Three-beat bourrées from the Bal Folk Tune Book (#34 and 44) played on my Castagnari Mori with all but one reed stopped, and the bass and third reeds stopped on the left hand. Photos of Auvergne harvested from the web. Part of the Bal Folk Tune Book Project. The tunes are “J’avais une bonne amie” and “Derrière Chez Nous.”
Dedicated to Melissa Hinnen!
(Also, I flub the ending for the sake of authenticity. Yeah. That’s it. Authenticity!)
Two bourrées for the Bal Folk Tune Book Project (#78 and 53). You can see the dust motes going by in the morning sun.
This one was actually in the process of entering the Le Bon Truc repertoire thanks to Steve Gruverman. We tried it in a bunch of places on a bunch of accordions, and think we ended up in G minor. Here, on the G/C Mory, it fits on the pull minor (Amin), but I’m playing it here on the push minor (Emin), as notated in the Bal Folk Tune Book. My harmonies are simple Emin to Amin and back again (repeat). For the video, I tried something different. Doing a slide show of Auvergnat postcards. I did this at a performance at the Hubbard Library in Hallowell a good number of years ago — projecting the slideshow behind me while I played. It was nice, I think, for the audience to have something to look at besides me. Part of the Bal Folk Tune Book Project.
And for a bonus, here’s a troupe from Berry doing the same piece, probably with more authenticity, and certainly with nicer hats.
Here are three of the good-old old ones. Le Ruban Bleu, Youp’ Nanette, and (the other) Youp’ Nanette. Yes, there are two. That Nanette! Must have been something. Like that lovely Nancy who keeps showing up in English songs. Played on the Hohner Erica A/D.
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”
I think I like this, numbering bourrées like they are mambos. In the Bal Folk Tune book this is tune #54. I am working to track down the title and will report back if I am successful. For this one, I’m trying out new video editing software, and also, I think I need to relax a little. The camera adds an edge that is not always welcome. This is part of the Bal Folk Tune Book Project.
When I got my first flat keyed accordion (the Dino Baffetti in F/Bb/Eb), I asked the band if we could do some flat tunes just because. This was the first. A set of bog norm bourrées in three performed at Port City Blue — in Portland, ME — about a year ago. The tunes are 1. Bourrée Droite 2. Bourrée de St. Pierre 3. Bourrée d’Egletons.