play The Frieze Breeches as in O'Neill's; it is set there as a double jig in five parts. This setting is similar to how Seamus Ennis plays it on "The Wandering Minstrel" LP. One of my favourite tunes ever, and among the first pipe tunes I ever heard (when Liam O'Flynn played it).
There was a reason why I said:
Frieze Breeches (the one JOBM recorded, not the usual jig)
I was talking about a completely different tune, An Briste Breidin as Nico above mentioned. The name ofcourse translates as The Frieze Breeches.
Oh right, I'd forgotten that was the translation. I think of that one as a slip jig, through and through. It flows nicely into the fair haired canavans (but I do like throwing in an extra beat when I'm feeling it...)
Not to worry, I knew it would happen even if tried to avoid it.
The second version of the Muster Gimlet/Will you come down from Limerick (DMWC 46) which I got from Tommy McCarthy is another one that would fit in the contrary category. Different-ish rhythm from the usual version and similar to that of An Briste Breidin mentioned above.
But as I said, I never quite managed (or bothered) to distinguish between hop & slip.
That surprises me. There are some that you just can't play with others. There are some that can be interchanged, but mostly they just feel differently to me.
Two tunes I've been playing recently are the untitled Tommy Potts one on the RTE Traditional music from Dublin disc, and the first Dusty Miller on track 25 of the Ennis RTE disc followed by the other Dusty Miller of course.
All so simple and so lovely.
tedious as threads like this can be, they can lead you somewhere, sometimes as well.
I think the Potts tune is a hop as well. I'm no expert it only comes to light for me when I try to play one after the other and find myself adapting one. Then I sometimes realise I have one of each on my hands but the lines are blurry.
Tell us something.: I'm a fiddler and, latterly, a fluter. I love the flute. I wish I'd always played it. I love the whistle as well. I'm blessed in having really lovely instruments for all of my musical interests.
Location: Unimportant island off the great mainland of Europe
I went into this in some depth some years ago (before then trying deliberately to forget everything about it and give it up as a bad job). What I found was that there are some people who vehemently insist that there is a clear distinction between hop jigs and slip jigs, whilst others insist that the two are the same, and still others - including me - would have it that within this whole category are tunes which are sometimes so individual that you can't really lump them at all, and each is its own.
From what I failed to forget from my researches, the truth appears to be that the two terms have existed side by side for a century or so, and it depends where you are in history and geographical location as to whether you will refer to something as a hop jig or a slip jig. What finally made me give up and "just play the tunes" was when I discovered that, at various times and in various places, what I had thought were slip jigs were referred to as hop jigs and vice versa.
You can liven up the Butterfly by playing it against a repeating pattern of Em, D, C, D, in power chords (no 3rds). You get some interesting dissonant effects, but it works. (Or maybe it's not as original as I think and everyone already uses this progression. I've actually only played that tune like once in a session.)
Fig for a Kiss works with the same chords. I'm working on some kind of weird melding of the two, don't know yet how it's going to turn out.
Anomylous wrote:You can liven up the Butterfly by playing it against a repeating pattern of Em, D, C, D, in power chords (no 3rds).
Or, perhaps, liven it up even more by playing it against a repeating pattern of no chords at all.
While you do have a point, I should very much like to know how that can possibly compete with playing it against an Em with no 3rd, because that's some progressive and lively stuff right there!
Fye now Johnnie, get up and rin
The hieland bagpipes make a din
I should very much like to know how that can possibly compete with playing it against an Em with no 3rd, because that's some progressive and lively stuff right there!
Isn't it more like a cliche that's been done to dead over the past thirty years or so?
I should very much like to know how that can possibly compete with playing it against an Em with no 3rd, because that's some progressive and lively stuff right there!
Isn't it more like a cliche that's been done to dead over the past thirty years or so?
Really? Because I've never heard, neither in ITM or any other type of music, in my ten years of playing an Em, or any other minor chord for that matter, without a 3rd!
Fye now Johnnie, get up and rin
The hieland bagpipes make a din
Without the third, how is it a minor chord? Emaj without the third is identical to Em without the third....
@Ben - agreed, there are tunes that can be played as both hop and slip, and some that blur the line. So ultimately it is indeed just how you play the tunes. And I play them differently. So for me there is a definite, clear distinction. I'd be as happy to lump everything under slip jig and just say there are two distinct ways (and a spectrum in between, as well as other ways) to play them, but I just like having two labels.
