Old Chestnuts jig

Old Chestnuts has been added to 18 tunebooks.

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Four settings

X: 1
T: Old Chestnuts
R: jig
M: 6/8
L: 1/8
K: Emin
|:D|E2B BAB|E2B BAB|d2B BAG|FGA AGF|
E2B BAB|E2B BAB|d2B BAG|FGF E2:|
|:B|e2B g2B|dBA ABd|e2B g2B|AGA B2e|
baf g2B|c2g ecA|EGB e2B|GAF E2:|
|:B|e2g bag|f2g agf|eBe geg|aga b2g|
b3 g3|ege ^A3|Beg bag|fgf e2:|
X: 2
T: Old Chestnuts
R: jig
M: 6/8
L: 1/8
K: Emin
E2 B B^AB | E2 B ^A2 B | d2 B BAG | FF/G/A AFD |
E2 B B^AB | E2 B ^A2 B | d2 G B^AB | AGF E2 :|
e2 B g2 B | dB^A BB/^c/^d | eBB gBB | a^ga b2 e |
baf g2 B | c2 g e2 c | EGB e2 B | AGF E2 :|
e2 g bag | f2 g agf | e2 B ge/f/g | a^ga b2 g |
be/g/b g2 B | ege ^A3 | Beg B^AB | AGF E2 :|
X: 3
T: Old Chestnuts
R: jig
M: 6/8
L: 1/8
K: Emin
E2 B B^AB | E2 B ^A2 B | d2 B BAG | FF/G/A AFD |
E2 B B^AB | E2 B ^A2 B | d2 G B^AB | AGF E2 :|
e2 B g2 B | dB^A BB/^c/^d | eBB gBB | a^ga b2 ^d |
e2 B g2 B | c2 g e2 c | E/F/GB B^AB | AGF E2 :|
e2 g bag | f2 g agf | e2 B ge/f/g | a^ga b2 g |
be/g/b g2 B | ege ^A3 | Beg B^AB | AGF E2 B |
E2 G BAG | F2 G AGF | E2 B GE/F/G | A^GA B2 G |
BE/G/B G2 B | EGE ^A3 | BEG B^AB | AGF E2 |]
X: 4
T: Old Chestnuts
R: jig
M: 6/8
L: 1/8
K: Emin
e2 b bab | e2 b bab | d2 b bag | fga agf |
e2 b bab | e2 b bab | d2 b bag | fgf e2 :|
E2 B, G2 B, | DB,A, A,B,D | E2 B, G2 B, | A,G,A, B,2 E |
BAF G2 B, | C2 G ECA, | EG,B, E2 B, } G,A,F E2 :|
E2 G BAG | F2 G AGF | EB,E GEG | AGA B2 G |
B3 G3 | EGE ^A,3 | B,EG BAG | FGF E2 :|

Twenty comments

Old Chestnuts

"Old Chestnuts" - © 2008 Mix O’Lydian.

Well, I know that "owncomps" are a little frowned upon here, but the inspiration for this came from Ceolachan’s recent "Bangers and Mash" discussion, where Bren posted a comment about older musicians playing "old chestnuts".

https://thesession.org/discussions/19789/comments#comment414095

"What a great name for a tune", I thought, and quickly dug out the parchment and quill pen.

Don’t like the tune? Sorry, can’t please everybody!

Like the tune? You’re free to use it, but not for commercial purposes.

I must of course dedicate it to Ceol and Bren - and of course, all other "old chestnuts"!

“Sorting through Chestnuts”

Don’t disown me, but ~ I’ve been giving this a go. Think of those little holes you find in chestnuts that you need to discard before roasting ~ chestnut worms! Don’t blame me, your tune took me here… ;-)

X: 2
T: An Old Chestnut
M: 6/8
L: 1/8
R: jig
K: Emin
|: D |\
E2 B B^AB | E2 B ^A2 B | d2 B BAG | FF/G/A AFD |
E2 B B^AB | E2 B ^A2 B | d2 G B^AB | AGF E2 :|
|: B |\
e2 B g2 B | dB^A BB/^c/^d | eBB gBB | a^ga b2 e |
baf g2 B | c2 g e2 c | EGB e2 B | AGF E2 :|
|: B |\
e2 g bag | f2 g agf | e2 B ge/f/g | a^ga b2 g |
be/g/b g2 B | ege ^A3 | Beg B^AB | AGF E2 :|

Own comps aren’t frowned on by all, at least not if you’ve done your penance for it… The other option would be to add them in your ‘details’, as many as you want, with a tale to accompany them, like dear Rev Pete here:

https://thesession.org/members/11048

Tom Brown Gets a Roasting From Flashman?

