The Rose Of Fylde strathspey

The Rose Of Fylde has been added to 15 tunebooks.

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Five settings

X: 1
T: The Rose Of Fylde
R: strathspey
M: 4/4
L: 1/8
K: Edor
|: FE |D3 E F3 A | B>AB<d E2 FE | D2 DE F3 A | B>de<f e2 dA |
B>cd<B G2 G<B | A<dFD E2 FA | B2 Bc BAFA | B2 E2 E2 :|
|: FA |B2 BA E3 F | A>FA<B A2 FE | D2 de f2 d2 | B>AB<d e2 dc | B>cd<B G2 AB |
[1 A<dfg e2 dc | BAdA BAF<A | B2 E2 E2 :|]
[2 A<dFD E2 FA | B2 Bc BAFA | B2 E2 E2 ||
X: 2
T: The Rose Of Fylde
R: strathspey
M: 4/4
L: 1/8
K: Dmaj
D2 DE F2 FA | B>AB<d E2 FE | D2 DE F3 A | B>de<f e2 cA |
BcdB G2 G<B | A<dF<D E2 FA | B2 Bc BAFA | B2 E2 E2 ||
B2 BA E3 F | A>FA<B A2 FE | D2 de f3 d | B>AB<d e2 dc |
B>cd<B G2 G<B | A<dF<D E2 FA | B2 Bc BAFA | B2 E2 E2 :|]
X: 3
T: The Rose Of Fylde
R: strathspey
M: 4/4
L: 1/8
K: Edor
D3 E F3 A | B>AB<d E2 FE | D2 DE F3 A | B>de<f e2 dA |
B>cd<B G2 G<B | A<dFD E2 FA | B2 Bc BAFA | B2 E2 E2 :|
B2 BA E3 F | A>FA<B A2 FE | D2 de f2 d2 | B>AB<d e2 dc | B>cd<B G2 AB |
[1 A<dfg e2 dc | BAdA BAF<A | B2 E2 E2 :|]
[2 A<dFD E2 FA | B2 Bc BAFA | B2 E2 E2 ||
X: 4
T: The Rose Of Fylde
R: strathspey
M: 4/4
L: 1/8
K: Edor
D3 E F3 A | B>AB<d E2 FE | D2 DE F3 A | B>de<f e2 dA |
B>cd<B G3 B | A<dF<D E2 FA | B2 Bc BAFA | B2 E2 E2 :|
B2 BA E3 F | A>FA<B A2 FE | D2 de f2 d2 | B>AB<d e2 dc |
BcdB G3 B | A<dfg e2 dc | BAdA BAF<A | B2 E2 E2 FA |
B2 BA E3 F | A>FA<B A2 FE | D2 de f2 d2 | B>AB<d e2 dc |
B>cd>B G3 B | A<dFD E2 FA | B2 Bc BAFA | B2 E2 E2 ||
X: 5
T: The Rose Of Fylde
R: strathspey
M: 4/4
L: 1/8
K: Edor
"G" B2 Bc "F#m" BAFA |[1 "Em" B2 E2 "A" E2 FE:|[2 "F#m" BA FA "A"E2 ||
"D" D2 de f2 d2 | "G" B>AB<d "A" e2 dc | "G" B>cd<B "Em" G2 AB |
[1 "D" A<dfg "A" e2 dc | "G" BA dA BA "F#m" F<A | "Em" B2 E2 "A" E2 FA :|
[2 "D" A<dFD "A" E2 FA | "G" B2 Bc BA "F#m" FA | "Em" B2 E2 "A" E2 |]

Forty-one comments

Provenance

A slow air (sorry, not a polka at all!) by Andrew Lyons of scots band Rallion. I think it should be written/played in 2/4 (but I’m not a great transcriber!) and some of the dotted quavers should be played as snaps. Taken from their album "For No One and Everyone". (The last 6 bars of the B part have 1st and 2nd time alternatives which don’t seem to get fully marked in my ABC viewer)

Dunnock, please don’t cut-and-paste to here from your software, always a bad idea. Learn ABCs longhand, a great tool to have. Consequently, your transcription has a lot of problems…

This is a lovely tune and addition, but it isn’t done justice in 2/4. My recommendation would be to clean up the ABCs and enter it as 4/4, strathspey or barndance, but I’d choose strathspey, as there are many fine slow strathspeys played at a similar tempo… Check your mail…

Strathspey

As suggested, I’ve re-entered this as a strathspey (though I find it less easy to sight-read!) . The 1st and 2nd time bars do display correctly now both on my system and on Convert-A-Matic (contrary to appearances, I have done this all by long-hand!!)

