Week #278 Jenny Dang the Weaver

  1. Marcelyn
    Barbara asked me to let y'all know that this week's winner is a Scottish reel called Jenny Dang the Weaver. It's become a pretty popular session tune.

    On thesession.org you'll find a discussion of the tune, lots of ABC versions, midi files, and standard notation...

    Here's just one version in ABC notation from thesession.org...
    X: 1
    T: Jenny Dang The Weaver
    R: reel
    M: 4/4
    L: 1/8
    K: Dmaj
    |:dA (3AAA AFAB | dA (3AAA f2ef | dB (3BBB BABd | ABde faef:|
    |:d2fd efge | defd e2dB | d2fd efge | aA (3AAA f2ef:|

    This site allows you to convert ABC notation to mandolin tab by copying and pasting..

    Here's a site with standard notation, tab, and a midi...

    Folkworks offers my favorite site for learning Jenny Dang the Weaver. Along with helpful playing tips and interesting historical facts, a great fiddler, Hanneke Cassel, demonstrates the tune at a slower pace for learning and then up to speed.
    Don't forget to check out the Folkworks site above for the tips, but here are the embedded videos from Hanneke Cassel...

    A solo mandolin once through from Cafe member, David Dagger Gorden, is available as a free download from this site. It's a little bit of a hassle to get the video, but he does demonstrate an authentic sound with some really nice double stops.
  2. James Rankine
    James Rankine
    Quick run from me, I kept it short because it was a bit repetitious. It's a tune which would benefit from some variations - I'm sure folk round here will oblige.
    Played on an Eastman 504 mandolin, Tom Buchanan Irish Bouzouki (GDAD), short scale Deering Goodtime tenor Banjo (GDAE) and a Bodhran I got in Ireland 30 years ago (Yikes I'm getting old!)

  3. Marcelyn
    Really fantastic arrangement, James. I love those triplets!
  4. Manfred Hacker
    Manfred Hacker
    Excellent James. Thanks for the early demo.
  5. John Kelly
    John Kelly
    Well played, that man! Interesting instruments here, James.
  6. jonny250
    Wow James that's really nice and clean playing. your instruments sound really nice.
    I agree its fairly repetitive but it seems to get played as part of a set, so i made up my own set/pair and decided to introduce Martin Wynn to Jenny Dang. For those of you who know the Martin Wynns 1 & 2 its a fairly obvious alternative to the Longford Tinker methinks
    Here's my rough n ready:
  7. David Hansen
    David Hansen
    James that was really well done, excellent playing and the recording sounds fantastic. Johnny that's a great pairing of tunes and that octave sounds great, well done.
    Here's mine on my Sobell's with some guitar backing.

  8. Marcelyn
    Whoa, David, you've outdone yourself this week. What a cool way of backing up the B part.
    Jonny, that's a driving set you worked up. I agree about the sound of that octave.
  9. Frithjof
    After we all enjoyed the playing of some masters may be it's time for an apprentice to try and play this tune:

    James I like how the instruments come in bit by bit and especially love the sound of your tenor banjo.
    Jonny, you obviously have a lot of fun with your octave and it sounds great.
    David - what could a apprentice say ... Just a new set of micros I recognised.
  10. OldSausage
    Well done guys. Here's mine:

  11. justkaron
    Postings for this tune this week are great. Impressive. Inspirational.
  12. David Hansen
    David Hansen
    Well done David, I love the sound of that mandolin, let me know if you get tired of it
  13. OldSausage
    Thanks very much David, I'll be sure and let you know - I might swap you for your Sobell
  14. Niavlys
    Here is my mine, still not early, but still in time I guess!

    P.S.: Sorry for the blurry image and the missing one or two notes near the end!

  15. OldSausage
    Great Job, Niavlys, sounds really good. You seem to be in a nice place. I liked the cameo by the young cat.

