This week's winner is The Lass of Patti's Mill (The Lass of Pati's Mill, The Lass O' Patie's Mill) which was submitted as a Scottish Air. I'm not familiar with this tune, so if anyone that is, has more to offer, please do! I found this notation (which is a gif file) Here is a link to notation and abc from abcnotation (which was from John Chamber's site) Here's the ABC from that site: X: 1 T: the Lass o' Patie's Mill O: trad. England, Scotland M: C| L: 1/8 B: BSFC XI-5 R: march/reel/song Z: John Chambers <jc:trillian.mit.edu> K: D A2 | "D"GFED F2A2 | d3e f2A2 | "G"Bcdc "D/F"BAGF | "Em"F4 "A7"E2AG \ | "D"GFED F2A2 | d3e f2A2 | "G"BcdB "A7"cdef | "D"d6 :| |: f2 | "Em"gfed "A7"dcBA | "D"d3e f2A2 | "G"Bcdc "D/F"BAGF | "Em"F4 "A7"E2AG \ | "D"GFED F2A2 | d3e f2A2 | "G"BcdB "A7"cdef | "D"d6 :| This also has words: THE LASS O' PATIE'S MILL Allan Ramsay The lass o' Patie's mill Sae bonnie, blythe and gay, In spite of all my skill, Hath stole my heart away. When tedding of the hay, Bareheaded on the green, Love 'midst her locks did play, And wanton'd in her e'en. Without the help of art, Like flowers which grace the wild, She did her sweets impart, Whene'er she spoke or smiled. Her looks they were so mild, Free from affected pride, She me to love beguiled, I wished her for my bride. Oh had I all that wealth Hopetoun's high mountain fill, Insured long life and health, And pleasures at my will; I'd promise and fulfil, That none but bonnie she, The lass o' Patie's mill, Should share the same wi' me. Footnote : Allan Ramsay ( 1684 - 1758 ) was a beacon of Scottish hope in the dark days following the incorporating Union between Scotland and England as an editor, poet and playwright. In 1724 he published 'The Ever Green' an anthology of Middle Scots verse, notably that of William Dunbar and Robert Henryson and his 5 volume 'Tea-Table Miscellany' ( 1724-37 ) brought together many traditional songs and ballads of Scotland, to which he added compositions of his own. His most famous work was the pastoral play 'The Gentle Shepherd'. A Nationalist and a Jacobite, he, along with Robert Fergusson, inspired our National Bard, Robert Burns, to write in his native tongue. Here is a link with more info on Fiddler's Companion
The .tef file http://www.mandolincafe.com/forum/at...4&d=1319218555
http://youtu.be/qPOdb7df0Ng
Here is in on mando:
I still don't exactly know what this is supposed to sound like, but here is my attempt:
I don't know how it's supposed to sound, either, but it sure sounds good, Manfred! Good to see you posting!
Lovely Manfred. You and Eddie set the bar high.
That's not me.... that's an example from Youtube....
He's new, Eddie, he didn't know... but *I* could tell it wasn't you! Looking forward to your version!
Manfred, I love the little tremolo parts you do, great stuff. Here's my version of it:-
Manfred. All I know is it sounds great on your mandolin. Every time you post it sounds even better. Nice.
Yet another great sounding mandolin. Very nice Tosh.
I'm on vacation at the beach so I just played this into my iPhone while sitting on the porch. There's an electrical substation just across the street which is the source of the 60-cycle hum you hear. I played the A and B parts as written in the notation Barbara linked to. The third part I sort of made up as I went along so it's rather hesitant. Stil, it's my idea of a slight variation on the tune.
Very nice indeed. Manfred, Tosh, Brent - Tremolos, double stops, added 1/8 notes in the B part - Very enjoyable.
Here's my version on mandolin, concertina, octave mandolin & bass along with some photos of mills & lasses.
Another fine set of videos, guys. Good choice of tune again, Barbara. I know the tune mainly as a reel so here I offer it first at a slow tempo on my bouzouki then faster on the octave. Guitar and tenor guitar backing.
