The New Copperplate
This reel is normally played before the Old Copperplate (already posted on the site) - they make a great pair!
While playing versions of Caber Feigh/Rakish Paddy, I noticed a strong relationship with this tune. It also occured to me that ‘Copperplate’ may be a mis-hearing/reading of ‘Caber Feigh’
Yes, it’s pretty obvious. Look at the transcription of the 4-part version of Rakish Paddy: https://thesession.org/tunes/86/comments#comment153006
The Deer’s Antlers
I’ve been doing the same thing - comparing different settings of Rakish Paddy and the Copperplates. After looking at some old Scottish versions in C, I’ve come up with my own version which combines the nice bits of both tunes:
T: Cabar Féidh
T: The Deer’s Antlers
~c3B c2AB|cAGF ECCE|Dddc dcAc|dcAG FDDB|
~c3B c2AB|cAGF ECCE|DEFG ABcA|1 dcAG FDDB:|2 dcAG FDDf||
|:ecgc acgc|ecgc ecce|fdad bdad|fdad fddf|
ecgc acgc|ecgc eccg|afge fde^c|1 dcAG FDDf:|2 dcAG FDDB||
Idea for a set of related tunes
Rakish Paddy sounds nice squeezed in between the New and Old Copperplate, and then you could add in the C version to spice it up a bit, so either:
The New Copperplate / Rakish Paddy / The Old Copperplate / The Deer’s Antlers
The Deer’s Antlers / The New Copperplate / Rakish Paddy / The Old Copperplate
The latter would be better for a session if you don’t want to be playing solo for the last tune.
The New Copperplates/ The Old Copperplates/ Rakish Paddy
I remember I played the set while I was at Mr. Ptarmigan’s session in Antrim and at the Porterhouse in London. You could play a piping classic "The Old Bush" before the 3 tunes. That’s a nice set for everyone.
Yes, that should be singular.
Old and new?
mmm… confusing, as often happens here. This ‘new’ copperplate listed here is the older one isn’t it and the other one is the newer one? I think I know this as ‘The Copperplate’ and the other one as the ‘The New Copperplate’, but who’s to say, many many tunes and many names as always.
The new one usually comes before the old one. Is this the cause of confusion?
Er, no. I’m with Mark on this. I know this one as The Copperplate, and the other as the New Copperplate.
The Other Copplerplate
Listen to East Galway flute legend Eddie Moloney play this tune: http://www.lafferty.ca/files/flute-geezers/edmaloney4.mp3
From Rich Lafferty’s "flute geezers": http://www.lafferty.ca/music/irish/flute-geezers
Which is which?
There are posts about the order in which these are played and another about what their names. I just learned these pieces in a class taught by members of the group Teada at the Goderich Celtic Roots Festival and College. They called them, simply, Copperplate Reel No. 1 and Copperplate Reel No. 2. Oishin Mac Diarmada hand-wrote the scores for us. What he labeled No. 1 is the piece on thesession as Old Copperplate, followed by No. 2, on thesession as New Copperplate. Throwing this out there just to stir the mix a bit.
Copperplate tune ordering
In most combinations I see, the New comes first. Chronologically, it does appear the New is the older tune. But… maybe it’s just me, but I think the Old Copperplate sounds better before the New. Typically I would choose the lower-keyed tune before the higher-keyed one (e.g. Jerry’s Beaver Hat before Morrison’s). But for some reason the Old followed by the New just sounds more natural to my ear - the transition in the other order sounds more forced to me. YMMV.
Re: The New Copperplate
You may be on to something.
Not that Irishtune.info necessarily has the whole picture, but there, the first recording where it appears is from 1923:
https://www.irishtune.info/tune/394/ (as it happens, one if its titles is the Old Copperplate…)
If that isn’t confusing enough, the Old Copperplate (in Ador) is also called the New Copperplate, and recorded as late as 1964:
The New Copperplate, X:4
This is the way the concertina players Solus Lillis and Tom Carey play this tune, second in a set on the recording titled "Reels" (The Heather Breeze/The New Copperplate) on the 1974 album "Irish Traditional Concertina Styles". It is undoubtedly similar to X:3, though it has it’s own quirks which I quite like.
The sixteenth notes ("triplets") in the end of the B-part are sprinkled in randomly where these phrases occur in the tune, though the playing style of these two is otherwise very regular and note for note. I notated the tune this way so that both the straight and the ornamented alternatives be represented.