so will try again then
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Clive Williams

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I'm listening to Simon's recording as I type this... very good Simon!

Here's my take on Canal in October

http://www.youtube.com/watch?v=ki0dKZR_7S8

This is a pretty straight take on it, and it's fairly close to how I'd play it in a session or for french dance. I've stuck Une Autre Fois on the front like Frederic in his original recording (great idea Chris!), although I have to admit my version of that tune is possibly a little inaccurate... I'm trying to remember it off Chris Wood and Andy Cutting's Live at Sidmouth album which I bought on cassette, and I haven't had an operational cassette player for ages. But I think it went something like that. The more observant amongst you will notice something a little odd about that first schottische... each part has only 7 bars! This should make dancing a schottische to it  (once through the dance normally lasts 4 bars) numerically impossible, but no, it works great. This tune is a great tune for setting the pace... for me it zips along with a bouncy rhythm and when you drop into Canal in October, it takes that speed and rhythm with it into the second tune. I play Une Autre Fois in the upper octave in G. For some reason, it's one of those tunes that's easier to play in the upper octave, and fiendishly difficult in the lower octave, even though (I think) all the notes are there.

Then we're into the Canal in October, played in the lower octave in G. The 3rd time through we do the rising chord sequence G->Am->Bm->C on the A music (I think of that section as a C music really), and it's how it was written down when I first saw it many, many, years ago in the infamous red On Bouge tune book put together by Simon Moore and Ravi Sawney. I think Simon ran the book past Frederic and Co (it was *full* of Chavanee tunes), so I expect the musical notation, although a little simplistic, was reasonably accurate. Certainly Frederic Paris' own version has those rising chords full of a lot more improvisation and delicacy than the way I go at it... but habit's a hard thing to break, isn't it?

Played on my Castagnari Mory in D/G, with unisonoric basses, but in this case, it's all perfectly playable on a standard 8 bass. The only reason I didn't use the pokerwork or preciosa for this one is that Une Autre Fois would have been a bit squeaky in the upper octave. Now to work on my new Scandinavian tune.... which is proving rather harder than I expected to learn! Maybe we'll see that sometime towards the back end of the month!

Cheers,

Clive

Owen Woods

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Lovely stuff as per the usual Clive (:) I'm sure that you've posted it already, but what is the tuning for your bass end on that Mory? If you win the Preciosa PA thing and get someone to make an adaptor plate and frankenstein it onto your box, will you use the same pattern?
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Here's my take on Canal in October

http://www.youtube.com/watch?v=ki0dKZR_7S8
Hear! Hear! - echoing Ukebert's comments.
That was really lovely playing Clive, and also interested to read your comments too.
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Clive Williams

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Lovely stuff as per the usual Clive (:) I'm sure that you've posted it already, but what is the tuning for your bass end on that Mory? If you win the Preciosa PA thing and get someone to make an adaptor plate and frankenstein it onto your box, will you use the same pattern?

Why thank you :-) Chords on the bass end are (push/pull):

--Bellows--

C/C    Bm/Em.   F#m/F

G/G.   D/D.    A/A

... which is a variation on a layout that Ben Farmer from Lancaster has on his Mory. He has the A chord and Bm/Em swapped but otherwise our layouts are the same. I prefer mine since it's a lot easier to switch to/from an 8 bass layout - the pull chords are 1 position to the right of where they'd normally be - the only downside is it takes a while to get your head around the Am7 chord.

The plan is to try and put this on the preciosa but that's dependant on how easy it is to reconfigure the button rods.

Cheers
Clive

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Speaking as one of those who often learns, or at least plays about with, the tune of the month (for a couple I have actually intended to record a clip but in the end decided I didn't have much to add):

I am struck by the similarity of the first bar or two of Canal and the other French tune we did, L'inconnu de Limoise. Yes a different rhythm, but the line of the melody... both have a strong B to start, with a passing C, moving through A and then landing back on B again. When I try to start humming one I often find the other comes to mind...  For what that is worth.

And then there are strong melodic echoes of Canal in the first tune Clive plays (nice job btw). People unfamiliar with Irish music sometimes say that all the tunes sound the same, and of course they do to an extent, or at least many of them. Perhaps I'm suffering the same phenomenon with French music (even if I'm not unfamiliar with it)?

OK back to your usual programming, and fine submissions everyone.
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Owen Woods

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Lovely stuff as per the usual Clive (:) I'm sure that you've posted it already, but what is the tuning for your bass end on that Mory? If you win the Preciosa PA thing and get someone to make an adaptor plate and frankenstein it onto your box, will you use the same pattern?

Why thank you :-) Chords on the bass end are (push/pull):

--Bellows--

C/C    Bm/Em.   F#m/F

G/G.   D/D.    A/A

... which is a variation on a layout that Ben Farmer from Lancaster has on his Mory. He has the A chord and Bm/Em swapped but otherwise our layouts are the same. I prefer mine since it's a lot easier to switch to/from an 8 bass layout - the pull chords are 1 position to the right of where they'd normally be - the only downside is it takes a while to get your head around the Am7 chord.

The plan is to try and put this on the preciosa but that's dependant on how easy it is to reconfigure the button rods.

