Obviously, we’re in a jiggy mood - - -
I had this odd one I’d put together with Mark of the Dow in mind, it was a mix of 3/4 and 6/8 bars, along the lines of the long promised galliard, but - - - I don’t know if I’m ready for that yet, let alone anyone else. Out of that effort this damned thing interjected and was banging against my head all during a long walk one very late night. Then I lost it, and just now I found it under a stack of ‘things to deal with’ that I’d been ignoring for the last several weeks. Anyway, this isn’t the really quirky thing you inspired dear Mark, but it will do for now. Here it is in it’s simplest form, leaving out all my permutations on the damned thing…
So I lied, I did put in one permutation…just the one…
Thanks ‘c’! I especially like the high ‘c’ in B-part to annoy the fiddlers…
What does "taoing" mean?
I love this tune, though I’m damned if I know how I’ll ever be able to play it on my hammered dulcimer…
About the unadulterated - - -
The ‘annoyance’ on the walk, for confession time, was without the second ending, and it was ‘a walk’, a relaxed tempo, which is still how I hear it, though I have risked RSI doing it otherwise. On coming home and knowing the inspiration, it just had to have a second ending and that manic rush into that dénouement. But it started life in a kinder way and as a cure for being stuck in that mix of 3/4 and 6/8 mayhem I’d put myself in.. I’ll add the unadulterated way later today in the comments.
For ‘guitar12’ - Dow and Tao, a take on that, and some silliness I’m guilty of - The Tao Te Ching, The Way of the Tao, and Taoing Dow, not ‘Dumbing Down’. Tao’ and ‘Dow’ are pronounced pretty much the same way, though there’s a bit more song to the pronunciation of ‘Tao’, while ‘Dow’ is onomatopoeia - the sound your peanut butter and jam sandwich makes when it lands upside down on the floor tom of your drum set…
LAo-Tzu: Tao-Te-Ching - translated by Léon Wieger
Page 28, Chapter 11:
A. A wheel is made of thirty perceptible spokes, but it turns due to the imperceptible central axis of the hub.
B. Vessels are made of perceptible clay, but it is their imperceptible hollow that is useful.
C. The imperceptible holes that make the doors and windows of a house are its essentials.
D. It is the imperceptible that produces effects and results.
So, if by some chance that second ending throws you, there are alternate takes. I’ve done it without the second ending, just finishing the second part as:
| cAB G2 :|
- and I’ve done it without that low dip, part B:
gdB GBg | fde f2 d | cAd BGd | cBA ^FGA |
gdB GBg | fde d2 B | cAd BGd | cAB G3 |
gdB GBg | fde f2 d | cAd BGd | cAB cd^f |
gab cba | gdB G2 B | cAd BGd | cAB G2 ||
Also, I sometimes take this at half speed, dirge like, at 60 bpm…and at 100 and 120…
"Mark" has several denotations and connotations… Aside from ‘Mark’ of the Anderson clan…
Lord Darsie & the Site of Tunes (- the next Harry Potter?):
I like the amassed melodies on your site ‘rfdarsie’, and the collection you’ve obviously put a lot of effort into, but how about a little bit more about you in the ‘details’, both here and there, maybe a picture of the back of your head instead of that ugly puss of George ‘of the jungle’ Bush on the website?!
Funny thing, I’ve been in hammered dulcimer land lately, but in the main and specifically the Greek santouri, which I love to bits, and it has a sustain pedal, so to speak.
I’ve also been listening to John Rea of County Antrim, a hammered dulcimer player, someone I admire for his character, wit and playing. But, the one experience we had of letting a hammered dulcimer player into one band was similar to the Beatles (?). Because he had the size, the instrument and his own height and width, volume, sustain, multiple strings, hammers and the caché in places where its numbers are few - he was under the assumption that we were all the backing group and he was the centre of focus and importance. Unable to reason with him, he was retired from the group, sadly by devious means.
I feel a ‘discussion’ coming on. This is another one of those dilemmas, an instrument I love that can also be an abomination. Again, it belongs with those of a percussive nature, including the bodhran and the banjo, and is as capable of winding up a session, and for some is up there with the piano accordion running on all reeds and full volume.
Using a Klingon phaser-limiter ~
T: Taoing The Mark
|: B |
EFG FED | EGc B2 G | AFB GEB | AGF ^DEF |
EFG FED | EGc B2 G | AFB GEB | AGF E2 :|
|: B |
eBG EGe | dBc d2 B | AFB GEB |
1 AGF ^DEF | eBG EGe | dBc d2 G | AFB GEB | AFG F/B/^d/f/g/f/ :|
2 AFG AB^d | efg agf | eBG EBG | AFB ^DEF | AFG E2 ||