Carolan's Welcome by Turlough O'Carolan is usually played in Am. I have dropped it down a whole step to Gm so that the B part isn't so tinny & thin sounding.
Hi David, That was great!! Hadn't heard that one before, you got me playing it now... Loved your rhythm and the harpsichord.
That harpsichord gives it the very baroque feeling O'Carolan probably always aimed for. Goes well with the copperplate-print-like pics.
This was tucked away in another thread from 2010... Played on a Beard OM...
No mandolin but my tenor guitar is tuned GDAE.
Nicely done! This piece was played at my wedding, by the amazing harp player, Ramona Egle. I must learn it.
I recorded a quite different arrangement of this slow air by Turlough O'Carolan a while back. This new recording uses a harmony part from the book "Celtic Music for Mandolin" by Allan Alexander and Jessica Welsh. For a lute (or harp)-like tonality, I have played melody and harmony on a double-tracked nylon-strung bowlback mandolin (a retuned ukulele) over tenor guitar arpeggios. "Baroq-ulele" nylgut-strung mandolin (x2) Ozark tenor guitar Martin
Nice recording and blend of instruments Martin, congrats.
Another of my re-recordings of arrangements we play with our weekly mandolin group -- same arrangement as my 2015 recording above, but different instrumentation. My arrangement of this Irish slow air by Turlough O'Carolan is based on a harmony by Allan Alexander & Jessica Welsh, from "Celtic Music For Mandolin". 1898 Giuseppe Vinaccia mandolin Mid-Missouri M-0W mandolin Vintage Viaten tenor guitar Martin
And I still haven't learnt this one ... Nice recording, Martin.
I’ve printed it out Dennis, well played Martin. Got to record this soon.
Lovely, Martin. That mandolin makes it sound more Italian than O'Carolan ever hoped for, I suspect. I especially like the duet in the second half.
Va tutto bene, ma oggi piove. -no idea what that means but it’s in Italian!
Thanks for the kind comments. Yes, using the bowlback gives it quite a different character, but as we use bowlbacks when we play it with our group, I'm used to that. Bertram: I also really like the effect of having the two voices together. It's not really a harmony but rather a counter melody -- the part was written by Allan Alexander as a melody variation to be played separately after the main tune rather than as an accompaniment, but it works really nicely this way. We play it like that all the time. Martin
Nice recordings by everyone - with different arrangements and instrumentations.