Now let me see … as I remember from Thomas Hughes’s novel, Tom gets a roasting from Flashman - but Tom gets the better of him in the end;-)

And where did your abc come from?

Hmm.. I gather that you’re not too keen on my tune - and yet, you added it to your tunebook? And someone else has too - who was that?

.. all very strange;-)

She-Who-Must-be-Obeyed (RCM Grade N piano) was looking over my shoulder when I was writing it, and gave me some stick about the A# in the penepenulimate bar. Otherwise OK, she said. I gave it some deep thought, but left it as it was.

Update

… now in three tunebooks, it seems? Who are you guys?

“I gather that you’re not too keen on my tune - ” ~ :-/

Mix, are you mad or paranoid? I don’t give any tune time that doesn’t take my interest. Yes, I’d been playing it! If it didn’t interest me I wouldn’t play it, or once through would have been enough.

After playing it for awhile it took me where I showed above, just to, as I have in FEW instances, show I had given it time and allowed it to take form on its own after time, though I realize that is filtered through my history and inclinations, as placed on me by a slew of other musicans, tunes and circumstances. So, it was a nod of acknowledgement, not me saying that the tune sucked. If I felt that, well, I wouldn’t have added it to my tunebook and I wouldn’t have bothered commenting or offering up another ‘take’ on it…

It is in my nature to find ‘agreement’ in a tune, which is just more comfortable for me, where the parts have more ‘fit’ between them. Rather than a different ending for all three parts there was some need over repetitions to make the three parts feel more like they belonged to each other, so I found myself resolving them similarly. That wasn’t a conscious effort, it just happened, what felt on this end ‘natural’… The B-part actually kept making me do that more than I’ve shown above.

It seems I continue to get myself into trouble here with misunderstanding… Maybe I should have resisted the inspiration and expiration… P-l-e-a-s-e ~ don’t take what was offered above as a negative, far, far from it, there was no suggestion what so ever of that, not from here… In fact, it was a nod of appreciation and saying basically ‘thanks for the fun’… I will resist that temptation in future.

In fewer words, there’s something there I like… ;-)

"An Old Chestnut" ~ if the joke wasn’t seen, in part that also refers to me, and the ‘holes’ from the chestnut worm, that was with regards to where I took your tune, not your tune, the ABCs I’d given. So, now, maybe, you can laugh? :-/ Meaning ~ I’m an old chestnut suffering from worms…

~ or the worm itself…

Still having fun, in other words ~ enjoying it…

I promise, this is the last…

X: 3
T: An Old Chestnut
M: 6/8
L: 1/8
R: jig
K: Emin
|: D |\
E2 B B^AB | E2 B ^A2 B | d2 B BAG | FF/G/A AFD |
E2 B B^AB | E2 B ^A2 B | d2 G B^AB | AGF E2 :|
|: B |\
e2 B g2 B | dB^A BB/^c/^d | eBB gBB | a^ga b2 ^d |
e2 B g2 B | c2 g e2 c | E/F/GB B^AB | AGF E2 :|
|: B |\
e2 g bag | f2 g agf | e2 B ge/f/g | a^ga b2 g |
be/g/b g2 B | ege ^A3 | Beg B^AB | AGF E2 B |
E2 G BAG | F2 G AGF | E2 B GE/F/G | A^GA B2 G |
BE/G/B G2 B | EGE ^A3 | BEG B^AB | AGF E2 |]

It’s one that could suffer octave playing and the occassional incidental harmony to give it a bit of a spooky quality… If the B & C parts weren’t repeated, making it 32 bars, it would make an interesting contra dance tune…

The (Chestnut) Worm that Turned?

Ceol - did ye not spot my smileys, then?

Hmm… now three "Old Chestnuts", it seems? Only supposed to be one … maybe a word to my copyright lawyer might be in order :-/

48-bar to 32-bar?

