My final list of tunes that I found in my notation folder is a collection of melodies that I played before one of my notes stopped working on my concertina. The note that failed is the top F# note which is important if playing in the keys of G and D; basically all of the session tunes, it is a very popular note.
By losing it I had to think of what to do and what to play. I could have opened up the concertina and tried to fix the problem, with the danger in re-sealing the case, that the reeds were in, not being air tight again and destroying the whole concertina; or that I salvage the melodies what I could and transpose them to another key. I did the latter.
The list of tunes is an example of the melodies I played before the note stopped playing. They are common tunes you would find in a Northumbrian Session, most are taken from the Small pipe’s repertoire and tune books. There are a few Spanish melodies, as I play Spanish pipes and I really liked the melodies. It is a reflection of what music I was involved in at that time. I may have got some of the tunes in the wrong groupings, but who cares!
Bolero de Santa Maria (Mallorca)
Danza Daz Burgos (Galician)
St. Joan (Catalan)
Arrastar de Banabarre (Catalan)
Ball Pla del Pallars (Catalan)
Border Bagpipe Tunes
Schottish (Swedish tune)
Vals and Englska (Swedish tunes)
Jimmy Alan/ Salmon Tails up the Water (Northumbrian)
Wild Hills O’Wannies (Northumbrian)
Biddy the Bold Wife
Peacock Followed the Hen
8 o’clock in the morning
Saddle the Pony (Irish)
Mrs Thompson’s Hornpipe
2 O’Carolan tunes
Crooked Bawbee (Scots)
There is a few Border melodies in the list, this must reflect the notation book “Over the Hills and Far Away” complied by Matt Seattle; whom I had done a workshop with on the border Pipes and these melodies crept into the concertina repertoire.
The Swedish tunes reflect my long standing interest in Swedish Sackpipa and Nickelharpa music, I used to visit Sweden for many years and I learn a few tunes from the people I had met there.
The French, Galician, Catalan and Mallorcan tunes show the influence living in Spain had on me, as they were played at a folk music bar “Taberna Elisa” we went to a lot. They are tunes written in the key of C but I would have played then in the key of G; the Galician tune was written in the key of D and I would have played it in that key (and still do).
Today I do not play a lot of these tunes due to the missing F# note, but I have transposed a lot of them in to the key of C and they work fine, the ones I have left out is due to the technicalities of playing in C and some tunes do not transpose well. The Spanish tunes are in their original key, the French tunes I dropped due to the key change.