Hugh Gillespie’s Mazurka
- and the beat goes on…
More Weirdness -
Where did all those ‘Hugh Gillespie’s’ come from, and the list of tracks? This is Twilight Zone stuff - and the page kept going blank today. Well, another mystery for the ‘boss’…
For those not in the know, the mazurka/hornpipe connection:
While it seems we’re not notating it, these mazurkas/Varsoviennes and hornpipes share the skip, as examples:
|G>A B2 D2| - or - |b>c d>G B>d|
Keeping a promise -
This is another version, from the fiddle of John McCusker, The McCusker Brothers Ceili Band:
|:D>G B2 B2|G>B d2 d2|e>d c2 c>e|d>c B2 B2|
D>G B2 BA|G>B d2 d2|e>d c>B c>A|F>D G2 G2:|
|:B>d g2 g2|f>e d2 d2|e>d c2 c>e|d>c B2 B2|
B>d g2 g2|f>e d2 d2|e>d c>B c>A|F>D G2 G2:|
All in the family - - -
Some already are aware of the similarities of this with ‘Sonny Brogan’s’/’The Irish’, but for those of you unfamiliar, here’s the link:
There are a lot of ‘variants’ in the ‘comments’ of that tune. Fortunately there is enough difference, especially the B-part of this one, that the powers that be have allowed this Varsouvienne/Mazurka to have a space of its own, though I really think "Sonny Brogan’s" deserves a similar consideration… All I can do is ask…(fear and anxiety)…
John McCusker’s set:
The McCusker Brothers Ceili Band
1.)’McCuskers’ - ’
2.) this tune, ‘Hugh Gillespie’s -’
As mentioned with ‘McCuskers’, John’s set can swing both ways, work as ‘Mazurkas’, as on with the recording I’ve just been working on, or ‘Varsouviennes’. For the latter there would be a bit of articulation on the paired crotchets/quarter notes, sometimes even with a bit of pizzicato… As mazurkas the bar lines move one place to the Left with the bow emphasizes counts 3 & 1…
#3 in a set of 3 - Armagh - from the fiddles of John and Vincent McCusker:
Bar Lines one beat later?
I find this type of notation quite confusing, as I don’t feel it as written..
Ie., I feel the main downbeat is beat TWO of each bar.
Regret I don’t know enoough about abc yet to notate it myself, but I feel the first two notes D>G as pickup notes, then is the bar line, as in, D>G |: B2 B2 G>B | d2 d2 A>B | etc.
I suppose it should have a first & second ending with pickups to each part respectively.
Anyone else have the same take on this? Ask the dancers?!
A Varsovienne differs from a mazurka by that beat difference. What would be the lead-in for a mazurka is a primary beat for the dance. The rhythm is different between the two, but, you will find notation that goes both ways, as some melodies in this form can work both sides, as a mazurka and as a varsovienne… It hits it on the first, but the second and third are equal, instead of where, in a standard mazurka, the emphasis would be on the 1st and 3rd beats, similar to a pols…
I do dance it too…several versions…
For your sake and others that might prefer it the mazurka way ~
T: Hugh Gillespie’s
|: D>G |\
B2 B2 G>B | d2 d2 A>B | c2 c>e (3edc | B2 B2 D>G |
B2 B2 G>B | d2 d2 A>B | c2 c>A E>F | G2 G2 :|
|: g>f |\
e2 e>g (3gfe | d2 d2 A>B | c2 c>e (3edc | B2 B2 g>f |
e2 e>g (3gfe | d2 d2 A>B | c>B c>A E>F | G2 G2 :|
Hugh Gillespie’s No.2
The following is so different I really wasn’t sure if it was the same tune, but I think it probably is.
T:Hugh Gillespie’s No.2
S:CD, Zoe Conway, The Horse’s Tail, 2007
E>A | c2 c>BA>c | e2 e2 B>c | d>cd>fe>d |c>e a2
E>A | c2 c>BA>c | e2 e2 B>c | d>cd>BGB |1 B>AA>F :|2 B>AA ||
ga>g | f2 d>fd>f | f>ec>ec>e | d2 B>dB>d | c>e a2
a>g | (3faf d>fd>f | f>ec>ec>e | d>cd>BG>B | B>AA :|