The Ceilidh Umbrella

Steven Epstein

Message 61900 · 8 Oct 2011 06:42:29 · Fixed-width font · Whole thread

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Hah! Nobody gives a bleep about tunes that don't lie well on a clarinet, which this one does, either on a Bb (played in the clarinet's key of C) or a C (played in Bb concert as written). The only issues would be maintaining intonation and clean articulation on the jumps. Live with it and suffer!

Steve Epstein
Lancaster, PA

--- On Sat, 10/8/11, xxxxxxxxxx+xxxxxx@xxxxxxxxxx.xxx <xxxxxxxxxx+xxxxxx@xxxxxxxxxx.xxx> wrote:

From: xxxxxxxxxx+xxxxxx@xxxxxxxxxx.xxx <xxxxxxxxxx+xxxxxx@xxxxxxxxxx.xxx>
Subject: Strathspey Digest V46 #109
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Date: Saturday, October 8, 2011, 12:15 AM

Strathspey Digest         Sat, 8 Oct 2011         Volume 46 : Issue 109

Today's Topics:

    The Ceilidh Umbrella
    new dance posted on 8x32
    Sad News
    Widdershins music
    Tune needed - Ray Milbourne
    Ray Milbourne Tune found

----------------------------------------------------------------------

Date: Wed, 5 Oct 2011 06:40:01 -0700 (PDT)
From: Norma or Mike Briggs <xxxxxxxxx@xxxxx.xxx>
To: Strathspey list <xxxxxxxxxx@xxxxxxxxxx.xxx>
Subject: The Ceilidh Umbrella
Message-ID: <1317822001.38007.XxxxxXxxxXxx@xxx121616.xxxx.xx1.xxxxx.xxx>

I'm preparing music for a dance.  The program includes "The Gentleman," whose lead tune is "The Ceilidh Umbrella."  The tune is in B flat.  In bars 2 and 13 the tune drops to F below middle C.

OK, it's transposition time.  But why on earth would the society publish a tune that can't be played on a fiddle?

Mike Briggs

1519 Storytown Road
Oregon WI  53575-2521  USA
+1 608 835 0914 (o)
+1 608 770 2304 (m)
+1 608 237 2379 (f)

------------------------------

Date: Wed, 5 Oct 2011 07:09:11 -0700
From: Bruce Herbold <xxxxxxxx@xxxxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Re: The Ceilidh Umbrella
Message-ID: <XXXXXxxXxXxxxXxXXXXxXXxx6Xx-xXXXXX7XXXxXxxXXXXX0xxX@xxxx.xxxxx.xxx>

cuz all the musical leaders play accordion or piano? Just a guess.
On the Society's recordings you generally can't hear the fiddle if there is
one.

Of course, out here in California you can dance regularly for months to live
music and never hear our sole accordionist, so on average...

Bruce Herbold
San Francisco

On Wed, Oct 5, 2011 at 6:40 AM, Norma or Mike Briggs <xxxxxxxxx@xxxxx.xxx>wrote:

> I'm preparing music for a dance.  The program includes "The Gentleman,"
> whose lead tune is "The Ceilidh Umbrella."  The tune is in B flat.  In bars
> 2 and 13 the tune drops to F below middle C.
>
> OK, it's transposition time.  But why on earth would the society publish a
> tune that can't be played on a fiddle?
>
> Mike Briggs
>
> 1519 Storytown Road
> Oregon WI  53575-2521  USA
> +1 608 835 0914 (o)
> +1 608 770 2304 (m)
> +1 608 237 2379 (f)
>

--
Bruce Herbold

------------------------------

Date: Wed, 5 Oct 2011 16:21:22 +0200
From: Anselm Lingnau <xxxxxx@xxxxxxxxxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Re: The Ceilidh Umbrella
Message-ID: <201110051621.22554.xxxxxx@xxxxxxxxxx.xxx>

Mike Briggs wrote:

> But why on earth would the society publish a
> tune that can't be played on a fiddle?

