Barbara talks about 'sets' in this weeks song thread and there was some discussion a few weeks back too that i can't seem to find, and while i've heard many sets i never gave any thought of how to actually merge a few songs together. I can easily segue between 2 tunes in the same key, like Hector the Hero/GlenMassan, both in Dmaj , i just strum a 2 finger D chord (2-0-0-2) to the waltz beat then just start into the next tune. But my question is, and i DO have one,: is there a formula or rule of thumb for the progression from one key to the next? my thinking is you wouldn't jump right from D to G or Em, or could you? it might also be different moving up a 4th than down a 5th. (and speaking of downing a fifth......it's another Friday night) anyway, i would appreciate any thoughts or links. thanx again mc
I'm sure there are some rules, some formula, but the ones that my band has come up with, I think were based with how we liked how they sounded when played together.
My experience with this is that same as Barbara's. I also think there are some rules of thumb but I'll leave it to someone else more experienced than I to explain them. You have focused right in on one of the most important area's in my experience - how to make the transition from one tune to another as effective as you possibly can. I think you may also be asking how to join the tunes once you have decided to put them together - generally my experience is you just blast right into the second tune - sometimes you have to leave out a couple of notes at the end of the first tune to make it work - but certainly if you are playing dances you can't be dropping out any beats or adding any beats or it will mess up the dance. One of the things I really enjoy is building tension with the chords for the last few measure of a tune (maybe a diatonic walk up to the 5 chord at the end and then drop right into the 1 chord for the next tune) and then releasing the tension at the start of the new tune. This is probably not the sort of thing you here a lot at an Irish session - but in the contra dance setting it is a big part of the performance and the dancer's love it. If you play a melody 8 or 9 times through it really helps to jazz up the chords and the rhythm to hold the dancer's (or listener's) interest. Another fun thing is to go from a jig to a reel. It is a challenge to keep the beats per minute exactly the same when you transition. It feels and sounds as though you are playing a lot faster when you hit that reel.
I'm really interested to hear the answer to this. The MMO subgroup I play with came up with "sets" for our Irish group, but I'm certain we did it in a non-trad way. We mostly organized by key signatures, but then took advantage of the song titles to drive a narrative. So, (and I'm certain broke every rule) did sets mixing hornpipes, slip jigs and jigs. My favorite set we do is a series of "A fig for a kiss, merrily kiss the quaker's wife and banish misfortune." We thought of adding "I buried my wife and danced on her grave" (thanks to the SOW group) but didn't have time to learn it.
To me, it seems like many of the sets I hear follow a logical path. There is a similarity in flow, or a progression either up or down in flow depending on what you are hoping to accomplish. Similar to what Rob stated concerning going from a jig to a reel. I often mix hornpipes, reels, what have you (don't take my word for it though, I'm just a rank amateur). It's about what sounds good and feels right. Although I think if you paid attention to the tunes you picked out, they would probably fall into the constraints of the Circle of Fifths (there I said it and now it's out there). The Circle of Fifths is probably the best simple tune computer that has ever existed.
BTW, that G major tune can also be a D Mixolydian tune.
I've played a lot for contra dances and Irish set dancing and based on my experience most sets are constructed by how the tunes sound together. That being said, when you're playing for dancers there are a few rules to follow: For Irish dancing, sets are typically confined to tune type, ie all jigs, all reels, all polkas etc. Key changes are encouraged as it adds drama to the dance. For contra dances the aforementioned jig to reel set is the exception to the rule, most sets are designed by tune type although mixing slides and jigs typically goes unnoticed. Key changes within a set is desired and gives the dancers a lift. For Irish dancing we often figure out the tunes in a set minutes before the dance starts and some times we have never played those tunes in that order before! That can get scary. Other sets have been established by older generations of players like Michael Coleman's "Tarbolton Set". If you're not playing for dancers you can mix all tune types at your whim. Here is a set list from Irish set dancing gig I played showing the dances, the figures F1, the number of parts (17) the tunes and how many times they are played. 1. GLENCREE SET (Co. Wicklow) F1. Polka (17) Maggie In The Wood A0 2x Bill Sullivan’s 2x F2. Polka (21) Ballydesmonds A0 3x 2x F3. Polka (21) Peg Ryan’s A0 3x Denis Murphy’s 2x F4. Polka (21) Jim Keefe’s A0 3x Maids of Ardagh 2x F5. Jig (17) Sliabh Russell A0 2x The Clare Jig 2x F6. Waltz (13) Fanny Power #2. ARMAGH LANCERS (Co. Armagh) [ALL JIGS] F1. 17 My Darling Asleep A0 2x Rose In The Heather 2x F2. 17 Jimmy Wards A0 2x The Clare Jig 2x F3. 17 Garret Barry’s A0 2x Saddle The Pony 2x F4. 17 Tobin’s A0 2x Coleman’s 2x F5. 21 Humors of Ennistymon A0 2x Rambling Pitchfork 2x + #3. FAIRY REEL (Ceili) Please play 392 Bars of REELS. Cooley’s 3x Ships Are Sailing 3x Temperance 3x George White’s 3x Maid of Mount Kisco 2x #4. CUCHULAIN SET (Co. Louth) F1. Jig (17 Parts) Trip To Sligo A0 2x Kesh 2x F2. Reel (19) Muckross Abbey A0 2x Hunter’s House 2.5x F3. Reel (17) Congress A0 2x Miss McLeod’s 2x F4. Hornpipe (19) Wicklow A0 2x Home Ruler 2x #5. KILFENORA PLAIN SET (Co. Clare) F1. Reel (12) Woman of The House 3x F2. Jig (14) Tripping Up The Stairs 3.5x F3. Polka (22) Lakes of Sligo 3x Ger The Rigger 2x+ F4. Reel (30) Lafferty’s 4x Cup Of Tea 3.5x F5. Jig (14) Cliffs Of Moher 3.5x F6. Polka (20) Reevy’s 3x Em Polka 2x
David, thanks for that detailed list! I'm probably missing something... what does the "A0" mean in those sets? And what do you mean when you said "the figures F1? I've never been to a contra dance, but I'd love to witness one! Barb
F1 stands for Figure 1 which is the set of steps the dancers do for that section of the dance. In the Glencree set there are six figures with different tune types for each figure. A0 is short for "A for nought" which means that the band plays once through the A part of the tune before the dancers begin to dance. Not all all sets have a A for nought.