In these parts, the number of 48-bar dances seems to be on the increase in recent years. We never seem to have enough 48-bar tunes to go with them. So if anything, we tend to go the other way - that is, to hijack suitable 32-bar tunes and convert them to 48s by introducing repeats where there were none.

Do you know the jig, "Captain White", by any chance?

https://thesession.org/tunes/2134

Orgininally, this was a 32-bar tune, but converted my many folks (incuding ourselves) to 48 by using repeats in the "A" and "B" parts. Interestingly, I note that it’s been submitted that way here on the session.

Harmony you say? Heaven forbid! Very untrad ;-) Oramentation, certainly, but harmony no. The tune will soon be a day old - that’s "traditional", in Microsoftspeak ;-). In fact, if it survives a couple more days, it will be soon become an old chestnut …

No ~ ( I’m lauging uncontrollably! :-D ~ spilling my tea! ) ~ octaves… And, you can move in and out of that option. That is very trad! I was just experimenting with it, and, I’ll offer it here, but your notes, no changes, I promise.

See, I’m still playing it… ;-)

I love 48 bar dances, and collected a lovely one in Donegal, though it goes by the same name as one of the ‘Dance Coimisun’s’ ‘official’ ceili dances.

“Old Chestnuts” ~ octaves

X: 4
T: Old Chestnuts
M: 6/8
L: 1/8
R: jig
K: Emin
N: ocataves version, no notes, basic tone or length, have been changed! ;-)
|: d |\
e2 b bab | e2 b bab | d2 b bag | fga agf |
e2 b bab | e2 b bab | d2 b bag | fgf e2 :|
|: B |\
E2 B, G2 B, | DB,A, A,B,D | E2 B, G2 B, | A,G,A, B,2 E |
BAF G2 B, | C2 G ECA, | EG,B, E2 B, } G,A,F E2 :|
|: B |\
E2 G BAG | F2 G AGF | EB,E GEG | AGA B2 G |
B3 G3 | EGE ^A,3 | B,EG BAG | FGF E2 :|

The mention of ‘incidental’ harmony, which is very traditional as well, would be something simple like an occassional 3rd, 4th of 5th between variants, within the structure of a chord, for example, C-part, 6th bar:
~ | GEG ^A,3 | ~

I’ve also heard lilting taken this way, and have enjoyed it myself, loved it, voice or instrumental… Joe Holmes and Len Graham have done it and have also recorded their lilting duets, for example on the recording "After Dawning", which I highly recommend… But lets not forget, as far as my recommendations, I love sheep and blue cheese and my favourite brews are Belgian or Bock and a smokey number from Juneau, Alaska… And I love Cuban rums and music too… 8-)

~ Moskovskaya vodka & certain Irish whiskeys (not Powers) ~ and single malts in general… ;-)

“I promise this is the last?”

"Fair promises avail but little,
"Like too rich pye-crust, they’re so brittle".

A quote from an 18thc source - still true today it seems… ;-)

Are there any other instances in history of three variants of a tune appearing within 24 hours of the original? Can’t think of any myself..

.. the "octaves" idea was interesting, though. Best of three, as they say …

You were being so nice, I couldn’t leave the ‘octaves’ bit unexplained. :-D

Spilling Tea

Me nice? You must be thinking of someone else! ;-)

Spilling tea! You should be so lucky! When I looked at your V2 and V3 , I spilled my coffee - but it wasn’t caused by uncontrollable laughing ;-)

"Real Programmers Don’t Drink Tea", don’t you know!

Ever read it? It was the title of a series of witty articles (written back in the 1970s/1980s) which liftted the lid on the habits of the IT professional.

It was ‘white tea’… ;-)

Nice tune. I think this one may be the first "owncomps" tune I have tried to learn. The a# in the last part reminds me of an old piano we once had that was so far out of tune that you would occasionally get strange notes without really trying.

Posted by .

A#

Glad that you like the tune. Jiml. The A# was a bit mischievous really, as it takes the tune temporarily out of the natural minor into the harmonic minor.

Incidentally, if you want the full version (which has guitar chords) you’ll find it on my website:

http://www.intermix.freeuk.com/

Give my regards to Texas (the US corporation that I used to work for has its headquarters there).