Instrumentals

Six white horses (Traditional, arranged and adapted Harley): slide guitar solo

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40-70 (Harley): synth-heavy off-the-wall blues

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Blackwaterside (Traditional, arranged and adapted Harley): guitar solo

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‘Blues For Davy’ was also recorded on home equipment and hasn’t survived very well, but there’s a good guitar piece in there somewhere. I’ve recently been revisiting it, as seen below.

Blues for Davy (Harley): 1980s version (acoustic guitar solo)

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Blues for Davy (Harley): 2020 video

Audio capture of video version: my current favourite despite its length.

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Blues for Davy (Harley): 2020 version (electric guitar solo): another long, semi-improvisational version.

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Blues for Davy (Harley): 2020 version (acoustic guitar solo). Not my best version, but I was rather pleased to be able to get my fingers around it at all. For a long time, I couldn’t…

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Carpentry (Harley): instrumental version of the tune I wrote for my setting of Housman’s ‘The Carpenter’s Son’. The slow section is meant to sound a bit like a desert lute, the second version is intended to sound more medieval, with overdubbed bouzouki and dulcimer.

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A different take on ‘Carpentry’ (Harley). Essentially the same tune, but just solo guitar and using a C-modal tuning.

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The Clown’s Revenge (Harley)

One of the first things I wrote when I first bought an electric guitar. (It was a Watkins Rapier with a very dodgy pickup selector switch: it never got into a recording studio. Not while I owned it, anyway.)

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Diving Butterfly (arr. Harley, Wilkes): a mashup of the ‘Dives and Lazarus’ tune (without which a lot of English traditional songs would be tuneless) and the slip jig ‘The Butterfly’. The fiddle is played by Pete Wilkes, with whom I played quite a lot in the 80s, and the bodhran player was Gail Williams.

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East River (Harley): an improvised slide guitar piece

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Faintly Fahey (Harley)

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Fainter Fahey (Harley): a non-slide version of the tune also posted as ‘Faintly Fahey’

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Loot Suite (Harley): a short vaguely Renaissance-ish improvisation

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Moonflow III (Harley)

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Painting the Desert (Harley)

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Used as background to video:


 

Quartet for One (Harley)

Baby Taylor strung for Nashville tuning.

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Skeleton Wind (Harley)

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Spanish impro (Harley)

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Swifts (Harley)

Also used as an extended intro to ‘The Wild Swans At Coole’, my setting of a poem by W.B. Yeats.

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How can I keep from singing? (Music by Robert Wadsworth Lowry 1826-1889)

Slide instrumental version: I don’t do a vocal version.

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Maids of Mourne Shore (arr. and adapted Harley)

I don’t sing this, but love the tune, which is the one usually used for ‘Down By The Salley Gardens’, following Herbert Hughes’s 1909 setting of Yeats’s reworking of a traditional song.

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South Wind/An Ghaoth Aneas (arr. & adapted Harley)

Though for many decades I played guitar or bass in ceilidh bands, I hardly ever play that kind of music solo. I occasionally make an exception for this one, also known as a song by Donal O’Sullivan or with newer lyrics by Ewan McVicar (entitled ‘All The Tunes In The World’).

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The Water is Wide (arr. & adapted Harley)

I don’t usually sing this, but I occasionally get the urge to play it. Nostalgia for the days when you couldn’t get through an evening in a folk club without hearing it, perhaps…

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Moonflow IV (Harley)

A slightly different take on a piece I’ve been playing with for years. This one is just solo guitar. I suspect that I’m not quite finished with it.

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Tears of Evening (Harley) – a short guitar solo

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Bluebert (Harley) – maybe not quite a tour de farce (sic), but longer than it needs to be. I’ll either have to do some very careful editing on it, or learn to play it again.

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