Thanks both - I find that quite reassuring, and agree about the
tendency to the differences betwixt fast and slow ones. Also that tunes
some do want it, some don't, but that there's no hard and fast rule
emerging is pleasing.
Best wishes,
Richard.
On 18/06/2011 11:42, Matt Seattle wrote:
And, bowing to Anthony's greater experience of kirn suppers, this
lesser mortal's thoughts are pretty much the same as his about
ending such tunes - dancers expect an ending, listeners can happily
sit in the air. Felton Lonnen for ex. would IMO be awful with a
'resolution' on the tonic.
On Sat, Jun 18, 2011 at 11:28 AM, Anthony Robb
<[1][email protected]> wrote:
Hello Richard
I have to bow to Matt's much greater academic knowledge on this
one but
I still offer a lesser mortal's thoughts:
The old guys I played with were dance driven and would invariably
resolve tunes in the manner you describe.
As far as my own preference is concerned I find certain tunes cry
out
for resolution (Lads of Alnwick for example) whilst I like others
'left
in the air' (such as The Keelman Ower Land, Sir John Fenwick's the
Flower Amang Them All). On singing tunes through in my head to
check
this I think there might be a pattern emerging. Perhaps tunes
ending in
fast passages need resolution but slower ones sound quite grittily
scrumptious with a long E, for example, against G&D drones.
Again this is a personal feeling. After all that has been said
about a
living/evolving tradition I would not be comfortable giving a
definitive answer but hope this helps a bit.
As my nana would often say, "just please your Bessie"!
Anthony
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