Barb - if you go to 5 contra dances you will be hooked for life. Trust me. You'll absolutely love it. Here is an example from my home dance - the guy with the towel on his shoulder is George Marshall - Caller and member of the contra dance band Wild Asparagus - the band at this particular dance is Crowfoot - incredible dance band -: http://www.youtube.com/watch?v=vFUqM7h5GZA and another http://www.youtube.com/watch?v=5sqVx...eature=related
And here is a huge dance in Peterborough NH - the annual Snow Ball - the band is Nightingale - another even more incredible band. We will dance to Nightingale tomorrow night in Greenfield. http://www.youtube.com/watch?v=k4Wuz...eature=related There is a LOT of contra dancing in this area. If you want to see what dances might be in your area one source is the web site www.thedancegypsy.com.
The forming of sets in a session is mainly based on what the regulars among the musicians are used to, kind of common culture. There are some standard sets at our sessions: Rights of Man/Pride of Petravore Jig of Slurs/Atholl Highlanders Harvest Home/Off to California Lads of Laoise/Return to Milltown ..etc. Most of them employ a key change, which can be between major keys (D to G or D to A are very common) or between modal scales of the same base note (E dorian to E aeolian, A major to A mixolydian give subtle but striking mood changes). What is generally regarded a non-starter is a set of tunes that are too similar - I sometimes try to play Craig's Pipes/Morning Star, but the others cringe at that. The most difficult thing is an unknown set, i.e. some non-regular starts a set and the others don't know exactly 1. how many times to play the current tune (rule of thumb: 2-part tunes 3 times, 3 and more parts tunes 2 times, very popular 2-part tunes 4 or more times). It is a good idea to call out "again!" at the end of the 2nd time to announce a definite 3rd time. 2. what is the next one - typically all go silent to hear what the set starter will come up with and then join in. If you are able to call the name of the next tune while you play, that's good on you (I can't), but many session musicians don't remember most of the tune names (happens to me more often lately). If you start a set with a tune that's part of a standard set of the regulars', it is possible that they run away on you with the next tune of their set instead of yours - that's where the volume of your instrument comes in, because it is most likely to happen if you became inaudible after the others joined in. It gets more complicated if you have to handle accompanists - one common way is calling out the key of the next tune ("D!!" or "A minor!!"), but not all guitar players understand that this is not the only chord they are supposed to play...
I often wonder at sessions why the set starter generally does not announce name and key of the tunes in the set he/she wants to play and then just dive in. In a dance environment the players generally discuss the tunes to play and the arrangements before they dive in. Of course it would be a complete meltdown and the dance would lose all its steam if every one went quiet waiting for the leader to start in on the new tune.
Some of the players at the sessions I've played at don't know the names of many of the tunes they are playing, and more than a few times I've seen some spirited discussions about the name of the tune that was just finished.
One of the sets we play is "Toss the Feathers" and "Toss the Feathers". Calling it in advance would start a spirited discussion even before a note is played. Tunes are distinguished more strongly by their sound than by their names. You can call "Eileen Curran's", get blank faces, and when you start to play they say "Oh it's Sailor's Return". On the other hand, names can distinguish tunes more strongly than their sound - 3 weeks ago I started "Creel of Turf", the others apparently were lost at first, but when I entered the B part they recognized it and joined in - or so I thought. Next time round they played a different A part than mine (harmonies fitted, but this time I was lost), the B part was similar again. It was a perfect musical misunderstanding of 2 jigs that shared a common B part. It is this chaos that prevents me from ever getting bored by Irish music. A maze with shifting walls. Often I wonder if its topography depends on the amount of Guinness everybody had (but then I also wonder if I could understand gaelic songs if I recorded them and played them backwards). For those who want to dive deeper into the confusing tune name business, I strongly recommend Kate Thompson's book "The New Policeman" (which is also the name of a tune).
Wow, Group. that is a lot of information to digest at one sitting. this is quite facinating, tho. Barbara, David, Bertram, Rob, Hastyman. you all have touched on something that is entirely new to me and more complex than i had originally thought. i was just wondering about the chord progression from a tune in,say, G to one in D, but obviously, it's much deeper than that. thanks for all of your input, i'll keep studying this. thx again mc