It's a tune by Muriel Johnstone, the famous pianist, in a book where the music
was arranged by Muriel Johnstone, the famous pianist, so if you're not a
pianist yourself that is just too bad. Note that much of the RSCDS-published
music seems to be »by pianists for pianists« (not that we pianists play
exactly what's in the books but that's another can of worms).

Actually, when my fiddler friend and I play for »The Gentleman«, we don't
bother transposing the tune – she simply tweaks it so she doesn't have to play
the notes that the fiddle can't produce. In the unlikely event that Muriel
ever listens to us that will be just too bad ;^)

Anselm
--
Anselm Lingnau, Mainz/Mayence, Germany ................. xxxxxx@xxxxxxxxxx.xxx
You've never seen a picture of »a picture is worth a thousand words.« It takes
words to express that idea, or any idea.                      -- Michael Swain

------------------------------

Date: Wed, 5 Oct 2011 10:46:21 -0400
From: "xxx@xxxxxxxxxxxxxxxxxxx.xxx" <xxx@xxxxxxxxxxxxxxxxxxx.xxx>
To: SCD news and discussion <xxxxxxxxxx@xxxxxxxxxx.xxx>
Subject: Re: The Ceilidh Umbrella
Message-ID: <CAB22A06.12249%xxx@xxxxxxxxxxxxxxxxxxx.xxx>

Just a bit of trivia about that dance and the name of the tune from a
non-musician:

As it says in Book 35 the dance was devised by Roz Huxley and inscribed to
her father (a real gentleman) who was MC of First Fortnight Ceilidhs at
Summer School for 26 years. The tune is called the Ceilidh Umbrella
because he always carried an umbrella to the ceilidhs as his trademark. It
is a popular dance in the UK and is always danced to the original tune,
with which it is identified.

Jerry
London & Paris

------------------------------

Date: Wed, 5 Oct 2011 08:02:28 -0700
From: Steve Wyrick <xxxxxxxx@xxxxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Re: The Ceilidh Umbrella
Message-ID: <CAPuSX5cgfMQmb8FL64TyX=15-xxxxxxxXXxxx-XXxXXXxxXx6X@xxxx.xxxxx.xxx>

As a fiddler I wouldn't transpose it.  Nobody will notice if the fiddler
plays the 2 low Fs up an octave and the tune works really well on fiddle
except for that note--and it also goes up to a high B flat so if you do
transpose the fiddler will have to deal with position work.

The last time the dance came up in a class I experimented by tuning my G
string down to F for that set.  It gives a nice effect and works quite well
as long as the other tunes in the set aren't too difficult in that tuning,
and one doesn't forget to retune after the dance! -Steve

On Wed, Oct 5, 2011 at 7:21 AM, Anselm Lingnau <xxxxxx@xxxxxxxxxx.xxx>wrote:

> Actually, when my fiddler friend and I play for »The Gentleman«, we don't
> bother transposing the tune – she simply tweaks it so she doesn't have to
> play
> the notes that the fiddle can't produce. In the unlikely event that Muriel
> ever listens to us that will be just too bad ;^)
>
> Anselm
> --
> Anselm Lingnau, Mainz/Mayence, Germany .................
> xxxxxx@xxxxxxxxxx.xxx
> You've never seen a picture of »a picture is worth a thousand words.« It
> takes
> words to express that idea, or any idea.                      -- Michael
> Swain
>

--
Steve Wyrick -- Walnut Creek, California

------------------------------

Date: Wed, 5 Oct 2011 15:17:55 +0000
From: Jim Healy <xxxxxxxx@xxxxxxx.xxx>
To: Strathspey List <xxxxxxxxxx@xxxxxxxxxx.xxx>
Subject: RE: The Ceilidh Umbrella
Message-ID: <XXX101-X6053823XX1030X5X6X7XX6X8X80@xxx.xxx>

Mike Briggs asks:

> But why on earth would the society publish a tune that can't be played on a fiddle?

