Alan Reid - Runs in D-Dur

 Ein paar Runs in D-Dur von Alan Reid

Alan Reid - Banish Misfortune Backing

 Jig in D Mix

Tab:

https://www.dropbox.com/s/33d0g6wxr7ij817/Alan%20Reid%20-%20Banish%20Misfortune%20neu.pdf?dl=0

Mick Broderick - Polka Tutorial

 Mick Broderick, früher bei Slide, hat ein kurzes Tutorial für Polka Backing bei Facebook gepostet.

Na Buachailli Alainn

 Ein alter Clannad-Song, im Original auf Gälisch. Den englischen Text habe ich aus zwei Übersetzungen zusammengebastelt.

{t:Oro na buachailli}
{c:Capo 7}

[D]Blessed be the [G/B]boys who left
they [D]went to work in [G/B]Scotland
[D]they gave me a [G/B]sunday suit
and [D]shoes of spanish [G]leather

{soc}
[D]Oro na [G/B]buachailli
Na [D]buachailli bi [G/B]alainn
[O]ro na [G/B]buachailli
Na [D]buachailli bi [G]alainn
{eoc}

{soh}Oro na Bürkali, na Bürkali ni hawlin{eoh}

I look unto the rough sea
My heart is nearly broken
Thinking bout my lovely boys
as they are in their boats, oh

I pray to the lord above
the planets settle down
That they bring the lads back home
in danger being drownded.

A letter from Scotland
it didn’t satisfy me
It said the lads had married
two lovely girls from Scotland

Why did they wed Scottish girls
Why did they go away, lord
Scottish girls are beautiul
but Irish girls are best, o

{soc}
Oro the boys they are, the boys they are so lovely
{eoc}

The Press Gang - Johnny Miner

Ein schöner Rhythmus, sowohl für Songs als auch evtl. Reels.

 

Hier aufgedröselt zum Üben:

FAREWELL, JOHNNY MINER
(Ed Pickford)

 
[D]Johnny Miner, you were born
[G]Ne’er to see the [D]rising dawn,     
[G]Now it's time that [D]you [A/C#]were [Bm]gone,    
So [G]farewell, Johnny [A]Miner.

Chorus

[D]Farewell Durham, Yorkshire, too,
[G]Nottingham, the [D]same to you
[G]Scotland, South Wales, [D]bid [A/C#]a[Bm]dieu,
[G]Farewell, Johnny [A]Miner.

2. You struggled hard with slate and shale,
Lungs turned black and faces pale,
Now your body's up for sale,
And farewell, Johnny Miner.

3. They promised you the earth some time
To work down in their stinkin' mine,
Now the justice for their crime
Is farewell, Johnny Miner.

4. Cheer up John, it won't be bad:
Unemployment isn't hard -
They'll treat you well in the knacker's yard,
So farewell, Johnny Miner.

5. repeat verse 1.

 

Jig Rhythm Alec Finn Style

 Jig Grundrhythmus mit Hammering-On. Lässt sich dann variieren.

Am - Begleitung - Matt Heaton

Vorweg ein Tipp: Am mit kleinem Barre mit dem Zeigefinger greifen. 2200

Der Reel, der hier begleitet wird ist der Copperplate in ADorisch.

Das ermöglicht ein einfacheres Hammering-On mit dem kleinen Finger im 5. Bund. (A-C)

Zunächst spiele ich Am und G mit Übergangs-Bass C.

Anschließender Part A (x707) und G (x550) mit kurzen Passagen auf D (x450). Dieser Part wird softer gespielt, um dann wieder leicht zum ersten Part gesteigert zu werden.

______________________________________________________________________

Jetzt eine weitere Sequenz mit Am und G. Hier werden kleine Bassläufe eingesetzt:

______________________________________________________________________

Hier noch eine kleine Erweiterung zum ersten Teil. Ein kleiner G-D Schlenker wird eingesetzt und belebt das Ganze.

______________________________________________________________________

 Hier ähnlich, Basslauf erweitert, und auf G rhythmisch verändert.

 

 ______________________________________________________________________

Eine weitere mögliche Veränderung wäre mit abgedämpften Bass-Saiten spielen.

______________________________________________________________________

Nun lassen sich noch kleine Läufe integrieren:

 ______________________________________________________________________

 Hier noch ein kleiner Lauf nach oben:

7-0-7, 10-0-10, 9-0-9, 5-0-5

Am Begleitung - Frances Cunningham

 Ein paar Ideen aus dem Workshop mit Frances Cunningham:

1. Idee:

A (m): x777

G: x775

Jig Pattern

Weitere Idee: 

hohe D-Saite im 2. Bund gehalten lassen: Das G im letzten Takt klingt leicht schief, baut aber Spannung auf, die im Folgenden Takt gelöst werden sollte.

Weitere Idee:

A-Saite als "Drone" lassen und nur auf den beiden hohen Saiten spielen:

 

Volle Akkorde:

C: 5530

G: 4500

A5: 2202 - hier auch mal den Finger auf der unteren D-Saite entfernen, um eine Bewegung einzubringen.