    I realized after watching that, I had played my version with a swing like your average bluegrass song, but everyone seems to play this with really straight timing so that the triplets have a very different character. Maybe I'll have another go at it that way.
  16. justkaron

    Somebody has to lower that bar just a bit.
  17. GKWilson
    All right. Good one Karon.
    Keep on picking'
    Nice triplets Niavlys. How thick is the pick you use?
  18. James Rankine
    James Rankine
    Well done Karon, for the stage you are at the triplets are sounding really good.

    Niavyls - great playing, tone and the sun is always shining when you play. Where are you from?

    Interesting observation OS on the different character of your triplets. I guess it is, as you say, the timing which is a difficult thing to put your finger on. One thing I recently realised was the different approaches to recovering pick direction after a triplet. I learned the Enda Scahill( the Irish tenor banjo player) approach which is a strict down after the down up down of the triplet. If you are used to playing Jigs two downs in a row feels quite natural. Then I was learning red haired boy on Mike Marshal's artist works site and he told me to do two ups in a row. I worship and adore Mike M but this was never going to happen. Thankfully someone posted "can't I just do two downs in a row?" and he said that would work as well so normal service was resumed. I notice that you are of the Mike Marshal school of approach so I don't know if that is a factor as well. Enda Scahill says you have to leave time for the triplet - I don't know if he means rob a little time from the notes either side - he is not specific in his tutor book (the bible). All I know is I can't do them at session speed and I've only just started doing them again after a 1 year self imposed ban which helped me get up to speed on my general playing. Too much emphasis on the triplet in Celtic style playing is a curse which can hold you back when you should be flying with DUDU. I thank Mike M and Bluegrass for getting me out of the triplet downward spiral!
  19. OldSausage
    I think Mike's approach is simply to do whatever it takes to do the triplet and still wind up with your pick direction correct afterwards. Typically somewhere you'll encounter a longer note at some point shortly after the triplet, and that's where your average bluegrasser will reset their pick direction. But I think Mike got edumacated by the celtic players and understands now why those folks do what they do, and advocates it for that genre. But if you're like me, you're only going to encounter these triplets occasionally so it's hardly worth the tedium of learning the dud dud dud approach.

    The timing, on the other hand, I think that less to do with how you manage pick direction, and is more about the feel of the tune. No doubt opinions differ on that score!
  20. Niavlys
    Thanks for the comments!

    Concerning the location, this is recorded in my garden in the South of France, near Montpellier. The cat is one of three siblings that we feed daily, and is the only one almost completely domesticated.

    Concerning the pick, it's a Jim Dunlop Jazz III (1.38mm), best pick – for the mandolin – that I've tried so far! It's small, sharp and rigid, makes a perfect clean sound, is very responsive, and is as cheap as most picks. I love it.

    Concerning the triplets, it seems I do something like DUD D, indeed. I've learned DUD picking-style for Irish jigs not long ago, and it was really easier than I thought it would be, as if my body was just waiting to unlock this ability: it really feels more natural in terms of rhythm, including when playing triplets in reels like here.
  21. woodenfingers
    Not too far behind on this one. I agree with the comments on triplets. The Mike Marshall technique was quite strange when I first tried it but I eventually got it working well. Nonetheless, I use whatever I find easier, the MM method or the Celtic. Both come in handy.

    James- I really enjoyed your multi-instrument take. All the instruments really blended in nicely together.
    Johnny - great playing there. I struggle with my octave to get those higher frets played cleanly and quickly.
    David - great as always but that backing guitar was truly fabulous. You really got into it there. I tried to copy it but couldn't get it.
    Firthjof - Apprentice? Clean and clear picking there!!
    OS - Celtic BG. Brings a big smile to my face - that mando sounds great too. Probably makes Marty smile.
    Niavlys - You can sure make that mando ring nicely even at speed with great triplets.
    Karon - you are doing well. Keep at it and keep them coming.

    Here's my try:

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