Very beautiful arrangement Mr. Hansen! (The pictures of the lasses were also great.) John, that was probably one of your best videos ever. The contrast between the slow tempo and the reel was very enlightening (can't decide which version is "best" so will take one of each please.
I apologize for the multiple comments but (IMHO) this has turned out to be an exceptionally good week with each posting being remarkable and complementary. David - Will this be track seven or eight on your new CD? Super harmony with your usual great instrumental mix. Loved the video. I may have dated one of those young lasses when I lived there 40+ years ago. John - Fast or slow they are both easy on the ears. You guitar accompaniment adds a perfect blend of harmony, especially in the slow version. Very nice.
Here's my attempt... I'll try to work in a mandocello backing later...
So great versions here - don't know where to listen first. Both Eddies (the false one and the true one) were very good. Especially True Eddie's laid-back slooow air version with kind of a sean nos angle. David's hyperfect orchestra (that bowed bass!) and his selection of lasses leave me breathless. Manfred's tremoloes, Tosh's rock-solid reference version on one of his singing eternal-sustain instruments, Brent's "Patio's Mill" with its unmoving, uncanny crime scene atmosphere (murdered lass lying just behind the camera she dropped), John's fresh'n fast SRS-character rendition that made me expect a hundred fiddles plus a piano to pick up the theme at any moment...
Maybe I'll try one in a few weeks. This is exactly my cup of tea, but recent new tunes have riddled my older session repertoire with neural holes I have got to repair first. You can imagine what it would sound like anyway, I suppose; I can't hold a match to such inventiveness you all have shown here. My hat is off to you.
Excellent playing everyone,but a special mention in dispatches for David Hansen. A stunning video. Here's mine.
Bertram, If you notice around the 0:24 second mark of my clip, there's a bit of a shake and wobble. She wasn't actually dead, she had just fallen and can't get up. Distracted me so much I could hardly finish my improvised C part...
This isn't perfect, but I got about 95% of the pick direction correct. There are few fluffs and one or two "whoofs" (completely missing the strings ~ "air mandolin"). Note the curved fingers of the right hand. I actually had less pick-sliding than usual. I used the "squeeze-and-release" recommendation for holding the pick. Working on the pick direction felt a little wierd at first, but I caught on. I can tell, however, that it is going to take a looooong time for correct pick direction to become second nature. I had to mark the downstrokes on the score. Yes, those are my jammies I'm wearing. I am, after all, jammin'.
Wow Martin - my hair was windblown from just listening! The metronome and tin whistle create an impeccably brisk fife&drum mood (the Irish Brigade marching to the Battle of Patti's Mill... wait, that must have been prior to Fredericksburg ) Pick direction works wonders, doesn't it! Releases all your power like a dambuster. We have a long-standing tradition here for playing in jammies, btw.
Congratulations, Eddie, Maudlin and Martin - three more fine renditions. Interesting to compare the "metronomed" Martin version with the freer rendering of Eddie, and that whistle does add to the mood in Eddie's, as Bertram says. Sartorially I have to go with Maudlin's suit and tie ahead of Martin's relaxed PJs!
Well, I don't know what "satorially" means, so I can't be offended.
...and you can have your whistle back, Martin...
Nice work everybody. I particularly enjoyed John's slow version because it made me look at the song in a whole new way. I think I would have done a slower, more ornamented version if I hadn't already recorded a backing track at a faster tempo.
;-) Eddie.
Wow, great song and lots of great renditions! School has been busy but I had to make some time to play and wanted to squeeze in the tune for the week! I roughly followed a version I found on YouTube done by Jerald Archer on the fiddle. I cut myself off after the second take and just decided not to worry about all the flubbs.
Laura: I think this is the first time I've seen string bending done (and actually working) on a mandolin! There's Eric Clapton, left in the dust. Aaron: I didn't know a mandolin could trespass this far into the style elements of a fiddle; in fact I can hear the fiddle in this version (and all just with slides plus sustain).
