The Streamstown barndance

Also known as The Streamstown Schottische.

There are 4 recordings of a tune by this name.

The Streamstown has been added to 2 tune sets.

The Streamstown has been added to 6 tunebooks.

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Two settings

X: 1
T: The Streamstown
R: barndance
M: 4/4
L: 1/8
K: Dmaj
dF FE D4|dG GE E2~E2|dF FE ~D2 D/E/F/G/|ABAF FD D2:|
d2 fd c2 ec|d2 fd Bd AB|d2 fd c2 ec|ABAG FD D2:|
# Added by Rover .
X: 2
T: The Streamstown
R: barndance
M: 4/4
L: 1/8
K: Dmaj
|:dFFE DFAF|dGGE BEEc | dFFE DEFG |1 ABAG FDDF :|2 ABAG FDD2 |]
|:defd cdec | defd BAA2 | defd cdec |1 ABAG FDD2:|2 ABAG FDDF |]

Seven comments

The Streamstown (schottische)

Played in F by Cormac Begley on Bb/F Lachenal baritone concertina on his self-titled CD (and not the jig Streamstown to which it currently links from thesession’s listing for the .CD). Transposed here from F to D.

Posted by .

Re: The Streamstown

Just curious, but F played on a Bb/F concertina would be "G" fingering on a normal C/G concertina, right? I’m curious why you chose D as the key instead of G. It seems like it would fit well in either anyway, and it’s always fun to play things in more than one key.

Posted by .

Re: The Streamstown

Well, it may have been played by the composer on a concertina but it could be played on anything, and adopting the default key signature of D was just intended to make it easier for players of instruments such as D flute or whistle etc.
See discussions such as at https://thesession.org/discussions/25437
As someone says there: "It’s the ranges and the intervals of the tunes that matter, not the pitch". Anyway, transposing to whatever key one wants is only a few clicks away via http://sessionite.com/jens-wollschlagers-abc-transposer/
BTW, hope you like the tune …

Posted by .

Re: The Streamstown

I love the album :)

You’re right that it doesn’t really matter, but my question was just because I would think of a Bb/F concertina as a "C" or flat-pitched / non-A440 instrument and therefore tunes coming out in F as really being in G (just a flat G). I would think of Cormac’s version of the tune as being in G.

Anyway, not intending anything as a criticism, just a discussion about pitch!

Posted by .

Re: The Streamstown

No offence taken, it was a fair question, and not a great answer. Perhaps I should have added that the baritone concertina’s lower pitch also gave the tune much of its particular character on this recording, and I figured transposing to D would allow the low D of the D flute to provide a better bass note than its G would.
But, hey, transposing the wise words of Captain Hector Barbossa, maybe the dots are "more what you’d call ‘guidelines’ than actual rules".

Posted by .

Re: The Streamstown

I agree on the last line 100% :) Dots are definitely just a guideline, the music is rarely (never?) captured completely by them.

I agree that the extra lowness (an octave *and* a tone below concert pitch) is a big part of the appeal of this track.

Thanks!

Posted by .

The Streamstown, X:2

Transcribed from John Joe Gannon’s playing on Seoda Ceoil 2