Instead of N3/2 and N/2 notation, you can just use < and > arrow signs for the rhythm. That makes it easier to read. You should try looking at how other strathspeys on this site have been notated.

Ceolachan’s right though, it has to be 4/4.

B3/2A/2 B/2d3/2 (some old software) = B>AB

I’ve also sent you a corrected transcription. :-/

Nobody uses that way for swing and snap anymore ~ or few do…

Here’s the usual ~ example from the second bar:
B3/2A/2 B/2d3/2 ~ not this
B>AB<d ~ this!!!

& is there really a first and second ending to the first part, no, but does it repeat at all…for example that MP3, which starts with the B-part…and has it ABB…?

~ | B2 E2 E4 || ~ should more properly read ~ | B2 E2 E2 ||

Also, it ‘repeats’ in most cases, I can’t imagine anyone just playing it once through, so the ending has to account for the lead-in, or |: FE | ~

“The Rose of Fylde” ~ composed by Andrew Lyons? :-/

X: 1134
T: The Rose Of Fylde
M: 2/4
L: 1/8
R: slow strathspey / air
K: D Major
FE |
D2 DE F2 FA | B>AB<d E2 FE | D2 DE F3 A | B>de<f e2 cA |
BcdB G2 G<B | A<dF<D E2 FA | B2 Bc BAFA | B2 E2 E2 ||
|: FA |
B2 BA E3 F | A>FA<B A2 FE | D2 de f3 d | B>AB<d e2 dc |
B>cd<B G2 G<B | A<dF<D E2 FA | B2 Bc BAFA | B2 E2 E2 :|]

NOTE: Either
| BcdB ~ (A-part: bar 5) ~ or ~ | B>cd<B ~ (B-part: bar 5)
are your free choice, with the fiddler on the MP3 preferring to play it more usually straight…

Chords ~

Personally, I think you’re beating a beautiful tune to death with the chords. It deserves to be on its own and unspoiled by slamming chords in two-to-the-bar… Yuck!

Did you actually choose these chords or your software?

E Dorian ~ ! ! !

K: E Dorian ~ I wasn’t watching my back and let that slip by without correction… :-/

“The Rose of Fylde” ~ E Dorian, Dunnock’s transcript minus the chords

X: 1134
T: The Rose Of Fylde
M: 2/4
L: 1/8
R: slow strathspey / air
K: E Dorian
|: FE |
D3 E F3 A | B>AB<d E2 FE | D2 DE F3 A | B>de<f e2 dA |
B>cd<B G2 G<B | A<dFD E2 FA | B2 Bc BAFA | B2 E2 E2 :|
|: FA |
B2 BA E3 F | A>FA<B A2 FE | D2 de f2 d2 | B>AB<d e2 dc | B>cd<B G2 AB |
[1 A<dfg e2 dc | BAdA BAF<A | B2 E2 E2 :|]
[2 A<dFD E2 FA | B2 Bc BAFA | B2 E2 E2 ||

The Transcription

I did this thing entirely by hand, listening to the Rallion CD. I don’t have any music software, it’s just typed into a text editor and then I run an abc viewer (abcm2ps on my Linux system, to be technical) which creates a postscript file that I then view with Ghostscipt. In other words, is has taken me little while, given that I don’t do a lot of transcribing into ABC. Usually it stays on a scrap of paper that is OK for me, but I thought I’d share this with you guys.

The chord markings are simply a guide for those who might wish to accompany the tune, as I am thinking to do with a particularly good whistle player I know. I happen to think of myself as a sensitive guitarist and so they are all played as broken arpeggios with slides, accidentals and suspended notes, not a strummed chord in sight. I don’t do strums. If I wanted to do the odd full chord I’d probably roll it in a tune like this. But as I understand it this a site for tunes not guitar aficianados. For that I would use a proper scoring program - but I don’t have one.

B3/2A/2 B/2d3/2 ~ still needs correcting ! ! !

And don’t underrate our accompanists on site here. Are you new? Have you not followed any of those many threads in ‘Discussions"? WE HAVE GUITARISTS ~ and every other possible variant on that as well, including Dow. Yes! ~ we consider it and it is represented here.

By the way, nice addition just above. That’s what we love, specifics, like how you would accompany it, and you taking personal responsibility for the chord choice, including, and I’m smiling :-) ~ telling us how you’d handle it tastefully. That is cool, very welcome.