Nice playing and backing track, Laura. The slower version is indeed very appealing. Aaron, that is a powerful instrument you have there and I like the fiddle influences coming in. Martin, certainly no intention of causing you offence re your dress choice - how could I comment on a chap whose bowler-hatted avatar is the epitome of elegance!
So here is my rendition of The Lass of Patti's Mill. I didn't get to adventuresome with it, though I am patting my back for having learned the crux of the song by reading the standard notation version of it. (I haven't read standard notation for a long time; not since taking piano.) I'm still trying to work up a more interesting B part, but that's the thing with great tunes like this; aside from arranging it with more instruments, there is only so much one newbie with a mandolin can do. I took some liberties with the time; if you think it was too loosey-goosey, let me know. I'm opening myself to some criticism here (as per some of the recent discussion on here). Have a great weekend.
Hey, where did you learn that authentic Scotch ending, Kyle? Very cool version, and I'm no purist, but I liked the rhythem you had going. All the clips are amazing this week. I've been hearing more and more about this alleged CD from David, but at this point, I think it's a little late for that... He's going to have to make his debut with a box set.
Nothing wrong with the timing, Kyle. A steady and optimistic pace. And - eerr - Marcelyn... it is "Scottish". The word you used is exclusively reserved for whisky (and fudge and some related sweets). While there may be some of that in the ending of Kyle's version, I am not sure that is what you meant.
Your timing on the tune was fine, Kyle, especially as you say you were reading the part while playing and are not yet familiar with the tune. I find that this always has the effect of making my playing a bit less fluid than when I have the tune well committed to memory. I like too the chordal and double stop effects you include and the second measure has a nice flow to it. Talking of fluid, as Bernard says to Marcelyn, we Scots tend to keep the word Scotch for our whisky (which of course has no "e" so that it is not confused with the Irish whiskey), but even over here the words can be used more widely. "Scots" or "Scottish" are the adjectives we use to describe things not whisky (or fudge, Bernard!). Historically "Scotch" covered many if not all aspects of Scottishness - whatever that might be! answers on a plain postcard to.....
Thanks for explaining John. BTW there is a difference between Bertram and Bernard, too Both are typical Old High German combinations, but with a different meaning: Bernard (Bernhard) = bern + hard = bear + strong Bertram = bert + ram = shiny + raven
My Dear Bertram, please excuse my abject social faux pas. I have never thought of you as a Bernard but much more as a Bertram, all shiny and with the gloss of a raven. Put it down to age and too much time spent browsing on this and other music sites. Hope we can still be friends!
Wow, so much more to learn around here than mandolin tunes. I can see where I may have confused you Bertram, though the ending was indeed sweet, I was currently using the verb form of scotch as found in the Oxford dictionary, "to end decisively." Kyle definitely scotched that tune. http://oxforddictionaries.com/definition/scotch
Ha! - language was made to confuse (as the Babylonians found out without doubt). John, no problem at all. Marcelyn, that's interesting and etymologically intriguing - wonder where that meaning comes from. Could it be a geographical picture (Scotland being the definite northern end of Britain), could it be a Jacobite view (Scotland being the definite temporal end of England), or is it just onomatopoeia (the sound made by a hatchet)? In any case, a cunning usage of double entendre in this context. And I fell for it, too. Kyle, you see what a few extra notes of a tune can do in this forum...
In Shakespeare's "Macbeth" (the Scottish play) in Act 3 Sc 2 Macbeth refers to the killing of Banquo but the failure to kill Banquo's young son Fleance when he says "We have scotched the snake, not killed it..." Scotching meant removing the end from, and in the case of a serpent it was the belief that it could heal and recover from the injury, and therefore still be a danger. Marcelyn, we do indeed deal with so much more than mere tunes in this group! It is eight years since I retired from my 35-year career as a teacher of English but my memory was stirred by your and Bertram's musings here. Off now to make myself a cup of tea, which will also be stirred; it is too early to open the Scotch yet. Oooh, I really love this group.
