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Thread: Eileen Pakenham musette

  1. #1
    Registered User Hany Hayek's Avatar
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    Default Eileen Pakenham musette

    This piece was posted several times here.
    This is my interpretation. Hope you like it

    “Music expresses that which cannot be said and on which it is impossible to be silent.”
    ― Victor Hugo

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  3. #2
    Registered User Martin Jonas's Avatar
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    Default Re: Eileen Pakenham musette

    Very nice, Hany! Great tone on that bowlback.

    I love this piece -- it's so hypnotic and satisfying to play. Your tempo is quite a bit faster than I play it. The score doesn't give a metronome marking, but says "Rather slowly with soft drone & singing melody". No idea how fast Ms Pakenham intended it to be played, but I took my lead from Alison Stephens' recording on "Con Espressione", where it comes to about 1:50 minutes.

    When listening I thought at first that your timing was off in the opening phrase. On re-listening I realised that you were in fact playing perfectly in time, but leaving out a note: the open D on the third beat of the second bar is missing.

    For those who want to try it, the link to the PDF score (posted to the Cafe by Jim Garber a few years ago) is at: Link

    My old recordings from 2014 are at: Link

    Martin

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  5. #3
    Registered User Hany Hayek's Avatar
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    Default Re: Eileen Pakenham musette

    Thanks for your comment Martin.
    Michael Reichenbach (Cafe member mandoisland) plays it even faster.
    You have another recording on your Embergher mandolin.
    That note you mention, the open D didn't seem to fit the tempo (In my opinion of course)
    Unless you count the open A as a crotchet. Meaning I read it like I would with classical guitar, let it ring as a half note and play the D in time. I'll try that next time
    “Music expresses that which cannot be said and on which it is impossible to be silent.”
    ― Victor Hugo

  6. #4
    Registered User Martin Jonas's Avatar
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    Default Re: Eileen Pakenham musette

    Thanks, Hany.

    I think the intention is that the open A on the second beat is allowed to continue to ring for the full half-note duration notated, with the open D played as a harmony note in time on the third beat. That's why the D is written with the neck pointing downwards, much like in classical guitar notation. The piece makes great use of ringing open strings to build up harmonies, which is why it is important to stick to the notated fingering and note durations.

    Martin

  7. #5
    Registered User Hany Hayek's Avatar
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    Default Re: Eileen Pakenham musette

    You are absolutely right. I got used to playing this piece long time before I started playing classical guitar, omitting the open D.
    Back then, for me there was something wrong.. an additional note out measure 3/4
    I tried it after your comment and just sounds beautiful with that note. The problem is I hate the camera. I can play in front of people. Showing off my mandolin, but to do a simple one minute recording I get nervous. I hope I'll do it soon and replace this recording.
    Thanks
    “Music expresses that which cannot be said and on which it is impossible to be silent.”
    ― Victor Hugo

  8. #6
    Mando-Accumulator Jim Garber's Avatar
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    Default Re: Eileen Pakenham musette

    That is such a nice simple but expressive piece. I like your playing, too, Hany. Thanks for posting and reminding me of it. Martin is, of course, correct about that downward-pointing "D". I am not how you folks play it but it seems that from the finger indications (I assume from the composer) that, with the exception of the drone G-string, all other notes are to be played fretted and not open. That would make sense to allow the drone to ring but not the other melody notes.

    Actually, I take that back... there are some which I do play the open A strings. As long as it does not ring too long it is probably OK. It is more difficult if you have to stretch from the first to the 7th fret.
    Last edited by Jim Garber; Jul-21-2017 at 1:53pm.
    Jim

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