Let me turn this round a bit. As Jerry has said, Roz Scott Huxley wrote the dance for her father and asked Muriel J to write a tune for the dance. The dance and tune were submitted together for consideration by the Society. So, Mike, what would the discssion be if the Society had said it would publish the dance but would not accept a tune most people consider one of Muriel's better ones because it would mean fiddlers have to fiddle with it a wee bit?

Jim Healy
Perth, Scotland

_________________________________________________________________________

When we come to be instructed by philosophers, we must bring the old light of common sense along with us, and by it judge of the new light which the philosopher communicates. Thomas Reid, 1710-1796


> From: xxxxxxxx@xxxxx.xxx
> Date: Wed, 5 Oct 2011 08:02:28 -0700
> Subject: Re: The Ceilidh Umbrella
> To: xxxxxxxxxx@xxxxxxxxxx.xxx
>
> As a fiddler I wouldn't transpose it. Nobody will notice if the fiddler
> plays the 2 low Fs up an octave and the tune works really well on fiddle
> except for that note--and it also goes up to a high B flat so if you do
> transpose the fiddler will have to deal with position work.
>
> The last time the dance came up in a class I experimented by tuning my G
> string down to F for that set. It gives a nice effect and works quite well
> as long as the other tunes in the set aren't too difficult in that tuning,
> and one doesn't forget to retune after the dance! -Steve
>
> On Wed, Oct 5, 2011 at 7:21 AM, Anselm Lingnau <xxxxxx@xxxxxxxxxx.xxx>wrote:
>
> > Actually, when my fiddler friend and I play for »The Gentleman«, we don't
> > bother transposing the tune – she simply tweaks it so she doesn't have to
> > play
> > the notes that the fiddle can't produce. In the unlikely event that Muriel
> > ever listens to us that will be just too bad ;^)
> >
> > Anselm
> > --
> > Anselm Lingnau, Mainz/Mayence, Germany .................
> > xxxxxx@xxxxxxxxxx.xxx
> > You've never seen a picture of »a picture is worth a thousand words.« It
> > takes
> > words to express that idea, or any idea. -- Michael
> > Swain
> >
>
>
>
> --
> Steve Wyrick -- Walnut Creek, California
>
                         

------------------------------

Date: Wed, 5 Oct 2011 15:18:11 +0000
From: Jim Healy <xxxxxxxx@xxxxxxx.xxx>
To: Strathspey List <xxxxxxxxxx@xxxxxxxxxx.xxx>
Subject: RE: The Ceilidh Umbrella
Message-ID: <XXX101-X40X034074X98X348X2X993X8X80@xxx.xxx>

Mike Briggs asks:

> But why on earth would the society publish a tune that can't be played on a fiddle?

Let me turn this round a bit. As Jerry has said, Roz Scott Huxley wrote the dance for her father and asked Muriel J to write a tune for the dance. The dance and tune were submitted together for consideration by the Society. So, Mike, what would the discssion be if the Society had said it would publish the dance but would not accept a tune most people consider one of Muriel's better ones because it would mean fiddlers have to fiddle with it a wee bit?

Jim Healy
Perth, Scotland

_________________________________________________________________________

When we come to be instructed by philosophers, we must bring the old light of common sense along with us, and by it judge of the new light which the philosopher communicates. Thomas Reid, 1710-1796


> From: xxxxxxxx@xxxxx.xxx
> Date: Wed, 5 Oct 2011 08:02:28 -0700
> Subject: Re: The Ceilidh Umbrella
> To: xxxxxxxxxx@xxxxxxxxxx.xxx
>
> As a fiddler I wouldn't transpose it. Nobody will notice if the fiddler
> plays the 2 low Fs up an octave and the tune works really well on fiddle
> except for that note--and it also goes up to a high B flat so if you do
> transpose the fiddler will have to deal with position work.
>
> The last time the dance came up in a class I experimented by tuning my G
> string down to F for that set. It gives a nice effect and works quite well
> as long as the other tunes in the set aren't too difficult in that tuning,
> and one doesn't forget to retune after the dance! -Steve
>
> On Wed, Oct 5, 2011 at 7:21 AM, Anselm Lingnau <xxxxxx@xxxxxxxxxx.xxx>wrote:
>
> > Actually, when my fiddler friend and I play for »The Gentleman«, we don't
> > bother transposing the tune – she simply tweaks it so she doesn't have to
> > play
> > the notes that the fiddle can't produce. In the unlikely event that Muriel
> > ever listens to us that will be just too bad ;^)
> >
> > Anselm
> > --
> > Anselm Lingnau, Mainz/Mayence, Germany .................
> > xxxxxx@xxxxxxxxxx.xxx
> > You've never seen a picture of »a picture is worth a thousand words.« It
> > takes
> > words to express that idea, or any idea. -- Michael
> > Swain
> >
>
>
>
> --
> Steve Wyrick -- Walnut Creek, California
>
                         