Cheers
Clive

That sounds like a really very clever system. Better than the one that I would put on the Preciosa, which would be bass, tonic fifth for every button arranged chromatically, probably in two columns of fifths a semitone apart (apart from one at the end). This would give flexibility and would be fun to mess around with, but it would limit your playing as well.

Speaking as one of those who often learns, or at least plays about with, the tune of the month (for a couple I have actually intended to record a clip but in the end decided I didn't have much to add):

I am struck by the similarity of the first bar or two of Canal and the other French tune we did, L'inconnu de Limoise. Yes a different rhythm, but the line of the melody... both have a strong B to start, with a passing C, moving through A and then landing back on B again. When I try to start humming one I often find the other comes to mind...  For what that is worth.

And then there are strong melodic echoes of Canal in the first tune Clive plays (nice job btw). People unfamiliar with Irish music sometimes say that all the tunes sound the same, and of course they do to an extent, or at least many of them. Perhaps I'm suffering the same phenomenon with French music (even if I'm not unfamiliar with it)?

OK back to your usual programming, and fine submissions everyone.

And LIDL is very much like Michael Turner's Waltz...

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Chris Brimley

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Clive, superb playing - am I the only one to feel, watching your video, that your right fingers can't possibly be moving anywhere near fast enough to play that great chugga chugga sound?  It must be a very subtle technique - the quickness of the hand deceives the eye!
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waltzman

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I expect the unisonoric basses are very helpful for the 'chugging' technique.
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waltzman

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The schottische is a dance with a lot of possibilities for improvisation.  I'm curious, though, as to how the dancers typically deal with the missing bar.  I've never come across that before.  I tried dancing to that first tune and it's not obvious to me how to go about it.
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Kautilya

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I'm listening to Simon's recording as I type this... very good Simon!

Here's my take on Canal in October

http://www.youtube.com/watch?v=ki0dKZR_7S8


Clive
FUNderbar!!!
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Clive Williams

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The schottische is a dance with a lot of possibilities for improvisation.  I'm curious, though, as to how the dancers typically deal with the missing bar.  I've never come across that before.  I tried dancing to that first tune and it's not obvious to me how to go about it.

Well, I think you think of each A and B music (7 bars) of 3 bars + 4 bars. The 4 bar section, you dance as normal. The 3 bar section, instead of 1 bar shuffle left/1 bar shuffle right/2 bars turn (in some unspecified way) with your partner as it's normally done, it's 1 bar shuffle left/1 bar shuffle right/1 bar turn (in some very unspecified way). This can go one of three ways... either you do that turn *very* fast, which is probably against the spirit of french dancing, you do that turn only half the way, in which case you end up facing the wrong way, but this corrects itself next time the music goes round, or if you're an advanced dancer, you improvise something *completely* different for that bar.

Cheers,

Clive

Clive Williams

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I expect the unisonoric basses are very helpful for the 'chugging' technique.

Nope, nothing to do this with unisonoric basses on this tune - at least not on Canal in October... I could play that just as easily on a 2 row 8 bass. I think it might come down to a combination of my playing style, which unless I really have to, is up and down the row rather than cross rowing. Combine that with a tendancy to hold basses longer than I really should, and a tune that (tends to) go up and down the row with frequent bellows reversal, and that effect just sort of comes out.

I don't *think*, and I'm sure people will disagree with me, that Canal in October is harder than, say, Speed the Plough... it's just a matter of familiarity and approaching it with enough attack and confidence. A stiff drink may help in this. Une Autre Fois is, I will admit, considerably harder and needs to be played across the rows.

Cheers,

Clive

waltzman

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I expect the unisonoric basses are very helpful for the 'chugging' technique.

Nope, nothing to do this with unisonoric basses on this tune - at least not on Canal in October... I could play that just as easily on a 2 row 8 bass. I think it might come down to a combination of my playing style, which unless I really have to, is up and down the row rather than cross rowing. Combine that with a tendancy to hold basses longer than I really should, and a tune that (tends to) go up and down the row with frequent bellows reversal, and that effect just sort of comes out.

I don't *think*, and I'm sure people will disagree with me, that Canal in October is harder than, say, Speed the Plough... it's just a matter of familiarity and approaching it with enough attack and confidence. A stiff drink may help in this. Une Autre Fois is, I will admit, considerably harder and needs to be played across the rows.

Cheers,

Clive

I very much like your 'chugging' technique.  I was able to do it somewhat successfully on Schottische a Bethane (thanks to your helpful video) but it seemed to sound best on the unisonoric bass ( the F on my G/C).  Chugging on the other basses didn't seem to work as well.  That was the reasoning behind my comment above.  Thanks for the info on the dancing.  And thanks again for another inspirational video.

Cheers,

Michael
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Here's mine. Since Clive paired his with another tune, I've taken the same liberty, but I usually play it after Ganivelle (another Frédéric Paris tune) so that's what I've done here.

Somewhat unpolished and with mistakes and fluffed notes, and no fancy variations or tricks, but it more-or-less conveys this player's intentions as regards style.

http://www.youtube.com/watch?v=A4Fr6N2nuz8
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