Hi all,
I was wondering if any of you have any tune suggestions/recommendations, that use syncopes? Preferably tunes that you can play without being Matt Molloy 
Either the “classical” off-beat type of syncopes or “steps” like
|AFDA FDAF|E - where emphasis is on the “A”. I hope you get the idea…
Best,
Brian
I think the Shetland tune ‘Spootiskerry’ and the Scottish ‘MacLeod’s Farewell’ (aka ‘The Wedding Reel’) might fit your specs. Both are modern compositions, of course, but well adopted into the ITM session scene. Such figures seem to be more common in Scots tradition than in other Celtic/British genres - maybe a Scandinavian influence? I can’t offhand think of any Irish tunes I know which do that kind of thing, though I’m sure there must be some.
Frank’s.
Work.
No time think.
L8r
Ah yes, ‘MacLeod’s Farewell’ I already know (great tune). Didn’t know ‘Spootiskerry’ - just checked it on Youtube; here’s a bunch of fiddlers playing it - and another funny off-beat tune called ‘Willafjord’
There is an Aly Bain reel called Andy Browns or Broons with this type of thing sounds a bit like Willaford. There is a tune Mick Coyne called the Synchopation Reel. Maybe that Mouth of Tobique thing.There must be loads of new ones as well. listen to Sharon Shannon who I think likes to do this type of thing sometimes. Would like to hear of more myself? Not exactly my thing but audiences love this type of tune.
What I should have said of course is that I’m Pressed for Time.
A Night in Tunisia. 
Seriously, it’s an interesting topic.
In terms of performance, I’d distinguish clearly between the two types. Lots of tunes have the second type of melodic pattern syncopation (what you call “steps”) - typically a triple pattern repeated within a 4/4 meter. But they’re not performed as syncopated, with the stresses shifted to the triples. They’re played with the stresses in the normal places, the melody forming a sort of melodic counterpoint to the rhythm. It’s a “soft” syncopation.
Spootiskerry is an example, where I’d expect to hear |G2DE GDEG|DEGA B2AB| not |G2 DEG DEG|DEG A B2AB|. Or Farewell to Chernobyl, with |E3G BEGB|EGBG FGFD| not |E3GB EGB|EGB G FGFD|.
OTOH, as an example of the first type, Pressed for Time (clever, Ben!) does shift the stress to the triples (the 3rd beats), and the effect is quite different: |GAg GAf GA|e GAd- d2cA| And The Wedding Reel B-part figure also tends to played shifted for fun, though it can go either way. This is what I’d call “hard” syncopation, or some such thing.
Seems to me that the tunes where hard syncopation is prominent (or an cheap trick, depending on your point of view) often syncopate held notes with no moving melodic pattern under them, or a pattern than can be played as a held note. And then you really pound the off beats. Like Frank’s Reel |a3 g3 f2| or Mouth of the Tobique |G2 B3 c3|B3 c3 B2|.
The Road to Errogie is already in your signature line, so I won’t mention that. Brian F. does like syncopations, and they’re all over his choice of repertoire.
And I’m guessing that that attitudes toward the aesthetic merit of syncopation in trad tunes will correlate with attitudes toward neo-trad tunes in general …
All reels so far? Then there are jigs where, although the syncopation has perhaps to be more deliberately, consciously made by a player rather than evincing itself from straight playing because of the melodic shapes and integral pitch-shift emphases which cross the main beat. I’m thinking of tunes like ‘Con Casey’s Jig’ where a pattern A|EAE AEA| can be played as written in standard jig triplets or as paired quavers A|E AE AE A| or A| EA EA EA|. There are also places in jigs where those kinds of patterns are not in the actual melody but can be introduced as a variation or in lieu of an orthodox ornament. Too awkward to try to post an example from my phone… Maybe later.
Hey, great - a discussion that is not about the common dance rhythms with comments from the experts. Nothing to contribute except a link to Spootiskerry and Willafiord at ‘learn by ear’ speed. http://www.youtube.com/watch?v=ehPwYJYaUuI (A mate has been trying to get me the learn The Road to Errogie so Bayswater’s clip has become an ‘influence’)
How about Catharsis? That reel has syncopationy-type stuff in the B section. Also, there’s The Mouth of the Tobique*, a French Canadian tune that I believe has been adopted into the tradition. As dunnp said, “audiences love this type of tune.” As for the reels themselves, more on this I shall not say.
Jem asked about tunes other than reels. In L. Nugent’s album Two For Two, the second tune of the 3rd track is named The Pride of Erin Jig. In the B section Larry plays a whiplash-y sort of syncopated bit in the same spot every time; I’ve always meant to ask him, if ever I had the chance, if that was the way he learned it - but in any case it’s not the usual run of things as you hear them. I rather like it; another musician I know hates it. It’s not so much a syncopation, perhaps (I’ve never been truly clear on the definition) as it is an emphasis of two off-beats in the melody; play it instead with the emphases on the usual down-beats, and the tune becomes “normal”.
*Oops. MTGuru already mentioned that one.
Lamb on the Lawn
In a slip jig: An Phis Fluich (in the third part)
Both of these “steps” are optional, but are fun.
Hugh
Credit actually goes to dunnp.
The Mouth of the Tobique thing annoyed me for years as we just couldn’t sound as cool on the flute as the fiddle. Now I have a bit for it that uses the low d and I kinda like it. Nice clips in your signature by the way Bayswater. Once you start learning these syncho bits it becomes tempting to chuck them in all over the place until you come to your senses again.
OK, not to pretend to understand what you guys are talking about exactly, as I’m no musical theorist-I play by the seat of my pants, and where my ears and fingers tell me to go. But I do have a tune I’ve been wondering about since I first heard it-and thought it unusual.
It’s on WFO 1, Disc 1, track 8, played by Barry Kerr. It’s called Ships in Full Sail/The Three Sisters [Medley], and it gets interesting in the second part. My ears kind of “percked” up when I first heard the Three Sisters part-some unusual stuff going on there to my ears, and though it doesn’t sound very traditional, I like it.
Of course, I don’t think I will even attempt it, nor would I think I could ever play anywhere near that speed or prowess, but it’s an interesting listen. I can at least certainly appreciate Barry’s talent in playing it, for sure.
Anyway, as I said, it might not be what you are talking about or looking for, or it might be for all I know. Wouldn’t mind a few comments about it if someone would like to give it a listen.
Man. Even this thread is getting syncopated.
The jig Jim Conroy’s from The Branch Line sounds like it’s syncopated, but it’s not–it’s just an unexpected low D in the second/sixth bars that gives the illusion. Fun for tripping up guitarists, who are convinced there’s a tricky rhythm happening. 
Here’s a (gasp) good transcription: http://www.thesession.org/tunes/display/1173
Yeah Barry, that’s a nice recording. But there’s nothing syncopated about the flute line, which is pretty much right on the beats. The bodhrán certainly is very syncopated, which is probably what you’re hearing.
This tune: Trip to Herve’s, by McGoldrick:
http://www.youtube.com/watch?v=3LBfRjZcmjo (played on low F)
The Return Home is another jig that is often played syncopated. The B part has a phrase like AFG EFD that’s often played in twos: AF GE FD.