------------------------------

Date: Wed, 5 Oct 2011 08:19:44 -0700 (PDT)
From: Norma or Mike Briggs <xxxxxxxxx@xxxxx.xxx>
To: "xxxxxxxxxx@xxxxxxxxxx.xxx" <xxxxxxxxxx@xxxxxxxxxx.xxx>
Subject: Re: The Ceilidh Umbrella
Message-ID: <1317827984.85928.XxxxxXxxxXxx@xxx121606.xxxx.xx1.xxxxx.xxx>

Well, I just got done with The Ceilidh Umbrella.  With Noteworthy, transposing is a piece of cake.  All I had to do was move the staff (acquired from John Chambers in B flat) up four half-tones.  And I tweaked the top end to move the resulting high D, which occurs twice, down an octave.

I have met Muriel a couple of times, and she is a fantastic musician.  I'm a pianist myself, and I think B flat is a warm and tender key (how 'bout that synesthesia?), appropriate for the dance.  But I still wish the original hadn't included the low F.

Mike Briggs

From sunny Wisconsin, where the high temp is going to be 26 C, they say.

 1519 Storytown Road

Oregon WI  53575-2521  USA
+1 608 835 0914 (o)
+1 608 770 2304 (m)
+1 608 237 2379 (f)

________________________________
From: Steve Wyrick <xxxxxxxx@xxxxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Sent: Wednesday, October 5, 2011 10:02 AM
Subject: Re: The Ceilidh Umbrella

As a fiddler I wouldn't transpose it.  Nobody will notice if the fiddler
plays the 2 low Fs up an octave and the tune works really well on fiddle
except for that note--and it also goes up to a high B flat so if you do
transpose the fiddler will have to deal with position work.

The last time the dance came up in a class I experimented by tuning my G
string down to F for that set.  It gives a nice effect and works quite well
as long as the other tunes in the set aren't too difficult in that tuning,
and one doesn't forget to retune after the dance! -Steve

On Wed, Oct 5, 2011 at 7:21 AM, Anselm Lingnau <xxxxxx@xxxxxxxxxx.xxx>wrote:

> Actually, when my fiddler friend and I play for »The Gentleman«, we don't
> bother transposing the tune – she simply tweaks it so she doesn't have to
> play
> the notes that the fiddle can't produce. In the unlikely event that Muriel
> ever listens to us that will be just too bad ;^)
>
> Anselm
> --
> Anselm Lingnau, Mainz/Mayence, Germany .................
> xxxxxx@xxxxxxxxxx.xxx
> You've never seen a picture of »a picture is worth a thousand words.« It
> takes
> words to express that idea, or any idea.                      -- Michael
> Swain
>

--
Steve Wyrick -- Walnut Creek, California

------------------------------

Date: Wed, 05 Oct 2011 12:21:29 -0300
From: Lydia Hedge <xxxxxxxxxx@xxxxxxxxxx.xx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Re: The Ceilidh Umbrella
Message-ID: <4X8X75X9.16925.629194X1@xxxxxxxxxx.xxxxxxxxxx.xx>

On 5 Oct 2011 at 16:21, Anselm Lingnau wrote:

> It's a tune by Muriel Johnstone, the famous pianist, in a book where
> the music was arranged by Muriel Johnstone, the famous pianist

Muriel is also a fiddler. Just saying...