BUT ~ PLEASE GET RID OF THE OTHER GOBBLE-DE-GOOP!!! ~ Before the great dot converter arrives, PLEASE! How many times do I have to say IT IS A LOVELY TUNE? ~ Do I also have to be forward and say more? ~ Like THANKS! Will that get you off your toush to clean up the ABCs? I’ve even sent you corrected copy exactly as you give it, even with the endings and the chords. What excuse do you have not to clean it up??? Sorry, frustrated ~ :-/

This site is also for and open to ‘guitar aficionados’ ~

& the dabblers too… All are welcome, well, just about… 8-)

In your corrected abc, ‘c’, why is your swing notation inconsistent? I thought you said it was a strathspey? I’ve only ever seen swing like that in a march.

While it has that slow strathspey feel to it, the playing of the air I transcribed from is quite often flat, so more like an air. Sometimes the swing it, and there’s the occassional snap. The beat is relatively steady like for playing a slow strathspey, but the swing isn’t consistent.

OH FOR XXXXX SAKE ~ LISTEN TO THE MP3!!! WHY THE HELL DO I BOTHER TO ADD LINKS? What, who’s shouting? ;-)

Sounds like a slow march to me :-/

I said the nearest thing to a strathspey (he says in a whisper)… I gave her another option, to file it under ‘barndance’, but feel with the occassional snaps and swing that it leaned more toward strathspey than barndance, and besides, as you know, there’s no specific category for ‘airs’. That said, it isn’t being treated like in Sean Nos, it is in the example given, pretty regular, don’t yuh think? :-/

‘her’ could be a ‘him’ ~ or a ‘them’…

You are stubborn… I do see what you mean… I tried to find out more about it, but to no avail. It’s a nice tune. Anybody have any information on C: ?

That’s ok, you be defensive of your dodgy R: header then :-)

I *must* be right, cause you wouldn’t shout at me if I wasn’t. You’d just go all quiet and smug :-P

I know what you mean about the incidental swing and snap, but it doesn’t make a very nice march, having just cranked it that way several times. But, I suppose, as a ‘slow march’, but I don’t know. It seems to be more along what I’d call a ‘piece’, for listening, reflective, not so steady or rhythmic emphatic that it makes a good march, slow or not. Fast it is awful. So it kind of in my sense of things leans close to the lovely old slow listening strathspeys, though it lacks those runs, you know, the N/N/N/N/ sort of things. So an ‘air’, a ‘piece’, but maybe, since it needs a category, and as mentioned I’d given the contributor the choice of ‘barndance’ or ‘strathspey’, it being more for listening than dancing or marching, my preference remains ‘strathspey’…

Just so no one mistakes this is all the two of us do all day, sitting in our wheelchairs wrapped in a blanket with a hot cup of Bovril and a laptop and nurses to pinch ~ nah! ~ I’m enjoying a good drink and doing this on the fly… 8-)

How’s your Bovril Dow?

All is forgiven Dunnock! ~ Push us out into the sun would you? ;-)

I’m in the middle of studying fragmentation, marginalisation, sublimation and subordination in the context of language shift, but arguing with you about what sort of tune this is is much easier (particularly since we both know it’s an air, and not really a march *or* a strathspey).

Life

I have a life.

I’ve just been out for a bit and I come back to this! I corrected the ABC for the B3/2A/2 stuff a while back and it was fine but now it seems to have reverted. I may have had too many windows open and closing them down when I switched off may caused a reversion. Anyway I’ve redone it. The history of this is that I saw the band a couple of months ago, loved the tune, bought their CD (which says Andrew Lyons, who is in the band, wrote it), learned to play it on the whistle by ear, scribbled it out, and today I decided to share it. Why did I bother?

I am still working on the guitar accompaniment which is the point at which I came to put it into ABC, so I can’t be more specific about that and wouldn’t want to really as this sort of thing is usually a moving feast.

There, I’ve taken out the chords on your site and I’ll just keep them for my own copy (I don’t usually score my accompaniments, it takes too long, but I’ve a bad memory so I write down the chords or some fragments to remind me what I should be doing whilst I’m cementing it to the braincells).

The recording I’ve been listening to (for me ‘the original’) seems more a reflective piece than anything else, and that’s certainly how I hear it in my head. I may go back to the CD to check a few things.

Sorry I’m not an expert. I should have waited until I was before submitting this, but then when would that have happened? I’d hummed and ha’d about the 2/4 vs 4/4 so that feedback and the E Dorian mode will presumably help others. But I’ve got the tune sorted to my satisfaction and I don’t need to come back for any more insults. Great!

In answer to your earlier question I don’t spend much time reading the discussions on this site cos there’s just too much verbage for my attention span.

PS I am not female, so probably not suffering from PMT.

