This week's winner is Castle Kelly, which was submitted as a reel. According to The Session, it is also known as Caisleán Uí Cheallaigh, Castle Kelly’s, Castle Smelly, Castlekelly, Jimmy’s Folly, Kelly’s Castle. Here is a link to eleven settings on The Session, with a few more ABC's in the comments section. It seems to be a popular tune to be included in a set!
The 3rd example above deserves special attention because it features Jens Kommnik on guitar, a very nice person and a true role model for ITM accompanists. Another example for even more inventive accompaniment on this tune is this piano player, demonstrating how much chords control the whole tune. This tune was also in Other Tunes two years ago.
I'm not sure where I got my version of Castle Kelly but it has G#'s in the B part that no one else seems to play. I kinda like 'em so I made an abc of my version in case anyone else likes the G#'s. Played on my Sobell mandolin and Sobell octave mandolin. Here's the abcs: X: 1 T: Castle Kelly R: reel M: 4/4 L: 1/8 K: Amin EG|:A2 cA ABcA|GAGE G2 EG|A2 cA GAcd|eged cA AG|A2 cA ABcA|GAGE G2 EG|A2 cA GAcd|eged cAA^g:|agec d2ed|cAGE G3 ^g|agec d2cd|eaa^g a2ab|agec d2ed|cAGE G2 EG|A2 cA GAcd|eged cAA^g:|
That's a noble and stately sounding rendition, David, and how did you obtain permission to record it inside Notre Dame Cathedral? The high g# as you use it seems to be a subtle beautification often found in tunes as a nod to the baroque ancestry of the genre, and as such it goes very well with the overall nobility. In the session rendition I play today (and which evolved as a kind of acoustic reproduction of the hard rock accompaniment from my earlier video), I use one E major chord (GDAE=1220) in one of the variations, where the G# is more of a forceful intrusion. Here is a rough one-take recording over the webcam mic (ratty quality,I know) to demonstrate what I mean. E major is in the 3rd time round.
We've had the organ (wonderful by the way) and the octave mandolin so time for the tenor banjo. Still a bit rusty on where the notes are going on this one so a bit of improvisation or as I like to put it melodic variation I hope you can see it - I'm having problems viewing youtube videos. If not here is the link https://youtu.be/pwvUcyNVxw0
A perfectly done see-thru version, James
Great job, all! James, what kind of TB is that? I have one with a clear head too, but it's got the resonator on the back!
Setting the bar high everyone! Just started learning this one the other day. Will get some time to play this afternoon and see if I'm up to speed enough to have a go at recording it!
Thanks folks. Barbara the banjo is made by Rosta Capek in the Czech Republic. http://www.capekinstruments.com/inde...20Brdy%20model It has a Whyte Ladie tone ring. it had a black head on it which was very thick and at the time I was going through a mellow phase and this suited me (having previously had a very bright banjo). I'm now moving back to a brighter sound and this is the 3rd head I've tried of increasing brightness. There is always a trade off between mellow and bright and I'm really happy with this now. Actually I was listening back to one of my old videos when I had a master tone style resonator with a clear head and thought it sounded great - I was wondering why I ever sold it!
I've been practising along with the Comhaltas session Cd to get this up to session speed. Getting there! Here is a quick run through. I changed it a bit from how I first played it to fit in with the Comhaltas version
Finally got a chance to sit down and record some stuff (moved a few weeks ago so things have been chaotic).
A perfect fit with the standard, James & Jill. A 9 7/8 mark from the CCE adjucators, for sure.
I first came across Castle Kelly on the album "Doublin'" by Paddy Keenan and Paddy Glackin. One of those tunes which I felt I had to learn the moment I heard it. Having said that, it's a bit of a nemesis tune for me... A friend with whom I have spent many evenings swapping tunes plays the tune with both parts single (i.e. 8 bars no repeat) and, having played tunes with him so often, the single version of the tune became embedded in my brain for many years. However it's also a favourite tune of another player who I've had tunes with on many occasions in various different sessions. He has a different take on the tune in that he plays the first part single and the second part double. He trips me up every time he introduces the tune into a set. Others have learned the tune from his playing and don't trip up... Oh well. Playing it solo gives me the opportunity to play it with both parts doubled, as I first learned it. If you'd like to get your hands on some basic dots/tab for a version with each part played "single", follow the link below: https://crosseyirishmandolin.files.w...ly-new-tab.pdf
Fine playing again Aidan and not wishing to miss the party I've posted my rendition from earlier this year (seems like a millenium). And I've taken the liberty of posting Señor Bertram's performance: and the other interesting thread: https://www.mandolincafe.com/forum/g...149&do=discuss
Great stuff... and interesting that Bertram plays it double while you play it single. Perhaps my mate's idiosyncratic approach of playing the first part single and the second part double is, on reflection, a good compromise for a tune which is often heard in both single and double forms...
I remember Simon's version, which is still great, but I don't think I saw Bertram's excellent take (or I would have remembered that he was sitting in a chair rather appropriately labelled "Racing"). And I really like Aidan's, with its slightly syncopated effect.
