## Seventeen comments

### Third Sean Ryan waltz…

This one has the added interest of a key change. The group of three waltzes I’ve posted - Saturday, Seven Hops and Cascade - make a great set and are much more lively than some of the rather dull "folkie" waltzes you sometimes here (though some of them are also nice tunes).

Yeah, I like it. Do you mean to have a C natural in the fourth bar of the third section? If so, what chord progression would you suggest?

### Chords

I’d use G to start, then in the measure you mention with the C natural half note, play an Aminor, then switch to D in the next measure.

### Alternative suggestion for chords

Here’s an alternative suggestion for chords in the 4th part:

G |D |G |C |Am |D |D7 |G |

It might be interesting to harmonize the final g note with an A7 to turn it around to the top.

I’d even try an A7 in place of the Am.

Very nice tune

### Mazurka!

Swing this one (>)… A lot of mazurkas and related family members get tossed in with waltzes, no harm there, or in taking it straight, but the ‘beat’ for this one is clearly on 1 and 3, and that way of accompaniment carrys it best. It’ll sing you that way naturally in its phrasing and melody if you loosen up to it and let it…

I’ll be back with another take on this, with the swing…

Looks at watch. Drums fingers on table. Stares at ceiling and whistles silently. Checks date in diary…

Look, so I’m still nursing this bottle of scotch here. I need a moment to reflect on the seething hate in me for textured wallpaper… Then ~ I’ll be back…

I play something similar to as it is written here, but with the ‘SWING’ and with the emphasis on the first and third beat, as a ‘mazurka’. What follows is just messing around with the tune, holding back on the ‘{}’ and similar squiggly stuff, just to show where one would rock it when the chance comes to put two notes into the one beat, or *>*:

K: Dmaj

|: >F A>d |

f2 f>e d>A | F2 F>D F>d | f2 f>d f>b | a2 a>d e>f |

g2 (3efe (3cdc | A2 A>^G B>A | ^G>A B>c f>e | d2 d> :|

|: >F A>d |

b2 a>A (3FAd | a2 g2 g>e | c>e a>g f>e | f2 d>A d>f |

b2 a2 A>d | a2 g2 g>e | c>e a>g B>c | d2 z :|

K:Gmaj

|: z d2 |

g>f g2 b2 | d>^c d2 g2 | (3Bcd g2 f2 | c2 c>B c>d |

a^g a2 b2 | f>^e f2 d2 | a3 ^g a>b | g2 z :|

- or - another take on the last two bars:

| a2 a>^g a>b | g2 z :|

* = ‘SNAP’ ~ there are times and places in this tune where I occassionally use it, a few variations and examples ( f*b ):

A-part, bar 3 ~ | f2 f>d f*b | a4 (3def |

bar 6 ~ | A2- A>^G B*A |

B-part, bars 2-3 ~ | a2 g2- g>e | c>e a>g f*e |

bar 5-7 ~ | b2 a2 (3Adf | a2 g2- g>e | c*e a>g B*c |

I just gave the recording a listen and the structure is ABAC, with another A-part inserted between the B and C parts as posted.

### Yes! ABAC, which should have been mentioned earlier, or as a ‘trio’…

Good catch, I was thinking in a ‘trio’ mode. 😀

“Seán Ryan: Siúl Uait / Take the Air” ~ track 8

### “The Cascade Waltz” ~ adding the headers and he back slash \

X: 2

T: Cascade, The

M: 3/4

L: 1/8

R: waltz

K: DMaj

|: F/ A>d |\

f2 f>e d>A | F2 F>D F>d | f2 f>d f<b | a4 (3def |

g2 (3efe (3cdc | A2 A>^G B<A | ^G>A B>c f>e | d2 d3/ :|

|: F/ A>d |\

b2 a>A (3FAd | a2 g2- g>e | c>e a>g f<e | f2 d>A d>f |

b2 a2 (3Adf | a2 g2- g>e | c<e a>g B<c | d2- d3/ :|

|: F/ A>d |\

f2 f>e d>A | F2 F>D F>d | f2- f>d f>b | a2 a>d e>f |

g2 e2 c2 | A2- A>^G B>A | ^G>A B>c f>e | d2 d3/ :|

K:Gmaj

|: z d2 |\

g>f g2 b2 | d>^c d2 g2 | (3Bcd g2 f2 | c2 c>B c>d |

a^g a2 b2 | f>^e f2 d2 | a2- a>^g a>b | g2- g3/ :|

R: mazurka 😉

### |: z/ d2 |\

Oops! I forgot that one forward slash… 😛

### Re: Cascade

12 years later, looking at this page in my tune book, I have some observations. The G major versions posted by ceolachan just don’t make sense in G. All but the last section (which is in G, correctly) are clearly in D, and the c naturals just sound weird. I tried to "hear" it as mixolydian, but it just doesn’t work. Also there’s some wonky timing in some of the measures, with some time missing. Still, it’s nice to rediscover this tune after so many years.