Simon Furey wrote:
>
> Some stuff is in the introduction to Vol I, and some more difficult stuff
> (for me at any rate - don't read it after work or a few pints!) appears in
> the preface to Vol II.
> Simon
> ----- Original Message -----
> From: "Bill McCarthy" <[log in to unmask]>
> To: <[log in to unmask]>; <[log in to unmask]>
> Sent: Monday, February 07, 2000 3:39 PM
> Subject: Re: (Fwd) Modal songs
>
> > The 4-volume Bronson __Traditional Tunes of the Child Ballads__ is quite
> > good on the relationship of the gapped scales to the 7-note modal
> > scales. Since I don't have it sitting in my office here, I can't tell you
> > which volume, but it is one of the introductions, and probably the intro
> to
> > volume 1.
> >
> > Bill McCarthy
> > Penn State
> >
> >
> >
There's more about modal tunes in Bronson's articles in 'The
Ballad as Song' than in 'The Traditional Tunes of the Child
Ballads'. If you're interested in modal tunes look at the coding
type for those in Huntington and Herrmann's 'Sam Henry's Songs of
the People', starting on page 618. There are treatments of normal
modes on my website, and with numerous illustrations on Jack
Campin's. There are modal tunes in the very first (1899) issue of
JFSS.
There are hundreds of modal tunes coded in the Irish tune index
on my website, and I've recently been revising the format to use
computer search for tunes via their numerical codes, titles, etc.
Some Irish, Scots and all the broadside ballad tunes in C. M.
Simpson's 'The British broadside Ballad and Its Music' are now
coded and available on my website, as is a new computer program
(.EXE file) for searching the data bases (all combined in
COMBCODE.TXT, a little over 2000 tunes so far).
You can search for tunes with offsets, (and with differences), so
in case you happen to code one of those circular majors as
Phrygian, you can still find it. Options 7 (mode searching) is
still a little primitive, however, and I'm still trying to think
of ways to expand this. The problem is that the key/mode
information is alphabetical and it takes a lot of string
manipulation to get something useful out of it. Separation of
the sharp, flat and octave designations for a note into a seperate
number from that representing the single octave (7) notes has
made computer manipulation of the numerical code very simple.
All simple math, no string handling.
Bronson seemed to belive that mode and range were useful distinctions.
However, look at "Norah Creenah" (ref# 1399) in my new Irish code
index. There are 5 versions all circular, and all with nearly the
same numerical code. 2 are Ionian/major, 1 is Mixolydian, 1 is Dorian,
and 1 is Aeolian/minor.
If we take out major and minor 7-note modes, then of those left
there seem to be more abnormal than normal modal tunes among
those I've coded so far.
Bruce Olson
--
My website: www.erols.com/olsonw <A
href="http://www.erols.com/olsonw"> Click </a>
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