Are there any pieces in ITM resolving at F# on a D flute?
That is to say, F# Phrygian Mode?
Or, are there any Phrygian pieces in any key
(I can transpose to F# tonic myself)?
Thanking all you bodhran lovers. 
No really, I am not joking. Please help …
Most people treat “Jenny’s Chickens” as Bm all the way through, but I hear the first part as being in F# Phrygian. I love accompanying it this way – the moment where the tune slams into B minor in the second part is like letting an arrow fly.
Also, I’ve usually heard “The Ash Plant” played in F# minor – no G’s though, so you really can’t call it Phrygian.
I forgot about this lovely slip jig from Josephine Marsh. The first part is in F# Phrygian:
T:Northern Jig
R:Slip Jig
L:1/8
M:9/8
K:F#Phr
~F3 FEF c3|~F3 FEF GFE|~F3 FEF c3|ecA BAF AFE:|
|:ecA ABc d3|ecA ABc BAF|ecA ABc d3|cBA BAF AFE:|
The second bar is more generally played |~F3 FEF AFE|. Jo plays it both ways.
I believe the proper name for that slipjig is “The Cock and the Hen”, and it’s been recorded a zillion times, usually by a different name every time. (By Lunasa and Dervish, for starters.) A lot of people seem to prefer it in B minor.
I’ve written a nice little F# minor reel, but it is probably the least traditional sounding thing I’ve composed. Seems to me it’s more in the vein of a Lunasa composition…
“Lagging Love” is usually sung in F#min. That’s phryggy enough for me. 
djm
X:1
T:My Lagan Love
R:Air
M:1/4
L:1/8
Q:220
K:C
e2 e2 ^f g2 a4 e d2 e (3ded ^c2 A2 G G6 A2 ^c3 de d2 e2 (3ded ^c2 A3 A A8 
A ^c2 d ^f4 e2 d =c d6 ^f ^f2 ^g a e2 ^g2 (3a^g^f ^g a5 |
=c’2 a2 g a3 e d3 e (3ded ^c2 A2 G G6 |
A3 ^c2 de d2 e (3ded ^c2 A2 A A8 ||
if its F# minor it isn’t phryggy diji.
BTW,
just to demonstrate my great humility
I do not understand all this “e2 e2” stuff.
Its notation I take it. Where can I go to learn it.
I want to be a better knowitall then I am.
and thank you ALL for the responses to date
I’ll check them out slowly but surely
(but not as slowly as dhjm’s astrology chart )
So its sexatonic without a second so the mode is ambiguous (Aeolian or Phrygian)
Doesn’t matter, its still an opportunity to do ITM with an F# tonic on my Irish flute.
Ditto to diji regarding Lagan Love.
Thanks.
But still wish to keep the F# (or any other key) Phrygian question alive.
Perhaps there is a B tonic piece from X00 000 but which always cross fingers the second 0XX 000. That would be B Phrygian.
I am prepared to transpose to F#.
Anybody do a B tonic piece (on a D key flute) with a X fingered second?
I have no idea what the modes are. I can barely handle dots. I couldn’t figure out the notes to put them into abc format in the key of F#m, so I put the key as C and marked all the sharps.
In abc notation, you set a common note value, such as 1/8, and then relate all the other note lengths to that; so E2 = two eight notes = one quarter note (1/4). If you copy the abc notation and paste it into the Tune-o-tron on the Concertina.net site, it will generate dots and a midi sound file for you:
http://www.concertina.net/tunes_convert.html
Hope that helps,
djm
the scale for the Phrygian Mode starting from the tonic is half step, one step, one step, one step, half step, one step, one step
I like to espress this in whole number ratios as
1:2:2:2:1:2:2.
In effect, comparative to the Ionian (major scale),
in the Phyrgian, the 2nd, 3rd, 6th and 7th are diminished by
a semitone.
Thus where F# Major = F# G# A# B C# D# E#
F# Phrygian of course= F# G A B C# D E
which latter is precisely the natural sequence of notes
you will get on a D key flute from XXX XOO.
F# natural minor (Aeolian) = 2:1:2:2:1:2:2
= F# G# A B C# D E
(As a flute player in an intensely oral /vocal tradition
in which pieces are not set to a specific key
but left to the singer or lead instrumentalist choice,
it is important for me to be able to quickly ascertain the tonic key
and the mode
so that I can choose precisely the flute I need
to accompany the piece with the notes of the appropriate mode.)
I should phrase that another way: I have lots of music books that list the modes as you have noted, but I am unable to relate this to real music. I know what the Lagan piece sounds like, and can play it on flute, whistle and pipes, but to try and write it in “proper” notation is beyond my little brain. In the abc provided above, note also that I did not attempt to put a time signature on this piece. Well, actually I did, but none were right, so I removed them. Fortunately, Tune-o-Tron handles this well, so what I have written is actually in time with the sung version. I really like this tune for some reason. It was one that caught my attention right away.
djm
Of course we are all different
but I am interested in why this is so for you.
Lets say you are playing E minor with a D flute.
Doesn’t it diminish the incidence of unwanted accidentals
when you are improvising if you are mindful oif the scale?
Meaning that, you will always make sure to Xfinger for the 6th
because you now that if you don’t do that you will have
the scale of the Dorian Mode instead of the Aeolian.
Now look at this topic.
Why do I want to do F# Phrygian (other than the Indian stuff)?
For the joy and challenge of doing something
that is septatonic and that is ITM from XXX XOO.
and something that evokes rising melancholy.
For me Phrygian evokes mist parting from the river
and two friends are parting in the morning.
Just listen to the sound and play that. There is nothing else. All this labelling and categorizing just distracts from the essence. What comes out is what you intended, unless you’re not paying sufficient attention to the sound.
This works for slow stuff. Fast stuff requires breaking the runs down, practising them over and over, and then speeding them up. As I learn more tunes, I run into more an more fast runs and pieces that can be re-used (in ITM, that is). It still takes me a long time to learn fast music, and a lot of concentration - I just pour sweat. But for slow stuff, if I know the tune well, I just play the sound as I hear it.
When I try and learn from dots, e.g. Dance Music of Willie Clancy, it literally takes me weeks to get a tune worked out to the point that I have memorized the notes and can stop looking at the dots and just play the sound again. Its actually easier just to run the CD through slow-downer software and learn tunes that way, but the books help when I can’t figure out what I’m hearing on the recording.
Make sense?
djm
I am not into copying.
In my tradition this is called parroting.
Parroting staff notated stuff is not my cup of tea either.
Nor is copying someone’s rendition of a piece my cup cake.
If someone’s rendition of a piece moves me
I will not attempt the piece until I am moved into my own space
about that piece. Then learning is quicker and I learn best when
I can “simulate” the genesis of the piece (compositionally).
Tal, no question, but learning from a master innovator like Willie Clancy just adds to my repertoire of techniques, as well as opening new possibilities on how to innovate while still staying inside the “traditional” sound of the music. Otherwis, there is too great a potential to wander into jazz.
djm
How dare you mention that 4 letter j word here in the ITM forum?
The Wren Song lynch mob will be after you now!
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas.
There never were any Female Bodhranistas
Beats me … :roll:
djm