Insults?

There ya go ‘c’. And you thought you were trying to help. :-/

Just beat me to it, Dow.

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The two devils… And poor Dunnock with PMT. We should hang our heads in shame… :-/ ~ but more good comment from Dunnock, see what prodding with a stick will do, liven up the hive and realease the wasps.

Hey Alarm ~ hot stuff, thanks… If anyone wants Dunnock’s chords I still have them… 8-)

“The Rose of Fylde” ~ composed and as played by Andrew Lyons & company…

With thanks to Alarm ~

http://www.myspace.com/andrewmlyons

The first time through they double the parts, AABB, and from then on play only AB several times to the end…very nice too, roughly 80 beats per minute at 4/4…

X: 3
T: The Rose Of Fylde
C: Andrew Lyons
M: 4/4
L: 1/8
R: air
K: E Dorian
|: FE |
D3 E F3 A | B>AB<d E2 FE | D2 DE F3 A | B>de<f e2 dA |
B>cd<B G3 B | A<dF<D E2 FA | B2 Bc BAFA | B2 E2 E2 :|
FA |
B2 BA E3 F | A>FA<B A2 FE | D2 de f2 d2 | B>AB<d e2 dc |
BcdB G3 B | A<dfg e2 dc | BAdA BAF<A | B2 E2 E2 FA |
B2 BA E3 F | A>FA<B A2 FE | D2 de f2 d2 | B>AB<d e2 dc |
B>cd>B G3 B | A<dFD E2 FA | B2 Bc BAFA | B2 E2 E2 ||

Why? ~ because, as I first said in emails ~ I like the tune, and I’ve been playing through it, with others, since the ABCs first arrived in their original form…

I was also wrapped up in study too Dow, but nothing as high faluttin’ as all that stuff… This slow air has been a pleasant distraction from t’other…and despite Dunnock’s PMT…

It all comes down to my own selfish self-interest ~ in the tune…

“The Rose of Fylde” ~ composed by Andrew Lyons ~ chords courtesy of Dunnock

X: 1134
T: The Rose Of Fylde
S: Dunnock
M: 4/4
L: 1/8
R: air
K: E Dorian
FE |:
"D" D3 E "F#m" F3 A | "G" B>AB<d "A" E2 FE |
"D" D2 DE "F#m" F3 A | "G" B>de<f "A" e2 dA |
"G" B>cd<B "Em"G2 G<B | "D" A<dFD "A" E2 FA |
"G" B2 Bc "F#m" BAFA |[1 "Em" B2 E2 "A" E2 FE:|[2 "F#m" BA FA "A"E2 ||
|: FA |
"G" B2 BA "Em" E3 F | "F#m" A>FA<B "A" A2 FE |
"D" D2 de f2 d2 | "G" B>AB<d "A" e2 dc | "G" B>cd<B "Em" G2 AB |
[1 "D" A<dfg "A" e2 dc | "G" BA dA BA "F#m" F<A | "Em" B2 E2 "A" E2 FA :|
[2 "D" A<dFD "A" E2 FA | "G" B2 Bc BA "F#m" FA | "Em" B2 E2 "A" E2 |]

speaking of buggered

dear ceolachan…every version you posted on this tune has serious flaws…you tend to leave out that last beat at the end of a phrase, in this case, the ‘A’ part… on 3 versions in a row!…and your last above version is jumbled and incoherent, like maybe, you did it under your meds or something? Or perhaps you are discouraging cut and paste midi on your versions…yes, that’s probably it…you know that a midi technician would have no problem doing the needed repairs so, if it were me, i would try to, as they say, put my best foot forward and do a good job

but i love your contributions and mean no harm…keep up the good work

Rose of Fylde “settings”

Four of the settings at the top of the page aren’t complete. When they were parsed the lead in notes
[ |: FE | , etc. ] were ignored. In his comments ceolachan wrote all the bits
so his posts can be used as a reliable source for abcs*. In fact Dunnock used c’s. 2nd setting
< https://thesession.org/tunes/7320#comment289125 > to correct his (Dunnock’s) original post.

Also, ceolachan’s 4th setting has the entire A part plus the B part lead in ignored. :-(

Is there a way to correct the site’s settings to show as c. intended them?

Marty, it sounds like you’re also ignoring ceolachan’s complete versions ( in the comments). If you’re getting faulty MIDIs it’s probably because you’re utilising the site parsed setting; those *are* flawed.

* The abcs ceolachan posted in his comments were penned in summer of 2007; five years before the Tunes section offered abc, MIDI & sheet music for additional settings beyond the original post version.

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