Beginn A-Part: C G | A5  | A5 | A5 (2200)  | Also kl Finger weg im letzen Takt auf 456

 

 

Folgende Akkorde ergeben einen Lauf (Ende A-Part):

A: x777

G: x555

F: x333

C: x230 oder Em x000

D: 2000

Die 4 (in diesem Falle D) lässt sich in Am Tunes gut einsetzen. Das geht manchmal sowohl mit D-Dur als auch mit D-Moll.

Fast Slides begleiten - Jim Murray

 Hier nun die Fast Slides:

Auch hier wieder verschiedene Möglichkeiten, zu betonen. Nur die 1, 1 und 7, usw.

Slow Slides begleiten - Jim Murray

Jim Murray unterscheidet zwischen Slow Slides und Fast Slides. Hier zunächst die Art, wie er die Begleitung von Slow Slides beschreibt.

Betonen kann man entweder nur die 1, die 1 und die 7, die 1, 4, 7, 10

Hier im Video:

Slides begleiten - Pattern Maura O'Connell - Gleanntan Frolicks No. 2

 Eine Möglichkeit, Slides zu begleiten. Etwas filigraner als die Version von Matt Heaton.

So sieht das im Tab aus:

Matt Heaton - Accompanying Slides

 Just found the time to make a little tab for this tutorial by Matt Heaton. In this series he talks about accompanying slides. He takes the DUDUDU - Jig Rhythm as basis and omits some parts. He ends up with D_DU_U|D_DU_U| etc.

This is how it looks in Tab:

The last bar is a little variation for endings.

 

A groovy Jig Rhythm pattern

 

 

 

 

 

 

 

 

 

This is a groovy Jig Rhythm pattern. Found it on the CD Wooden Flute Obsession 2 Disk 2 on the tune Fly on the porter. Sorry, key signature is wrong, has to be G for D Mixolydian.

Link to the tune on thesession.org:

https://thesession.org/tunes/4225

Jig Rhythm

 

Schöner, grooviger Jig Rhythmus.

Crosspicking Exercise

 In einem Workshop von Frances Cunningham hat sie diese Übung für das Crosspicking gezeigt:

Im Jig-Rhythmus. Besonders hier ist, dass der erste Abschlag immer auf der unteren Saite gespielt wird, während die 3 und 6 immer auf der oberen Saite gespielt werden.

Polka Rhythm

 Gerade ein schönes Bodhran Video auf youtube gefunden. Matt Bell erklärt den Polka Rhythm. 

Hier erst einmal das Video:

 

 In Noten sieht das dann so aus:

 

 

 Also mal auf die Bouzouki übertragen könnte das so klingen.

Donal Lunny, Roisin Elsafty, Mairtin O‘Connor - Pota Mor Fatai

 Schöne Liedbegleitung von Donal Lunny. Zum Teil in DMix, wechselt dann zu Dm und wieder zurück.

Hier mein Tab zum Intro und erster Strophe:

 

Jamie Raeburn

 

 

 

{t:Jamie Raeburn's Farewell - bearbeitet}
{metronome: 73}
{c:The Tannahill Weavers}
{pause: 15}
No Capo

Intro: Low D, 2x erste Zeile, kurze Pause

My [Bm]name is Jamie [G]Raeburn, in [A]Glasgow I was [Bm]born
My [Bm]place and habitation I’m f[A]orced to leave with [Bm]scorn;
From my [Bm]place and habitation I [D]must now gang [A]awa’
Far [Bm]from the bonnie [G]hills and dales o’ [A]Caledoni[Bm]a

Whistle:
It was [Bm]early in the [G]morning just [A]by the break of [Bm]day,
The [Bm]turnkey he came to us, and [A]unto us did [Bm]say:
A[Bm]rise ye hapless convicts, a[D]rise ye one and [A]a’’,
This [Bm]is the day ye [G]are to stray, from [A]Caledoni[Bm]a


We [Bm]all arose, put [G]on our clothes, our [A]hearts were full o’ [Bm]grief,
Our [Bm]friends who stood around the coach, could [A]grant us no [Bm]relief;
Our [Bm]parents, wives and sweethearts dear, their [D]hearts were broke in [A]twa,
To [Bm]see us leave the [G]bonnie braes, o' [A]Caledoni[Bm]a


Fare[Bm]well my dearest [G]mother, I'm [A]vexed for what I've [Bm]done,
I [Bm]hope no/one cast /[G]up to you the /[A]race  that I have [Bm]run;
I [Bm]hope God will protect you when [D]I am far a[A]wa',
Far [Bm]from the bonnie [G]Hills and dales, o' [A]Caledoni[Bm]a.

