Banish Misfortune C Nat. or C #

TnWhistler · Post by **TnWhistler** » Mon Sep 02, 2002 11:24 am

Banish Misfortune...

The first note in the second set of eighth notes in the first measure, what is the traditional way, a C# or a C nat. I have see it both ways. Some use a C nat. later in the tune, but the first measure is my concern, and is it really important?

How important is something like this, should it depend on how I want the arrangement to sound or being true to the traditional tune.

Timmy

Cayden · Post by **Cayden** » Mon Sep 02, 2002 12:34 pm

Interesting turn of phrase in this context 'I have seen it both ways'. But what did you hear is the question ofcourse.

But you do find both, thinking about it I realised I have gone fro mcsharp to natural somewhere along the line, possibly after hearing Willie Clancy do that [anyone for a transcription of that one ]

But how about the fs, especialy those of the fs in the third part. What do we do with those.

[ This Message was edited by: Peter Laban on 2002-09-03 06:01 ]

Jo C · Post by **Jo C** » Mon Sep 02, 2002 1:38 pm

I've only just learnt it, but I'm struggling with thinking of ways to add interest to the first 2 bars of the third part. Just playing straight crotchets seems a bit 'bland' unles youplay it really fast, which I don't want to do, but a roll on each crochet sounds over decorated and fussy, though is nice for a slight variation.

Any ideas?
Jo.

ysgwd · Post by **ysgwd** » Sun Sep 22, 2002 9:32 am

The BF version I learned has the Cnat except for one C# in the beginning defddC#d of the b part--I like this way.

I don't know what crochet (crotchet?) means, but if you mean the walk down from f# to Cnat at the beginning of the c part, I like to vary my breath pressure to louden every other note because I like to swing it--the fiddler does this with me.
Lisa

[ This Message was edited by: ysgwd on 2002-09-22 11:34 ]

JayMitch · Post by **JayMitch** » Sun Sep 22, 2002 11:22 am

Please forgive a stupid question from a American, but are terms like quaver, crotchet and minim still in common use in Europe?

I've been around music and musicians for years and have never seen or heard them used outside of music theory books and one scene in Close Encounters of the Third Kind. (My favorite is the hemisemidemiquaver, but I don't think I can play that fast.)

fluter_d · Post by **fluter_d** » Sun Sep 22, 2002 12:18 pm

In a word, yes. If you start talking about eighth or sixteenth notes here, no-one will know what you're on about!

emer · Post by **emer** » Thu Sep 26, 2002 8:55 am

I am told on good authority that, flush with their success with the Euro, the EU Commission is currently formulating a regulation converting music notation to a metric scale, reels would then consist of two groups of 5 notes per bar, jigs of two groups of 2.5 notes per bar and so on.
The new note – the name of which is yet to be decided – will be adjusted to suit.
Hornpipes will apparently be abolished as the current ‘dotted crotchet’ will not fit into the metric scale.

Roger O'Keeffe · Post by **Roger O'Keeffe** » Thu Sep 26, 2002 2:16 pm

As the hornpipe is reputedly an English measure, it should survive in isolated pockets off the Eastern seaboard of Ireland.

BTW, Emer, you're not giving away much information about yourself, are you? Must be from Kerry, or maybe Cavan?

As you have probably guessed, I work for the behemoth of Brussels.
_________________
An Pluiméir<marquee>Ceolmhar</marquee> 

[ This Message was edited by: Roger O'Keeffe on 2002-09-26 16:19 ]

Jo C · Post by **Jo C** » Mon Sep 30, 2002 10:11 am

semibreve = whole
minim = half
crotchet = quarter
quaver = sixteenth
semiquaver = thirtysecond
What I don't understan is what americans do when they get down to hemi-demi-hemi-demi-semiquavers. doesn't it take ages just to work out what the note is? (2x32=64,x2=128 x2=256, x2=512) A five hundred and twelth note!
Jo.

[ This Message was edited by: Jo C on 2002-09-30 12:12 ]

StevieJ · Post by **StevieJ** » Mon Sep 30, 2002 11:02 am

On 2002-09-30 12:11, Jo C wrote:
semibreve = whole
minim = half
crotchet = quarter
quaver = sixteenth
semiquaver = thirtysecond

A quaver is actually an eighth note, a semiquaver a sixteenth... which brings your 512 down to 256.

But what is a breve in US terminology?

Zubivka · Post by **Zubivka** » Tue Oct 01, 2002 1:14 am

On 2002-09-30 13:02, StevieJ wrote:

A quaver is actually an eighth note, a semiquaver a sixteenth... which brings your 512 down to 256.

But what is a breve in US terminology?

Beats me. Maybe "double" ?
In French, a "ronde"--thought this may get useful to you someday in Quebec. And since you ask

you know how they call a quarter in France ? Big Mac, because of the metric system

colomon · Post by **colomon** » Tue Oct 01, 2002 11:51 am

Double whole note is how I remember it. But it comes up so infrequently that nobody really cares. I can't remember the last time I saw a piece of music with one...

Jo C · Post by **Jo C** » Wed Oct 02, 2002 11:52 am

You see it a lot in renaissance chants and similar church music / music of contemporary composers. Sorry if that is a little too OT.

StevieJ · Post by **StevieJ** » Sat Oct 05, 2002 5:59 pm

Check out the latest addition to our series, a recording of <a href="http://www.rogermillington.com/siamsa/b ... ml">Willie Clancy playing this tune, transcribed and commented upon by Peter</a>. Ambiguous Cs and Fs abound in it!

Edited to fix link (I hope!)

[ This Message was edited by: StevieJ on 2002-10-05 20:00 ]

Wombat · Post by **Wombat** » Thu Oct 17, 2002 9:31 am

On 2002-09-02 13:24, TnWhistler wrote:
Banish Misfortune...

The first note in the second set of eighth notes in the first measure, what is the traditional way, a C# or a C nat. I have see it both ways. Some use a C nat. later in the tune, but the first measure is my concern, and is it really important?

How important is something like this, should it depend on how I want the arrangement to sound or being true to the traditional tune.

Timmy

I'm going to give you another one of those noncomittal answers you've been getting. (You weren't expecting an unqualified answer were you?)

This is a tune I only play on guitar (so far) but I play melody and do it this way: land on c natural and bend it up a bit (not quite to c# but almost). I might also employ subtle blues style finger vibrato which means that I'm shifting really quickly between c natural and a note a bit sharper than that. I'll do it a bit differently each time through but I like that ambiguous feel. As for how I'd play it on mandolin or whistle or concertina—wait and see, but my guess is c natural if forced to choose. If I played it on harmonica I'd do something like what I do on guitar but probably hit c# and bend it a bit flat I think. Now you can't get more definite than that, can you?