Lydia
Nova Scotia, Canada

------------------------------

Date: Wed, 5 Oct 2011 08:24:13 -0700 (PDT)
From: Norma or Mike Briggs <xxxxxxxxx@xxxxx.xxx>
To: "xxxxxxxxxx@xxxxxxxxxx.xxx" <xxxxxxxxxx@xxxxxxxxxx.xxx>
Subject: Re: The Ceilidh Umbrella
Message-ID: <1317828253.78985.XxxxxXxxxXxx@xxx121617.xxxx.xx1.xxxxx.xxx>

Hey, no big deal, Jim.  Of all my problems this has to be the smallest.  Great tune, and (mho) it sounds almost as good in D as it does in B flat (perhaps a little edgier, though that may just be my synesthesia kicking in again).

Mike Briggs

  
1519 Storytown Road
Oregon WI  53575-2521  USA
+1 608 835 0914 (o)
+1 608 770 2304 (m)
+1 608 237 2379 (f)

________________________________
From: Jim Healy <xxxxxxxx@xxxxxxx.xxx>
To: Strathspey List <xxxxxxxxxx@xxxxxxxxxx.xxx>
Sent: Wednesday, October 5, 2011 10:18 AM
Subject: RE: The Ceilidh Umbrella

Mike Briggs asks:

> But why on earth would the society publish a tune that can't be played on a fiddle?

Let me turn this round a bit. As Jerry has said, Roz Scott Huxley wrote the dance for her father and asked Muriel J to write a tune for the dance. The dance and tune were submitted together for consideration by the Society. So, Mike, what would the discssion be if the Society had said it would publish the dance but would not accept a tune most people consider one of Muriel's better ones because it would mean fiddlers have to fiddle with it a wee bit?

Jim Healy
Perth, Scotland

_________________________________________________________________________

When we come to be instructed by philosophers, we must bring the old light of common sense along with us, and by it judge of the new light which the philosopher communicates. Thomas Reid, 1710-1796

> From: xxxxxxxx@xxxxx.xxx
> Date: Wed, 5 Oct 2011 08:02:28 -0700
> Subject: Re: The Ceilidh Umbrella
> To: xxxxxxxxxx@xxxxxxxxxx.xxx
>
> As a fiddler I wouldn't transpose it. Nobody will notice if the fiddler
> plays the 2 low Fs up an octave and the tune works really well on fiddle
> except for that note--and it also goes up to a high B flat so if you do
> transpose the fiddler will have to deal with position work.
>
> The last time the dance came up in a class I experimented by tuning my G
> string down to F for that set. It gives a nice effect and works quite well
> as long as the other tunes in the set aren't too difficult in that tuning,
> and one doesn't forget to retune after the dance! -Steve
>
> On Wed, Oct 5, 2011 at 7:21 AM, Anselm Lingnau <xxxxxx@xxxxxxxxxx.xxx>wrote:
>
> > Actually, when my fiddler friend and I play for »The Gentleman«, we don't
> > bother transposing the tune – she simply tweaks it so she doesn't have to
> > play
> > the notes that the fiddle can't produce. In the unlikely event that Muriel
> > ever listens to us that will be just too bad ;^)
> >
> > Anselm
> > --
> > Anselm Lingnau, Mainz/Mayence, Germany .................
> > xxxxxx@xxxxxxxxxx.xxx
> > You've never seen a picture of »a picture is worth a thousand words.« It
> > takes
> > words to express that idea, or any idea. -- Michael
> > Swain
> >
>
>
>
> --
> Steve Wyrick -- Walnut Creek, California
>

------------------------------

Date: Wed, 5 Oct 2011 08:25:20 -0700
From: Steve Wyrick <xxxxxxxx@xxxxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Re: The Ceilidh Umbrella
Message-ID: <CAPuSX5eXUY3YXkeVW8uNq=xXxxXXXxXxxXxX7xxxxxxxx_XXxx@xxxx.xxxxx.xxx>

You still had to muck with the tune!  What was the point in transposing?

