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PostPosted: Fri Aug 09, 2002 8:02 pm 
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Hi gang,

I've just finished another transcription of another piece of whistling playing that fascinates me. You can find it here:

<a href="http://www.rogermillington.com/siamsa/brosteve/firstmonthofsummer.html">The first month of summer played by Tommy McCarthy</a>

<a href="http://www.rogermillington.com/siamsa/brosteve/firstmonthofsummernf.html">As above - without frames</a>

Hope you enjoy it. As always, please point out any mistakes or omissions.


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PostPosted: Sun Aug 11, 2002 8:23 am 
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Steve,

More thanks for a job well done! That clip and analysis is a great example of the lift, bounce (insert terminology here) that fueled the discussion which started the idea for this board.

We all have tunes by certain players that fascinate us; why this one for you?

Teri


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PostPosted: Sun Aug 11, 2002 10:42 am 
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Teri, I find it difficult to pin down in words why I love a particular performance. Often I think it's often because it has something to teach me... or just because it's just a great performance.

In Tommy McCarthy's case I think the playing is deceptive. At first hearing it's not all that clean and polished, and much of the ornamentation doesn't jump out at you. But the more you listen to it the more you get to love it and the more you realize how sophisticated it is.

In Tomas O Cannain's book, Traditional Music in Ireland, there's a quote from Matt Cranitch about what makes a good fiddler, and he says to be a good fiddler it is not necessary to have good tone, and that you can listen to a marvellous old fiddler but if you worry about the scratches etc. you'll miss the music. This is dead right, and a great point to keep in mind in these days of perfect studio recordings.


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PostPosted: Mon Aug 12, 2002 9:28 pm 
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Stevie,

Thanks so much, Steve. I have this recording, but I had not studied this particular tune carefully until now. Your detailed analysis is most interesting and helpful.

One observation: In addition to the lack of G's in this version (with the important exception you note), there are also no C#'s (very unusual in the key of D, I think). In effect, he is using a pentatonic scale. To my ears the lone G doesn't really break this pentatonic effect; if sounds more like a kind of suspension, resolving into the f-e-d run.

By the way, it's interesting to compare this version to the single version in D listed in JC's ABC Tune Finder. Without hearing a good version of this tune, I can't imagine arriving at anything interesting from that bit of ABC notation. A great illustration of the point you often make about the importance of learning by listing.

--Jay


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PostPosted: Tue Aug 13, 2002 8:31 am 
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Steve,
I just love the recording and your comments are really helpful. It is really good to see your transcription and than strain to hear the subtle ornaments you notate in TMcC's playing, like that tongued triplet on the A (which is more like a AA/A/ than an (3AAA).

I think this really helps to develop one's skill in listening: I remember when I first attempted to learn rolls (from a book), I didn't know what they sounded like, let alone hear different variations of rolls in the music of different players.

(A weird little comment in parenthesis: Tommy McC's playing here reminds me of Pablo Casal's.)

_________________
/Bloomfield


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