Perhaps the SCD tradition reflects more of a pipe band approach (let's show
you all these great tunes we know [and that we spend hours learning to play
perfectly together] and not spend 4 minutes playing the same thing) vs the
ECD tradition coming more from drawing room music and the assumption that
variations and improvisation was the expectation, so you pick a good tune
and take liberties with it.
But Harry's point is probably the best explanation for why the early SCD
recordings didn't use more tunes -- they jsut didn't fit on the wax.
PS I actually like the idea of 12233441, so that you start and end with the
name tune, each dancing couple gets a variety of tunes, but the band gets to
insert some variety on the repetition of each tune. But I can't seem to get
much enthusiasm for that approach with the musicians I work with and there
are only a few recordings that use it.
On 3/20/09, Harry C. Ways <firstname.lastname@example.org> wrote: > > Most likely due to time constraints, which was limited to about 3 minutes > on a 10 inch 78 rpm disk. > > Harry Ways > > ----- Original Message ----- From: "Paula" <email@example.com> > > > I'm also interested in how and when the number of alternate tunes grew >> in number. While re mastering several dance sets from 78 rpm recordings >> of the Tim Wright Band and the Scottish Country Dance Players (circa >> 1949), I found that all were done with the name tune and one alternate. >> >> >