What about tunes like 'The Cumberland Reel', which has a 16 bar B part, and
16 bars moreover of a long melodic line?
Anyway, we shouldn't allow a frisson of inferiority to pass among us,
because of the sociologist's crack about '8 bar structures'. He could
equally have said that Miles Davis
Playing in 8 bars is a bit excessive- 3 or 4 in a night is about as much as I
can manage.
There is a sociologically-oriented book by an English writer on the
contemporary British session scene where he defines a folk session
as a regular meeting of mostly amateur musicians who get together
Jack Campin wrote:
- the ballad air Lord Gregory, which is in 7-bar phrases.
Eight bar phrases, surely?
This is the tune I know for it (from several sources):
X:1
T:Lord Gregory
B:Burns, Poems and Songs, OED collected edition
M:3/4
L:1/8
K:A Minor
A2 |e4 AB |({A}^G4)
There is a sociologically-oriented book by an English writer on the
contemporary British session scene where he defines a folk session
as a regular meeting of mostly amateur musicians who get together
to play tunes with 8-bar structures. I thought, youch, that last
bit sure hit the spot.
What
Jack Campin wrote:
I thought, youch, that last
bit sure hit the spot.
[...]
- a few rather obscure songs like Fee him, father, fee him.
There's The Wee Cooper of Fife, which I wouldn't exactly call obscure
-- it is to be found in many readily available books of Scottish folk
songs. It's
Anselm Lingnau wrote:
There are two fairly well-known (recent) Scottish country dances by Hugh
Foss which use non-8-bar phrases. One is The Wee Cooper of Fife, written
in 10-bar phrases to the song of the same name...
This dance is especially entertaining when the musicians don't have the
Jack Campin wrote:
There is a sociologically-oriented book by an English writer on the
contemporary British session scene where he defines a folk session
as a regular meeting of mostly amateur musicians who get together
to play tunes with 8-bar structures. I thought, youch, that last
bit