On Wed, Oct 5, 2011 at 8:19 AM, Norma or Mike Briggs <xxxxxxxxx@xxxxx.xxx>wrote:

> Well, I just got done with The Ceilidh Umbrella.  With Noteworthy,
> transposing is a piece of cake.  All I had to do was move the staff
> (acquired from John Chambers in B flat) up four half-tones.  And I tweaked
> the top end to move the resulting high D, which occurs twice, down an
> octave.
>
> I have met Muriel a couple of times, and she is a fantastic musician.  I'm
> a pianist myself, and I think B flat is a warm and tender key (how 'bout
> that synesthesia?), appropriate for the dance.  But I still wish the
> original hadn't included the low F.
>
> Mike Briggs
>
> From sunny Wisconsin, where the high temp is going to be 26 C, they say.
>
>  1519 Storytown Road
>
> Oregon WI  53575-2521  USA
> +1 608 835 0914 (o)
> +1 608 770 2304 (m)
> +1 608 237 2379 (f)
>
>
>
>
> ________________________________
> From: Steve Wyrick <xxxxxxxx@xxxxx.xxx>
> To: xxxxxxxxxx@xxxxxxxxxx.xxx
> Sent: Wednesday, October 5, 2011 10:02 AM
> Subject: Re: The Ceilidh Umbrella
>
> As a fiddler I wouldn't transpose it.  Nobody will notice if the fiddler
> plays the 2 low Fs up an octave and the tune works really well on fiddle
> except for that note--and it also goes up to a high B flat so if you do
> transpose the fiddler will have to deal with position work.
>
> The last time the dance came up in a class I experimented by tuning my G
> string down to F for that set.  It gives a nice effect and works quite well
> as long as the other tunes in the set aren't too difficult in that tuning,
> and one doesn't forget to retune after the dance! -Steve
>
> On Wed, Oct 5, 2011 at 7:21 AM, Anselm Lingnau <xxxxxx@xxxxxxxxxx.xxx
> >wrote:
>
> > Actually, when my fiddler friend and I play for »The Gentleman«, we don't
> > bother transposing the tune – she simply tweaks it so she doesn't have to
> > play
> > the notes that the fiddle can't produce. In the unlikely event that
> Muriel
> > ever listens to us that will be just too bad ;^)
> >
> > Anselm
> > --
> > Anselm Lingnau, Mainz/Mayence, Germany .................
> > xxxxxx@xxxxxxxxxx.xxx
> > You've never seen a picture of »a picture is worth a thousand words.« It
> > takes
> > words to express that idea, or any idea.                      -- Michael
> > Swain
> >
>
>
>
> --
> Steve Wyrick -- Walnut Creek, California
>

--
Steve Wyrick -- Walnut Creek, California

------------------------------

Date: Wed, 5 Oct 2011 17:40:34 +0200
From: Anselm Lingnau <xxxxxx@xxxxxxxxxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Re: The Ceilidh Umbrella
Message-ID: <201110051740.35720.xxxxxx@xxxxxxxxxx.xxx>

Lydia Hedge wrote:

> Muriel is also a fiddler. Just saying...

Yep. I remember one »Deil Amang the Tailors« with Muriel on fiddle and Keith
Smith on piano.

However, it is safe to say that she wasn't wearing her fiddler hat when she
wrote »The Ceilidh Umbrella«.

Anselm

PS. Random .signature alert.
--
Anselm Lingnau, Mainz/Mayence, Germany ................. xxxxxx@xxxxxxxxxx.xxx
We consider that any man who can fiddle all through one of those Virginia
Reels without losing his grip may be depended upon in any kind of musical
emergency.                                                       -- Mark Twain

------------------------------

Date: Wed, 5 Oct 2011 11:51:09 -0400
From: Peter Price <xxxxx.xxxxx1672@xxxxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: new dance posted on 8x32
Message-ID: <XXX5XxX_x7XxXx6Xxx_xxX1xXx0xx9xX-xXxx9XXxxXXx-XXXxx@xxxx.xxxxx.xxx>

Greetings all,

My new dance, Ginger Sharks (8x32R) has been posted on Eight by Thirty-two.
Comments welcome.

