By any other name - - - yet another Varsovienne
This was first learned as ‘Gan Ainm’, but I won’t be using that anymore, for fear of all the unassociated recordings that suddenly appear whenever you give that as an alterante name. It is also recorded in a different key, D Major, better for you whistlers and also a key I’ve known and played it in, and also as notated in the second volume of that excellent little pair of collections called ‘Whistle and Sing’:
|:DF A2 A2|dc B2 B2|ed (3cdc B2| A2 F4|
DF (3ABA A2|dc (3BCB B2|ed c2 B2| C2 d4:|
|:fg af d2|A2 c2 B2|ef ge c2|A2 B2 A2|
fg af d2|A2 c2 B2|ef ge c2|Bc d4:|
Whistle and Sing! Book 2 - by any other name
And, as usual, I forgot to mention something, that in this book, page 62, it is called ‘Rachael on the Rock’… I must admit, though I recommend these two books, I cringe when I read under this particular tune this kind of ‘shight’ that leaks out into negative mind sets:
- - - So in sessions throughout Ireland performers will from time to time launch out into a waltz or other ‘foreign’ tunes - usually from continental Europe - with great gusto. But not jsut any old tune: those given here all possess that certain ‘something’ which harmonises with the traditional musicians feeling for a good tune."
Well, some forgiveness is earned with that last bit, but it’s the same old garbage that has meant things like the square sets being outlawed as un-Irish, foreign, European, or even worse ‘English’. While some of these tunes show up elsewhere, some are indiginous, as happens with time, like the potato. How much would be lost if everything ‘foreign’ were purged from the shores of Eire? It like England has been a melting pot for a long time, much longer than North America…
Just curious, but is the first section really supposed to end on a low G? Seems an unusual leap to me.
Screw up and Variations - hopefully ‘the boss’ will eventually correct this:
Mia copa - - - the last bar of the A music to this Varsovienne should have read in this transcription:
rather than as I’d slipped and written
|F2 G,4:|, an octave difference, however,
there is a variantion I sometimes play that confused me:
Second Ending if it pleases you, personally I like those low growls - - -
A Part, Bar 8:
|1 D2 G,4:|2 F2 G4||
“Edit the ABC notation” - “DUH! - now I see the light and it is done…
That Hornpipe/Mazurka thang - - -
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|
How did that get here? - yes, Culpa as in culpable, I concede…
Sorry ‘jocklet’… Sadly, I had that damned song "At the Copa, Copa Cabana - - - - ", damn, now it’s started again…
That was by the dreadful Barry Manilow,wasn’t it?
NO! - NO! - NO! - for my sins I have to relive this yet more acutely - - -
And because of you I now see the Manilow too clearly, that damned bush of curls, and that smile - - - oh my aching bald head - - - is this hell? - - - not piano accordions too - - - AAAAAA!!! I’M SORRY!!!!
Who has the sedative? I’ll hold myself down and someone else can administer the medicine… Now where did I leave that lovely canvas coat of mine, the one with the fashionably long sleeves and with all those leather straps and shiny buckles?
It’s fun to watch you talk to yourself, darling… :)
This looks to me like a varsovienne version of this https://thesession.org/tunes/1323 in a different key.
Yes! I forgot to add the link ~ “Rachel on the Rock” as a mazurka
Key signature: D Major
Submitted on January 13th 2003 by milesnagopaleen.
Also attributed by alternate names to half a dozen fiddlers, including Johnny Doherty & Tommy Peoples…
“The McCusker Brothers Varsovienne”
#1 of 3 in a set they used to play:
T: Rachael on the Rock
S: The McCusker Brothers
K: D Major
|: F>G A>F A2 | d>c B>^A B2 | ed c>^B c2 | (3ABc d>e f2 |
F>G A2 A2 | d>c B2 B2 | e>d c2 c2 | (3ABC d2 d2 :|
|: f>g a>f d>e | d>c B2 G2 | e>d c2 c2 | (3ABc d2 d2 |
f>g a>f d>e | d>c B2 G2 | e>d c>^B c2 | (3ABc d2 d2 :|