> My guess is that you're one of those
> people who don't consider "major" and "minor" to be modes.
Well, I'm equivocal. I thought part of the criticism of classically trained
players was that they lumped modes into the major/minor system and hence
missed the character that the mode gave them.
Actually, we don't even use those very much. What people really want to know
is what row/string do I start on or whistle do I get out of the case? After
that, the tune follows. We play in a fairly limited number of keys which is
why The Presbyterian Hornpipe is fun; it really messes up the melodeons.
> The British Isles
> traditions also have a good number of "neverending" tunes that don't
> cadence on the tonic at all, but just keep returning to the beginning
> forever. The human ear hears this pretty easily, but an algorithm to
> discover it isn't simple.
Just so. Give people the notes and let them judge for themselves. The first
part of Scan's No 2 sounds resolved to my ear, but maybe that's because it is
very familiar and does what I expect it to do, and the second part sounds
unresolved, but maybe that's because I'm anticipating the change of tune.
The human ear varies by person and circumstance.
Double Hornpipes are, indeed, cracking tunes. They seem to be picking up in
popularity in sessions. As well as the 121212 and 123123 rhythms, there also
seems to be a 123412 rhythm with matching harmony. There don't seem to be
many recorded that I know of, but The Presbyterian and The Red Lyon can be
heard on Blowzabella - Bobbityshooty (Plant Life Records PLR064) and Rusty
Gully and Go To Berwick, Johnnie on Sandra and Nancy Kerr - Neat and Complete
(Fellside FECD107)
Bryan Creer
Ive only just noticed John's "Bryan Creer rambles on with:...". Yes I do,
don't I, but if you keep putting up things I feel compelled to answer.....
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