I’m about to learn the reel “Tinker’s Daughter”, and I was wondering if anyone noticed the big similarity between it’s B part and Green Mountain’s B part. Is it only me or they seem very similar?
Az
You’re not crazy - it’s not only you. Or, maybe you are crazy and it is only you.
T
Huuu… so, is it a yes or no? 
On 2002-11-20 22:46, Azalin wrote:
Huuu… so, is it a yes or no? >
Uh, maybe…
Couldn’t resist!
Cheers,
Serp
The tinker’s daughter was composed by Vincent Broderick. A lot of tunes hav very similar parts. You know what they say, there are only maybe two hundred tunes, the rest are variants of them.
Looking at the tunes on J C’s ABC tunefinder, the B parts are indeed almost identical.
Bars 1,2, 5 & 6 are absolutely identical, except in Tinker’s a triplet is suggested, while in Mountain a roll is favoured.
No wonder so many of my non-convert friends think of Irish Music as diddle-dee-dee music - it really is the same tune!
I exaggerate slightly, but the sameness, randomness and general lack of appeal of the second parts of many two-part reels turned me off that particular musical form for years. It also makes wall-to-wall reel sessions, which are the subject of another thread, particularly unattractive.
BTW, shouldn’t the correct title be “The fully-empowered womyn co-engendered by a womyn and a member of the travelling community”?
Getting PC Roger? Bobby Casey used to play the Jaundiced Itinerant.
Oh, this thread is turning fun now.
My current favorite reel to play on the whistle is “The Female Human of an Early Age that Damaged my Vital Blood-Pumping Organ”
Hmmmm…that could lead to misunderstandings… 
Suggestion: resist the impulse to flood us with your own clever list – submit one at a time, giving others a chance to shine.
Wendina
PS - eventually, someone is bound to collect the best examples and turn them into a web page…
–
B sharp, C?
[ This Message was edited by: klezmusic on 2002-11-22 13:01 ]
You know what they say, there are only maybe two hundred tunes, the rest are variants of them.
great: i’m learning one a day, started this week. just 195 to go. i guess i’ll sign off the board sometime in may or june next year.
!
tom
Funny that this came up today.
I am trying to convince band to learn “In the Taproom” in place of Drowsy Maggie. Same A section (if you play it like Hayes/Canny et al), but slightly more dynamic B section. Altan changed the A section (of DM) pretty much to make it more interesting. I vote Drowsy Maggie as my least favorite reel at the moment.
But B section of Man In the House is present in at least five reels, I swear. I keep finding it here and there. And I just know that I would revert to MITH when returning to the first part as its the one I learned first.
On 2002-11-22 14:57, The Weekenders wrote:
But B section of Man In the House is present in at least five reels, I swear. I keep finding it here and there. And I just know that I would revert to MITH when returning to the first part as its the one I learned first.
This problem runs through other types of traditional dance music, not just Irish. The same difficulty presents itself to an extremely high degree in Klezmer, due to the preponderance of 3 part tunes where the middle part traditionally begins with a “shout chorus” (the part where, if you were so minded, you could yell out “Hey … Hey … Hey Hey Hey Hey!” before launching into the melodic section).
Last year my band was playing a wedding, the whole floor was dancing and the groom was up in the chair, and we were hurtling through one of those furious bulgar-freylachs that shares the shout chorus of the B part with about 612 other tunes. Both the clarinet player and I spaced on it at exactly the same time and dove into the same completely different melodic phrase from another tune and from there into the C part of the same wrong tune, both perfectly in sync. He nearly busted his capillaries to avoid laughing and screwing up his embouchure. Ah, the advantages of being an accordion player – I was able to let loose with full hilarity. Our bass player gave me a puzzled look – unless we’ve arranged a bass part in rehearsal, he’s following progressions, not melodies, so on these “hora” medleys, he’s just along for the ride.
Thats funny Wendy! But musicians are in sync in deeper ways and the moment must have just felt that way…Ha! Except bass player. Everybody knows they’re in their own world anyway, tho I expect in klez they get a workout which keeps em semi-conscious.
BTW, had early modern-day exposure to klezmer as I worked with a guy in a group called Klezmorim out here in Bay Area back in 70s.
Now that’s music to wake the dead!! Very fun!
Thank you Roger O’Keeffe for outing yourself on this part B of reels thing. You have emboldended me to admit that I too dislike part B of most reels. I will now begin to look for creative ways of dealing with this…at least when playing solo. Perhaps medleys of part A’s only…we’ll see.
On 2002-11-22 19:51, The Weekenders wrote:
[…] bass player. Everybody knows they’re in their own world anyway, tho I expect in klez they get a workout which keeps em semi-conscious.BTW, had early modern-day exposure to klezmer as I worked with a guy in a group called Klezmorim out here in Bay Area back in 70s.
Well, then you’ll be pleasantly surprised to know that one of the founding members of Klezmorim, clarinetist David Julian Gray, is also the founder of my band Klezcentricity.
As to our bass player, Rich Seidel, he is more tuned-in than most to what’s going on melodically, and we do give him a good workout! He has very well thought-out parts to most of our arranged tunes, many of them consisting of melodic/harmonic counterpoint to what David and I are playing. Rich is not just going “thump D, thump A, thump D, thump A”, and a lot of his arco work is really inventive, requiring a great deal of concentration. Lest any lurking bass players get their hackles up over this post, let me say that the bass player I work with in my other band Klezmos, a fellow by the name of Ralph Gordon, is also a superb player with a keen ear for what the other musicians are doing.
You’ve got mediocre musicians on any instrument - unfortunately those that play the instruments which are rather more prone to mediocrity give the rest of us a bad name. As an accordionist, I know this all too painfully - how many gigs have I lost because some ignorant person was unaware that an accordion can be played well and tastefully?
-Well…Drowsy Maggie is my favorite tune for others to play. I can’t do it justice, but listen to Matt Molloy play it on a Bb flute with no problem on the Wooden Flute Obsession cds.-Superb