Whistle:
Fare[Bm]well my honest [G]father, ye [A]were the best o' [Bm]men,
And [Bm]likewise my ain sweetheart, it's [A]Catherine is her [Bm]name;
No [Bm]more we'll walk by Clyde's clear stream or [D]by the Broomie[A]law,
For [Bm]I must leave the [G]hills and dales, o' [A]Caledoni[Bm]a

Hi To The Beggar Man

 

 

Hi To The Beggarman}
{st:Dubliners, Clancy Brothers}


The [D]night being dark and very [A]cold,
A woman took pity on a [A]poor old soul
[D]She took pity on a poor old soul
And asked him [A]to come [D]in
 
 
{soc}
With a [D]too-roo roo-roo rantin [A]hi,
A too-ra loo ra [A]fol-a-diddle-y
[D]Too-roo roo-roo rantin hi,
And hi for the [A]beggar[D]man
{eoc}


He [D]crept into a cozy [A]nook,
He [G]hung his coat u[A]pon a hook
He [D]hung his coat upon a hook
And merrily [A]he did [D]sing

{soc}
With a [D]too-roo roo-roo rantin [A]hi,
A [G]too-ra loo ra [A]fol-a-diddle-y
[D]Too-roo roo-roo rantin hi,
And hi for the [A]beggar[D]man
{eoc}

When [G]he awoke at the [A]first day light
He [G]gazed upon a lovely [A]sight
He [G]gazed upon a [D]lovely sight
'Twas the [G]daughter [A]of the [D]house

{soc}
With a [D]too-roo roo-roo rantin [A]hi,
A [G]too-ra loo ra [A]fol-a-diddle-y
[D]Too-roo roo-roo rantin hi,
And hi for the [A]beggar[D]man
{eoc}

They spent the time in sport and play
He said to her will you away
He said to her will you away
And follow the road with me
 
When the mother arose she looked around
No sign of her daughter could be found
No sign of her daughter could be found
She's away with the beggarman

{soc}
With a [D]too-roo roo-roo rantin [A]hi,
A [G]too-ra loo ra [A]fol-a-diddle-y
[D]Too-roo roo-roo rantin hi,
And hi for the [A]beggar[D]man
{eoc}

Three years went by and one late hour
There came a knock upon a door
There came a knock upon a door
And there was the beggarman

{soc}
With a [D]too-roo roo-roo rantin [A]hi,
A [G]too-ra loo ra [A]fol-a-diddle-y
[D]Too-roo roo-roo rantin hi,
And hi for the [A]beggar[D]man
{eoc}

"Would you [D]like to see your daughter [A]now,
[G]With two babies [A]on her knee
[D]With two babies on her knee
And another one [A]coming [D]on?"

"For [D]yonder she sits and yonder she [A]stands,
The [G]finest lady in [A]all the land
[D]Servants there at her command
Since she went with the [A]beggar[D]man"

{soc}
With a [D]too-roo roo-roo rantin [A]hi,
A [G]too-ra loo ra [A]fol-a-diddle-y
[D]Too-roo roo-roo rantin hi,
And hi for the [A]beggar[D]man
{eoc}

Bogie's Bonnie Belle

 

Bogies Bonny Belle
Capo 3 oder 7!


[G]As I went [C]in by [Am]Huntleigh [D]town,
One [G]evening [Am]for to[G] see,
I [Am]met with Bogey O’ [D]Cair[C]nee,
And with[C] {soh}him{eoh} I [Am]did a[D]gree.
 
To [G]care for his [C]two best [Am]hor[D]ses,
Or [G]cart or [Am]harrow or [G]plough,
Or [Am]anything a[D]bout farm [C]work,
That I [C]very [Am]well should [D]know.
 
Old [G]Bogey [C]had a [Am]daugh[D]ter,
Her [G]name was [Am]Iso[G]bel,
She’s the [Am]lily of the [D]val[C]ley,
And the [C]primrose [Am]of the [D]dell.
 
And [G]when she [C]went out [Am]wa[D]lking,
She [G]took me [Am]for her [G]guide,
Down [Am]by the Burn O’[D]Cair[C]nee,
To [C]watch the [Am]small fish [D]glide.
 
And [G]when three [C]months was [Am]past and [D]gone,
This [G]girl she [Am]lost her [G]bloom.
The [Am]red fell from her [D]rosy [C]cheeks,
And her [C]eyes be[Am]gan to [D]swoon.
 
And [Bm]{soh}when{eoh} nine months were [Am]past and gone,
She [G]bore to me a [Bm]son.
And [Am]I was quickly [D]sent [C]for,
To [C]see what [Am]could be [D]done.
 
I [G]said that [C]I would [Am]marry [D]her,
but [G]no, that [Am]would not [G]do
For [Am]you're not a match for my [D]bonnie [C]girl,
And [C]she’s no [Am]match for [D]you.
 
Now she’s [G]married [C]to a [Am]tinker [D]lad,
That [G]comes from [Am]Huntleigh [G]town.
He sells [Am]pots and pans and [D]paraffin [C]lamps,
And [C]scours the [Am]country [D]round.

[G]Maybe she's [C]gotten a [Am]better [D]match
Old [G]Bogie [Am]cannot [G]tell
But [Am]I was first to [D]win the [C]heart
of [C]Bogie's [Am]bonnie [D]Belle.