lanagan's ball

[RaiseTheHatchet]

Having trouble getting down the timing and all for lanagan's ball in
converse's book. anyone have or know of a recording of it? always had
trouble with 6/8

[Tim Twiss]

If you don't find it this afternoon, let me know. I'll do it for you.
Let me know

Tim

[Timothy Twiss]

Well, I put one up on YouTube. Hope it helps.
tt

[Carl Anderton]

God dang, that is service! Show me another internet group where you
get video examples like that (that fast)!

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[RaiseTheHatchet]

Indeed it is, thanks alot Tim, sounds great. been getting the hang of
6/8 with black nag from mike iversons page (sounds kinda cool on a
tackhead) but seems the converse jigs don't follow the same
guidelines as to when you use slurred notes. great song, thanks again
tim

[Tim Twiss]

NP. It was good to go and look at this tune. it made me realize how
many great pieces of music from this "yellow book" I have not checked
out. Please respond, if you are so inclined, to the issue of G and G#
in this tune. The notion and the comments seem to contradict one
another. I played it from the notion, which feels correct to me.
tt

[RaiseTheHatchet]

not positive, I tune to eAEG#B

[trapdoor2]

I just uploaded a .pdf of this tune with both notation and TAB, should
anyone want it.

Tim, I don't see the inconsistency. Measure #7, I suppose is the one
in question. The notation shows no G# and the "comments" tell one to
make a G(natural) on the 3rd string "the same distance from the nut as
you make D on the 1st string."

I find no other reference to a G or a G# in this tune or the comments.

Love the video...

===Marc

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[Tim Twiss]

Your tab looks really good. The possible confusing point occurs
earlier (M2 and M4), where the notation shows G natural. Although the
notation indicates G natural, the "comments" and fingering indicate a
G#. Joe Weidlich also tabbed it according to those "comments".

[trapdoor2]

Ah. The 2nd measure shows a G natural in the notation but the
fingering shows "open" (a "zero" above the note). Hmmm...

Ok, I've gone back and altered the TAB and played it back. Not a lot
of difference there. Sounds good either way, G or G#. I imagine a
Music Theory guru could make a case for one way or the other...but, it
is easier to play using the open string! ;-)

===Marc

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[trapdoor2]

LOL, now things get deep...

This thing is written in Bm, right? Converse was a musical theory
guy, right?

When music theory guys write minor tunes, they often prefer Harmonic
minors to natural ones. Harmonic minor scales raise the seventh a
half step. So, the Bm "natural minor" scale is B-C#-D-E-F#-G-A-(B)
but the Bm "Harmonic Minor" is B-C#-D-E-F#-G-A#-(B). However,
convention forces the sixth to be similarly raised to create a whole
tone between the sixth and seventh notes (which evidently sound better
to Theory weenies). Now we get interesting...when actually using such
things, composers usually use "melodic minor"scales...this means the
scale is different when notes are ascending than decending.
Basically, the scale ascends using the raised sixth and seventh but
decends using the "natural minor" notes.

Back to Converse and Lanagan's ball: In M2 and M6, the G# creates a
melodic minor ascending scale. In M7 and M14, the G natural forms a
melodic minor descending scale. How cool is that?

===Marc

[Tim Twiss]

Not quite...no leading tone.

[trapdoor2]

Poop. There goes my internet expert degree. One little note! :-(

The leading tone appears in the second half...but then the text
specifically removes the G#...

Ah well. At least it sent me off to do some research...where I
learned something. No complaints here!

I would think that the text is the driver, printer error would
probably take care of those nasty G#s.

===Marc

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[Tim Twiss]

It has been a great topic. One of those mysteries. I played (and
prefer) the notation as it is, with G natural all the way. It keeps a
consistancy in the "A" section as the phrase concludes, and stays
modal. But he makes such a big deal out of the fingering and
explanation, I'm just not sure. G# might be okay. Perhaps somebody
with a lot of experience in Irish type music could add some insight as
to what would typical in this situation. The pieces I looked at did
not include the interval of a 6th to compare it to. Perhaps he
(Converse) had a copy editor "assistant" and they did not properly
communicate. Who knows??
Makes you think about other things that slip through that we just
accept, musically.

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[RaiseTheHatchet]

for the lyrics 2nd set of 8 is chorus?