Favourite jig or reel

[george garside]

To get the right 'bounce' into a tune it helps to think in terms of the interwoven relationship between musicians and dancers.

One thing dancers just can't do is hover! (and if the music is 'wrong' they have to attempt the impossible which is vary painful!) So gravity comes into it and brings the dancers back to earth on the beat if the timing of the tune is right. So there is no need to emphasise the beat as whether you do or whether you don't the dancers will land without your aid. The timing of the tune must of course be played so that the beat occurs at the right time for the natural landing.

Now while the dancers have absolutely no problem coming down they do benefit greatly from a shove up or musically speeking some LIFT in the music. This is where the misused expression of playing on the off beat comes in. However it is not strictly speaking playing on the off beat as you still need to play 'on the beat' so that the music is in time with the dancers coming down. A more correct term is ''emphasising the off beat''

This in terms of a basic um pa um pa (bass chord, bass chord) rhythm on the bass is achieved by playing a short um and a longer PA. so its something like um PA, um PA etc. The UM need only be a very light tap on the bass followed by a strong ( but still staccato) PA.

That's it for jigs and reels but whilst theoretically very simple it is in fact an art that has to be developed and may take time to get the hang of. Foot tapping helps very much as you can synchronise the foot with that of a good dancer so it becomes foot down =short crisp bass note ---- foot up - stronger/longer but still crisp chord.

The test of efficacy is very simple - does your music cause the feet of those listening to tap in time or start dancing ( be it a few friends, or a room full of people) If it doesn't you have got it badly wrong As a dance band musician your music should make people want to dance - otherwise there is no point in it!

george {} :b

 

[Glenn]

Cool, thanks George, that's a very nice description.
For my rather clinical approach I really have to think in terms of the dance itself.
My accordion teacher often says to me "how can anyone dance to that?" (in Dutch by the way), to which I nod and try to do my best.
However, I'm often thinking of the music in terms of solo performance which is to my ear different to accompanying dancers.
So from your explanation George it reinforces my need to think dance and think less "music".
However, as I don't do a lot (hardly any) accompanying of dancers I always fall back onto the music of the piece.
I need a friendly dancer to practice with.... now where did I put my wife?

 

[george garside]

Glenn - Some tunes are meant only for listening anad/or may be played mainly because of the technical skill required to play them exactly as writ, or maybe as part of the classical learning process or as part of a classical ensemble where the effect is achieved by each doing as demaandedd by the composer of the tune or tunes.( We won't mention the fact that many 'classical' composers borrowed heavily form earlier traditional stuff! )

However it is my understanding as a humble folkie that such tunes are rightly intended to be played as the composer intended.

On the other hand many traditional tunes ( including those relatively recently composed ) can be put to a veriety of uses. It is therefore absolutely essential to know what purpose the tune is being played for each time you play it --- and this applies just as much if you are the only one in the room!

If you havn't given the tune a 'purpose' it is likely to come out as an uninteresting dogs dinner of perhaps the right notes in the right order but nowt else !

So using the well know Tyneside tune 'The Keel Row'' as an example . Obviously it can be played as a ballad or song in ;which case the musician would FOLLOW the singer very closely rather than try to lead/push the singer along. The speed, phrasing ,intonation etc would be taken from the singer anad may of course vary slightly if doing it on another occasion for a different singer. You would of course be the accompanyist whilst the singer would be the 'artist' so the music would never dominate the proceedings.

Now the same tune is also a very good dance tune but its more complicated than that! It can played for hornpipes, marches and reels which all require it to be the same but different or to put it another way '' different but only just'' in other word the notes in the sense of their names eg CGD or whatever would be the same for all three versions. However the value/legth of the notes would not be the same and a good trad musician would have the skil and knowledge to make the necessary alterations 'on the hoof' . The tune may also be played a lot faster than dance speed as a stage performance piece to get hands clapping etc etc.

That's the very basics of the job. The dots , if used - and I recommend strongly that they are not used - won't tell you how to hit the exact temp the dancers need, how to provide maximum lift , how to play the gaps, maybe how to change the speed slightly according to the skills, fitness etc of the dancers whislt at the same time making the music sound interesting to those not dancing.

To get the hang of playing dance music doing some dancing is without a doubt the best way to get the feel of whats required. Listening to CD's of good bands eg Jimmy Shand and learning to foot tap along with the CD is also a help as can getting together with other musicans who play dance music.

Playing good trad dance music (and of course there are are some not so good renditions around) requires a high degree of musicianship, a high degree of manual dexterity, and above all well honed listening and observational skills which are only distantly related to the ability to sight reed or to knowledge of musical theory

Please feel free to argue differently in the interst of good debate


george

 

[george garside]

The DVD Dancing with the Shands ( which held a top 10 position in the music charts for 5 weeks) is a very useful resource for anybody wanting to get the feel of playing for dancing as it clearly shows the dancers as well as the band .

Sir Jimmy, then in his 80s is playing with his sons band in Letham village hall!. Some very well known tunes played with dance rhythm are included --- Shell be coming round the mountain, Let him go let him Tarry, Maggie and Yaankee Doodle Dandy as a Virginia reel set. Beer Barrel Polka ( Roll out the barrel) for a Missisipi dip. Bluebell Polka, and for a St Bernards Waltz My Bonnie lies over the Ocean and Oh Dear What can the matter be!. There are of course also a number of jigs, reels and two steps. There is also a lovely melodeon solo played by Sir Jimmy on a simple hohner Erica 2 row box.

58 minutes running time.

There is also a CD available but the DVD is obviously much more interesting and useful.

Available from several sources including http://www.relrecords.com


george

 

[smdc66]

My accordion teacher often says to me "how can anyone dance to that?" ( not in Dutch by the way), to which I nod and try to do my best.

yer i have this too - but i find it difficult to comprehend also as dont play to any dance(rs) (well once a couple danced unexpectedly but was one off)

 

[george garside]

My accordion teacher often says to me how can anyone dance to that? ( not in Dutch by the way), to which I nod and try to do my best.

(well once a couple danced unexpectedly but was one off)

[/quote]


But that was success as what you were playing must have been danceable to - otherwise they wouldnt have!

george :?