I’ve been hanging out on page 16 of the Bal Folk Tune book and recorded these four bourrées in three. Played on my Castagnari Mory G/C, with a lot of the stops in. Trying to create a light sound. I notice I am a real push/pull player when it comes to bourrées, rather than crossing rows often. I don’t really know how that fits with the idiom, especially with its roots in the very legato Chromatic Button Accordion. I’ll think about this.

75 Para Lou Loup Petiote 71 Bourrée 72 Prends Garde au Loup 76 La Mourolliado

I notice as this project progresses that I tend to play tunes “straight,” i.e., as I imagine they would be for dancing. This is great, but with my group and in my stage performances I am more theatrical or cinematic (like, what’s the story that this tune is the background music for, what story is this tune telling). In fact, I’ve been accused of being Wagnerian. I am not sure how I will proceed, but I WILL proceed. Stay tuned.

P.S., I learn in the comments below that #71 is called “Lou Moridon Cotet”