Review of the Nashville Tuning book

Many thanks to Mike Wistow for a lovely review of Introduction to Nashville Tuning for Guitar for Folking.com.

(Yes, I do sometimes write reviews for the same site, but there is no underhand collusion involved!)

If reading the review makes you think maybe you would like to contribute to my retirement fund, there are currently four versions available:

  • The paperback version at £4.50,  at Amazon  (includes links to sound clips)
  • An eBook version with embedded audio clips (there’s also a review by Mike for this one): £3.50 at Amazon
  • An eBook version with links to audio, but no embedded clips: also £3.50 at Amazon
  • If you’re not a fan of Amazon, there’s also an eBook version on lulu.com at £3.55. No sound clips in that one, but the links are there, of course.

David Harley

Two improvisations…

…likely to appear at some point in an ongoing verse and music project.

  1. Improvisation in High G tuning:

 

or backup:

 

2. Improvisation on piccolo guitar in Nashville tuning:

 

or backup:

 

David Harley

Back in Free Fall

A taster of sorts for the forthcoming parallel instrumental and verse project. ‘Back In Free Fall’ was (unusually for me) a quasi-classical improvisation played on my Yamaha electro-classic, just slightly cleaned up.

Backup copy:

David Harley

Commercial links

Well, it’s a long time since I’ve done this… (Not since I did some cassette albums in the 1980s.) But I’ve finally started making some recordings commercially available.

Here’s a video: an introduction to my Tears of Morning album, a collection of songs and settings, most of which have a Shropshire connection. The album itself is available from Bandcamp, as is the single Moonflow VI (and as will be the forthcoming single ‘One Step Away’, though that will be more widely available).

Here’s a podcast link which is essentially the same message as the video, but a little longer and even less visually interesting. 😀

I’ll be adding links to this page as they go live. If I remember.

David Harley

Bluebert

A guitar solo I used to play a lot when I was living in London, though I think I was living in Bracknell when I wrote it. Actually, this version has some sections that suggest I was intending to come back to it and add a second guitar, which explains why it’s so much longer (too long!) than when I played it out in the wild. But clearly I haven’t. Yet.

The title has nothing to do with Bert Jansch, by the way. I’m flattered when people tell me what I do reminds them of him, but I don’t really see a resemblance, though I did listen a lot to his first album when I first started to learn the guitar. But if anything, I was more influenced by John Renbourn. And there are bits here that sound as if I was trying to be both of them at once. But to get back to the point, the title refers to the fact that for much of my life I was known as Bert rather than as Dave or David.

Played on a cheap and cheerful Kimbara acoustic – actually, it was a very decent little guitar – and recorded on domestic equipment.

alternative version:

Backup:

David Harley

Down by the Salley Gardens

I’ve heard too many gorgeously sung versions of this to add my own indifferent vocals to the pot, but I do want to include it in a recording project, so this is a sketch for an instrumental version. It needs work, of course – it’s much too busy at the moment – but I think there are possibilities here. It fits because I’m planning to include a couple of my own Yeats settings. However, the well-known melody used here doesn’t need replacing by any tune of mine. 🙂

Backup:

After I wrote a review of the CD ‘A Shropshire Lad’ (by Michael Raven and Joan Mills), in which I specifically mentioned that Michael had set When I Was One and Twenty to the tune better known as Brigg Fair, I had a thought. I mentioned in passing in that article that the theme of the poem is not dissimilar to that of the Yeats poem (based on an imperfectly remembered folk song) Down By The Salley Gardens. The Yeats poem was published in 1889, and A Shropshire Lad was published in 1896, so it’s very likely that Housman knew the Yeats poem, though for all I know, he may have written his own poem before he came upon Salley Gardens. I’m not sure it matters all that much: I’m not doing a PhD thesis. 🙂

Down by the salley gardens
my love and I did meet;
She passed the salley gardens
with little snow-white feet.
She bid me take love easy,
as the leaves grow on the tree;
But I, being young and foolish,
with her would not agree.

In a field by the river
my love and I did stand,
And on my leaning shoulder
she laid her snow-white hand.
She bid me take life easy,
as the grass grows on the weirs;
But I was young and foolish,
and now am full of tears.

Anyway, a quick turn around the fretboard demonstrates that the melody Maids of Mourne Shore, the one most commonly associated with Down By The Salley Gardens since Hughes used it for his setting in 1909, would also work with When I was One and Twenty. As would any of the other tunes associated with or set to the Yeats poem, I guess. Oddly enough, the melody to The Rambling Boys of Pleasure, usually assumed to be the song that Yeats was trying to recreate, probably wouldn’t work so well, at any rate without some modification to accommodate the length of the lines. According to the music historian A.V. Butcher, Butterworth‘s setting to One and Twenty was related to a folk melody, but which one is unknown. Certainly the setting doesn’t ring any bells with me.

David Harley

The water is wide

The world is not short of recordings of this very popular song. This is a variation on an instrumental version I recently rediscovered, having performed it quite a lot in the 70s. I plan to use a more polished version in a forthcoming project.

Backup:

David Harley

 

South Wind

Also known as Southwind, The Southern Breeze, An Ghaoth Andheas, and so on. Has also attracted quite a few sets of words. Recently crossed my radar when working up some material with a ceilidh band, and I couldn’t resist trying it out. I may well vary the instrumentation for the ‘real’ version, but I quite like it with just guitar (though I’ve overdubbed here).

Sometimes attributed to O’Carolan, but I don’t believe there’s any proof of that, though Greg Clare tells me that it’s often performed along with Planxty Fanny Power (which I believe is O’Carolan) or Planxty Irwin (which is on my to-do list). The Fiddler’s Companion attributes it to Domnhall Meirgeach Mac Con Mara (Freckled Donal Macnamara) and includes Gaelic words and translation as well as much more information.

Backup:

David Harley

Staffordshire hornpipe

I find myself in an unusual position. (Steady! Not that sort of position.) I’ve played guitar and/or bass with ceilidh bands from time to time since the 1970s, but have never rehearsed with one until recently.

Which got me thinking that one or two tunes might fit quite nicely into a recording project I’m hatching. This is a sketch only for one possibility. It includes far too many guitars (probably one part would be a bass with just one second guitar to put in some sparse countermelodies) and the actual tune gets buried at some points: it’s just that this has some bits I wanted to keep for reference. I believe the tune was originally recorded in 1909 by Cecil Sharp from John Locke in Leominster. This interpretation is based on a vaguely-remembered recording from the 60s by Jon and Mike Raven. I think this was the record (with Jean Ward): SONGS OF THE BLACK COUNTRY AND THE WEST MIDLANDS.

I’m tempted to buy it, but then I’d have to learn the tune properly. 😉

Mastered:

Backup:

David Harley