On my reading of Dixon, strain 4 is the one that makes most sense that
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'


-----Original Message-----
Sent: 21 July 2008 18:04
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
  back from Eastern Europe playing those compound rhythms on his

And so on....


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