We're all divided by a common language... I always thought Bernard was Scotch-toting rescue-dog ...
Marcelyn: I had only the slightest inkling of the kind of discussions that can get rolling on here, but had no idea that all it would take is a few notes. Thinking on it now, however, I should have known. And in all honesty, I just made the ending up. I've always found a solid start and finish makes a tune sound a bit more complete. Perhaps this not always the case. And thanks for the feedback everyone: I appreciate the encouragement.
http://www.youtube.com/watch?v=NufJ4...17A&lf=mh_lolz http://www.youtube.com/watch?v=qPOdb...17A&lf=mh_lolz hello, I am new here to Mando cafe. I am looking for the notation, tabs, abc of this version. I wrote it to tef from hearing but I am missing the fine details. Where could I find help. Maybe in Dancing Master ? Anybody ?
X:18 T:Lass of Patty's Mill,The . BC.18 M:C L:1/8 Q:100 S:Benjamin Cooke MS.circa 1770, F.Kidson Coll. R:Air O:England A:x P:4 Z:vmp.John Bagnall K:D (AG) | (GF) (ED) F2 A2 | d4 A2 d2 | (Bc)(dB) (AF)(ED) | E3 D E2 AF | (GF)(ED) F2 A2 | (B/c/d) A4 d2 |(Bc)(dB) (cd)(ef) | d6 | |fg | (fe)(dc) (dB)(cA) | d4 A2 .B.c | (dc)(BA) BAGF | E3 F E2 fg | (af) (ge) (fd) (Bg) | e6 AG | (FA)(GB) (Ac) Be | d6 | |AG | F2 A2 D2 A2 | d2 AG F3 d | (GB)(dG) FAdF | E3 F E2 (AG) | (FG)(AB)D2 (dB) | (cd)(ef) A2 gf|(ed)(cB) (cd)(ef) | d6 | |ga| (gf)(ed) (ec)(Ac) | (dB)(GB) (AF)(DF) | (GB)(dG) FAdF| E3 F E2 (fg) | (ag)(fe) (dc)(Bf) | (gB)(ed) (cB)(AG) | (FA)(GB) (Ac)(Be) | d6 |] W:Original title, crossed out, "The Flowers of Edenborow?" slightly different, but not the one I am looking for. I would tend to pick whatever is nice and mix different ideas. Even the youtube version for an intro or ending. This tune has enormous potential.
Ja'He, check your post in the Song and Tune Projects in the main Forum. I have attached the Notation there for you.
Hi Ja'He, Here is the abc I based my version on: X:1 T: The Lass o' Patie's Mill O: trad. M: C| L: 1/8 B: BSFC XI-5 R: march/reel/song Z: John Chambers <jc:trillian.mit.edu> K: D A2 | "D"GFED F2A2 | d3e f2A2 | "G"Bcdc "D/F"BAGF | "Em"F4 "A7"E2AG| | "D"GFED F2A2 | d3e f2A2 | "G"BcdB "A7"cdef | "D"d6 :| |: f2 | "Em"gfed "A7"dcBA | "D"d3e f2A2 | "G"Bcdc "D/F"BAGF | "Em"F4 "A7"E2AG| | "D"GFED F2A2 | d3e f2A2 | "G"BcdB "A7"cdef | "D"d6 :|
hi Eddie and John, I am new to Mando Cafe. To join was really a very good step. This kind of exchange was what I wanted. Thank you very much, both of you. John, it is already converted and printed. Both of your versions are interesting. I go to work on Eddies info and want to convert it to tef, if I can, and combine it with different ideas. Thanks, again
Ja'He, I have just realised that the abc I posted was the original one posted by Barbara at the start of this thread, so apologies for repetition - or could I claim that you, being new to the group, might not have seen it? No, I didn't think so! Just the advancing years catching me out yet again.
