Colin, On my reading of Dixon, strain 4 is the one that makes most sense that way. Number 2 can play this way too.
Strain 1, with the e's falling on the (dotted minim) beat, definitely reads as 9/4= 3 times 3/4 to me. So does strain 3. From 5 onwards, the interest is melodic, not rhythmic - they are definitely 3 times 3/4. So at most 2 of the 9 strains can carry this reading. To get a jazz musician to play 2+2+2+3, tell him to think of Brubeck's 'Blue rondo alla Turk' John -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 21 July 2008 18:04 To: email@example.com Subject: [NSP] Rusty Gulley Actually not about RG but to mention that Bert Lloyd had me play My Dearie Sits Ower Late Up (Adam Bell) in 3/2 3/4 rhythm on The Iron Muse (Topic) instead of the straight 9/8 as written which I managed quite well but it got the jazz bass player Jim Bray some time to get the 1-2-3-123 beat in his head to pluck it out on his double bass. Bert was fond of his Eastern European songs at the time and I always wondered if he really thought the tune should have been written out like that. I had come across 6/8 tunes in the Atkinson MS played in 'another' way like that with the six notes paired in three beats instead of two threes as far as I remember. Are these simple mathematical jokes or do they relate to some obscure dance rhythms. In the case of Vickers maybe he just didn't get it. Syncopation gone too far but still alive and kicking as was heard at the Proms folk concert. I remember when we thought that Wilja Fjord was the last word in groovy syncopation until Andy Irvine came! back from Eastern Europe playing those compound rhythms on his bazouki. And so on.... Colin ________________________________________________________________________ AOL Email goes Mobile! You can now read your AOL Emails whilst on the move. Sign up for a free AOL Email account with unlimited storage today. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html