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Celtic Mandolinby Roger Landes
"The Bush on the Hill" a double jig in 6/8 time with eight bar phrases repeated. In this transcription I've condensed in one time through the tune some of the "ornaments" I might play over three repetitions of the tune. I would make a point of playing each of these ornaments at least once over the three repetitions, but never all of them in one repetition. Double Jigs are in 6/8 time, with groups of three 8th notes on each of two downbeats per bar, giving each downbeat a total value of a dotted quarter note. The first of the three 8th notes on each downbeat is usually lengthened slightly, borrowing some of its duration by a consequent shortening of the second note that follows it. This lengthening of the first notes on downbeats throughout a tune is called "lilt." The third note on the beat is unaltered time-wise, though it is sometimes also accented to give a "hopping" or "loping" feel to the rhythm. Picking pattern: for starters use Down-Up-Down Down-Up-Down as I've indicated in the transcription (please avoid DUD UDU). Most Irish players use this as a basic pattern for jigs, although there are exceptions. I find that if players with little or no experience of Irish music on the mandolin can break the habit of alternate picking then it is much easier for them to achieve the jig's unique rhythm, and, it tends to free them up to vary the pattern later when the DUD DUD has become second nature. Mandornaments: Triplets (also called "trebles"): not to be confused with "real" triplets as in common notation, where three equal notes are played in the space of 2, Irish "triplets" are really two 16th notes played in the space of one 8th note followed by an 8th note. In a jig, these are combined with another 8th note to occupy a dotted 1/4 note (quarter note), or 1 1/2 beats (one and one-half beats) - half a bar in 6/8/ I refer to all picked triplets as "staccato" to distinguish them from "legato" triplets in which one or more notes are not picked. In reality, only the two 16th notes in a triplet are staccato. Staccato "triplet" on 1 pitch: picked triplet with all 3 notes of the same pitch. Left hand muted "triplet" picked the same as the staccato triplet on 2 or 3 pitches except that the LH finger(s) does not fret the string, only touching it momentarily so as to interrupt its vibration thereby muting one or two notes of the triplet. The muted notes should make a "tick" sound when picked. "Crann" emulation of a decoration from the uilleann pipes. Play this as legato as possible and try to achieve a "stuttering" affect for the pull-off by "throwing" the 2nd finger at the G string. "Pull-off Cut" unlike grace notes cuts are on the beat, not immediately preceding the beat. In fact, it's best to think of them as the attack of the beat, having a rhythmic affect and no melodic value, per se. Play cuts to open string notes with the first, second, third or fourth fingers-whichever is most convenient; play cuts to 1st and 2nd fret notes with the third finger; 3rd, 4th and 5th fret notes with the 4th finger. "Roll" originally from the pipes, this ornament is the basic one for flute, whistle and fiddle. These are tricky on the mandolin and the difficulty varies depending on which note the roll is on. I find that 2nd fret/1st finger rolls are the easiest, followed by 3rd fret/2nd finger. This roll is called a "long roll" because it occupies the time of a dotted quarter or ½ of a bar in the double jig's 6/8 meter. Pick the first G with a downstroke and immediately hammer-on to the A and pull-off back to the G then pull-off to the F# and end by picking the last G with another downstroke. The roll should be one motion: pick/hammer/pull/pull/pick. Long Rolls are not really played as notated in my transcription, the 2nd and 4th notes are in reality of shorter duration than the 1st, 3rd and 5th, but the notation gives an idea of the sequence of fingering. The best way to learn how to play rolls is to take a few lessons on the tinwhistle and listen to LOTS of good players to hear the infinite variety in the way they are articulated. Mandornaments in the transcription of "The Bush on the Hill":
In 1982, Roger helped form the popular Celtic group Scartaglen. He appeared on the recordings: Scartaglen, The Middle Path and Last Night's Fun. In 1993, with Scartaglen, he contributed one track to the best-selling Narada Records collection Celtic Odyssey, which was on the Billboard charts for almost two years. Since June of 1995, Roger has performed in a duo with singer and keyboardist Connie Dover. During his decade with Scartaglen, Roger Landes established himself as a first-rate accompanist and arranger. Since the dissolution of that band in 1994, he has emerged as a master soloist, performing Celtic tunes on the bouzouki, mandolin, and guitar with dazzling technical skill and creativity. He is also gaining recognition as a producer and composer. Roger's first solo CD, Dragon Reels, was recorded in Nashville with Grammy Award-winning engineer and producer Bil VornDick. Released in 1997, it has garnered unanimous critical praise. Dragon Reels was reissued on the Dorian Group label in September of 2001. Roger is in great demand as a teacher, and has been on the staff at Friday Harbor Irish Music Camp, Swannanoa Gathering Celtic Week, Milwaukee Irish Festival Summer School, and at the Seattle Cittern Symposium. He is also director of ZoukFest, the first international gatherings devoted to the bouzouki in 1998 and 1999. ZoukFest moved to Roger's new hometown of Taos, New Mexico in August 2001, and since then has grown into a full-fledged World Music Camp, with the addition of classes for many other instruments and vocals, in a range of musical styles. Roger has produced recordings for Michael Dugger (At Early Dawn), Chris Grotewohl (Under the Influence), Dan Grotewohl (Bear in the Greengrass), and Celtic group Gabriel's Gate (Departures). He recorded , The Janissary Stomp, a collection of original bouzouki duos with Chipper Thompson. Roger appeared in and contributed to the soundtrack of the 1999 film Ride with the Devil, directed by Ang Lee (Crouching Tiger, Hidden Dragon). He has appeared on the National Public Radio shows Mountain Stage and A Prairie Home Companion. In April 2001, his music was featured in a PBS documentary, "Last Stand of the Tallgrass Prairie. In October of 2002, Roger joined Spanish Galician musician and Chieftains alumnus Carlos Nunez in his first tour of the US, and in December he was part of a tour in a trio with Irish fiddle phenomenon Frankie Gavin and harmonica virtuoso Rick Epping. In April of 2004 he had the pleasure of accompanying legendary Irish fiddler Tommy Peoples for a week of concerts during Tommy's first visit to New Mexico. Roger has most recently been performing in a duo with fiddler and guitarist Randal Bays. Their new live CD "House to House" was released in September of 2004. |
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