Seamus O’Kane’s mazurka

Seamus O'Kane's has been added to 7 tunebooks.

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One setting

X: 1
T: Seamus O'Kane's
R: mazurka
M: 3/4
L: 1/8
K: Gmaj
|:Bc|d2 d2 cB|c2 F2 GA|AB cB ce|d2 G2 Bc|
d2 d2 cB|c2 F2 AB|A2 G2 F2|G4:|
df|g2 g2 fe|f2 c2 df|ef gf ga|gf d2 df|
g2 g2 fe|f2 c2 dg|e2 a2 ^g2|a4 df|
g2 g2 fe|fe c2 df|ef gf ga|g2 d2 ef|
g2 g2 fe|f2 c2 AB|A2 G2 F2|G4||

Six comments

Seamus O’Kane’s

This tune was written by Aoibheann Devlin and can be found on the "Armagh Pipers Club - 40th Anniversity Album".

It’s part of a set of 2 mazurkas performed with Aoibheann Devlin, fiddle; Deaglan Devlin, guitar; and Seamus O’Kane, bodhran.

Cadence & Notation

This tune was a bit difficult for me to notate. The melody is played staccato with a lot of swing and a lot of slur. There is also a lot of variance of theme, utilizing the major triad for note substitution and avoiding repitition.

I’ve added a few ‘fill’ notes to add ‘substance’ to the transcription without adding all of the nuances of a classical mazurka. I’ve also shown the second part without repeats.

This is actually other than the recording which strictly repeats, but alludes to another nuance found in the recording- the melody is actually transposed for part of the arrangement, in addition to variance in note choice, cadence, etc. Someone with a better ear for arrangement might be able to help me out with what’s going on there?

I’ve hinted at suptleties in cadence with variance in the rhythm shown in the second part and allowed for by notating without repeats.

A great example of the difficulty of transcribing traditional playing with ‘classical’ notation. Hopefully the transcription holds together.

That is- transposed in addition to that which I’ve notated as the first and second parts!

Re: Gan Ainm

I’ve reworked the above tune and renamed this one. The tune referred to above can be found under the title Seamus O Kane’s Mazurka.