The Dhu Hill
I heard this played by accordionist Drew Mitchell at the West End Hotel in Edinburgh in September 2005. It’s actually in F#m, but there isn’t that option when you submit a tune.
This is a fine tune, but if you make that G# a natural, as Andrew Cronshaw plays it, you’ve got an amazing tune: the only one I know in the phrygian mode, in fact. Well, parts 1 & 2 are phrygian, the third is ionian before finishing on the F#, so a return to phrygian. Most traditional tunes are modal: it’s one of the things that give them their character. I don’t think it’s that useful to talk about major/minor, as in art music.
OK, fair enough. Reading through my comments I realise I may have come over a bit school teacherish. Apologies for that.
I know a lot of people prefer thinking in terms of major/minor rather than modes. I don’t have a problem with it, but I do have an opinion on it, and surely it’s OK for me to express that opinion?
I’d be interested, Nigelg, where you found the tune. I’ve been searching for it through my books and managed to find it in Kerr’s 4th Collection. It’s presented here with a key signature of two sharps, ie, no G#s. Andrew Cronshaw recorded it on Earthed in Cloud Valley the same way. I’m not saying this is necessarily the RIGHT way, just that it’s the only way I’ve seen/heard it.
Strangely, almost spookily, the tune next to Dhu Hill in Kerr’s, Haud Awa’ Hame, is also a phrygian tune. So now I know two!
Gords asked, "I’d be interested, Nigelg, where you found the tune."
I heard this played by accordionist Drew Mitchell at the West End Hotel in Edinburgh in September 2005.
The Dhu Hill
Here is the tune as it appears in Kerr’s 4th Collection, the main difference being the key signature and the 1st and 2nd time bar at the end of the C section…
T: The Dhu Hill
F2A cdc|BAG Bcd|c2c fed|cBc F3:|
cBc ABc|dcd B3|cBc f2f|cAF F3:|
f2d dcB|ABG FGA|B2B cBc|d3 A3|
f2d dcB|ABG FGA|B2B cBc|dcB ABG|]