Peter Price
New Haven

------------------------------

Date: Wed, 05 Oct 2011 12:56:20 -0300
From: Lydia Hedge <xxxxxxxxxx@xxxxxxxxxx.xx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Sad News
Message-ID: <4X8X7X24.5962.62X17X47@xxxxxxxxxx.xxxxxxxxxx.xx>

Ian Powrie died today.

http://www.tradmusichall.com/ianpowrie.htm

------------------------------

Date: Wed, 5 Oct 2011 09:21:43 -0700 (PDT)
From: Norma or Mike Briggs <xxxxxxxxx@xxxxx.xxx>
To: "xxxxxxxxxx@xxxxxxxxxx.xxx" <xxxxxxxxxx@xxxxxxxxxx.xxx>
Subject: Re: The Ceilidh Umbrella
Message-ID: <1317831703.8195.XxxxxXxxxXxx@xxx121602.xxxx.xx1.xxxxx.xxx>

Two reasons.  To be honest, the fiddler I play with doesn't go for B flat all that much.  And, mucking with the top end of the melody sounded better to my (probably tin) ear than mucking with the bottom end.

All the best,

Mike Briggs

1519 Storytown Road
Oregon WI  53575-2521  USA
+1 608 835 0914 (o)
+1 608 770 2304 (m)
+1 608 237 2379 (f)

------------------------------

Date: Wed, 5 Oct 2011 17:29:15 +0100
From: Agnes Macmichael <xxxxx.xxxxxxxxxx@xxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Re: Sad News
Message-ID: <XXXXXX5x9xxXX7xXXXxxxX7xXxXX2XXXx58xx-9x0x42xXXXx2x@xxxx.xxxxx.xxx>

Thank you for that Lydia - sad, sad news indeed.
Agnes
West Lothian

On 5 October 2011 16:56, Lydia Hedge <xxxxxxxxxx@xxxxxxxxxx.xx> wrote:

> Ian Powrie died today.
>
> http://www.tradmusichall.com/ianpowrie.htm
>
>

------------------------------

Date: Thu, 06 Oct 2011 15:52:22 +0100
From: Bryan McAlister <xxxxxxxxxx@xxxxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: The Ceilidh Umbrella
Message-ID: <4X8XX0X6.7080207@xxxxx.xxx>

There is a simpler solution than transcription - play C instead of the
low F, sounds as good.

--
Bryan McAlister

------------------------------

Date: Thu, 6 Oct 2011 17:01:13 +0200
From: Anselm Lingnau <xxxxxx@xxxxxxxxxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Widdershins music
Message-ID: <201110061701.13951.xxxxxx@xxxxxxxxxx.xxx>

Malcolm Brown kindly reminded me that some time ago Ken Martlew gave me
permission to post his and Barbara Manning's recording for his dance,
»Widdershins«, to the Strathspey Server. This has now happened – just in time
for the Halloween season –, so get it while it is fresh from

  http://media.strathspey.org/mp3/widdershins.mp3

On behalf of the Strathspey community, thanks again to Ken for making the
recording available to us all.

Anselm
--
Anselm Lingnau, Mainz/Mayence, Germany ................. xxxxxx@xxxxxxxxxx.xxx
Most [literary theorists] don't try to be obscure; they just don't make an
effort to be clear. It wouldn't pay.       -- Paul Graham, »Microsoft is Dead«

------------------------------

Date: Thu, 06 Oct 2011 12:28:38 -0300
From: Lydia Hedge <xxxxxxxxxx@xxxxxxxxxx.xx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Re: Widdershins music
Message-ID: <4X8XX926.2878.67XX7X69@xxxxxxxxxx.xxxxxxxxxx.xx>

Many thanks, Ken and Barbara!!

Remember Ferla Mor on Heather Hills (Wiesler and Shea)!! Another great
one for Hallowe'en.

Lydia
Nova Scotia, Canada

On 6 Oct 2011 at 17:01, Anselm Lingnau wrote:

> Malcolm Brown kindly reminded me that some time ago Ken Martlew gave
> me permission to post his and Barbara Manning's recording for his
> dance, »Widdershins«, to the Strathspey Server. This has now
> happened - just in time for the Halloween season -, so get it
> while it is fresh from
>
>   http://media.strathspey.org/mp3/widdershins.mp3
>
> On behalf of the Strathspey community, thanks again to Ken for making
> the recording available to us all.
>
> Anselm
> --
> Anselm Lingnau, Mainz/Mayence, Germany .................
> xxxxxx@xxxxxxxxxx.xxx Most [literary theorists] don't try to be
> obscure; they just don't make an effort to be clear. It wouldn't pay.
>      -- Paul Graham, »Microsoft is Dead«
>

------------------------------

Date: Thu, 6 Oct 2011 21:55:10 +0100
From: Kate Carpenter <xxxxxxxxxxxxx@xxxxxxx.xx.xx>
To: MyStrathspey RSCDS <xxxxxxxxxx@xxxxxxxxxx.xxx>
Subject: Tune needed - Ray Milbourne
Message-ID: <XXX103-X42509X45X31XX16580253XX1X90@xxx.xxx>

Dear All. We have been asked to play Ray Milbourne for a dance.I can't find the tune anywhere. Does anyone have a copy in any format, abc, pdf of sheet music, midi, even a video so we could write it down? Thanks Kate                          

------------------------------

Date: Thu, 6 Oct 2011 21:03:26 +0000
From: Phill Jones <xxxxx@xxxxxxxxxxxx.xx.xx>
To: "xxxxxxxxxx@xxxxxxxxxx.xxx" <xxxxxxxxxx@xxxxxxxxxx.xxx>
Subject: RE: Tune needed - Ray Milbourne
Message-ID: <494X18X6799X9X4XX3XXXX9699869X2X7455X4X6@xxxxxx.xx.xxx>

Private reply sent

Phill

-----Original Message-----
From: Kate Carpenter [mailto:xxxxxxxxxxxxx@xxxxxxx.xx.xx]
Sent: 06 October 2011 21:55
To: MyStrathspey RSCDS
Subject: Tune needed - Ray Milbourne

Dear All. We have been asked to play Ray Milbourne for a dance.I can't find the tune anywhere. Does anyone have a copy in any format, abc, pdf of sheet music, midi, even a video so we could write it down? Thanks Kate                          

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Date: Thu, 6 Oct 2011 22:13:36 +0100
From: Kate Carpenter <xxxxxxxxxxxxx@xxxxxxx.xx.xx>
To: MyStrathspey RSCDS <xxxxxxxxxx@xxxxxxxxxx.xxx>
Subject: Ray Milbourne Tune found
Message-ID: <XXX103-X582X7X0X759X2XXX37X848X1X90@xxx.xxx>

Ray Milbourne - Tune found already!! That was so quick!                           

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Date: Thu, 6 Oct 2011 20:01:52 -0700
From: Steve Wyrick <xxxxxxxx@xxxxx.xxx>
To: xxxxxxxxxx@xxxxxxxxxx.xxx
Subject: Re: The Ceilidh Umbrella
Message-ID: <XXXxXX5xXxXXxXXXxX8X6_XXxX1xXXX8xxX2xXxxxXxXXX9xX0X@xxxx.xxxxx.xxx>

In the bands I play in, the preferred solution is to make the pianist take a
solo on that tune. ;-)   I still like the octave F, I think it sounds better
against the B flat 7 chord there.  That's the solution that Catherine Fraser
uses on Old Favourites and Odd Couples and it works fine.

On Thu, Oct 6, 2011 at 7:52 AM, Bryan McAlister <xxxxxxxxxx@xxxxx.xxx>wrote:

> There is a simpler solution than transcription - play C instead of the low
> F, sounds as good.
>
> --
> Bryan McAlister
>
>

--
Steve Wyrick -- Walnut Creek, California

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End of Strathspey Digest V46 Issue #109
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