Three Bourrées from the Bal Folk Tune Book (#81, 77, 82) with Lou Diziou be Pierrou in the middle. Also, footage of fire. Decided to play these as melody only because … sometimes that’s a good test of your playing. Can you keep the rhythm without accompaniment? These are all great melodies.
This improbably named tune is #30 in the Bal Folk Tune Book, a three-beat bourrée that is very addictive to play. I play with only the low reed on the Mory sounding, which made some of the bits tricky to do, but it’s a sound that I really enjoy, even if it’s usually a seasoning and not a main flavor. If anyone knows the story of this tune name I would love to hear it. (That’s what it’s called in the tune book, not a translation. The only English title in the book.)
It’s going take a long time for me to get through the Bal Folk Tune Book Project if I keeping getting obsessed with tunes like this.
Over on YouTube, brunokev doesn’t have much to say about where the name comes from, but he does do a great job with the tune on his pipes.
Many boxes, one piece. The Free Reed Liberation Orchestra is a notional (and virtual) orchestra to which any accordionist who wants can belong (and friends, like banjo uke and bass clarinet players). This is our debut upon the world. The tune is a bog norme bourrée, a tune that will get you a free drink at any Bal Trad Pub you might come across. This agglomeration of individuals are mostly habitués of melodeon.net — my home parish for diatonic squeeze matters. This tune is also known as La bourrée tourante, and is tune #32 in the Bal Folk Tune Book. This project is on the very short list of coolest things I have ever done. The Free Reed Liberation Orchestra (Oct 2020 edition) is Anahata, Matthew Bampton, Gary Chapin, Steve Gruverman, Benjamin Hemmendinger, Gren Penn, Pete (playandteach), Julian Scholefield, Janneke Slagter, Greg Smith, Barbara Truex. Video by Gary Chapin
A mazurka and then a 2 beat bourrée because why not? These are tunes 169 and 133 in the Bal Folk Tune Book.
A humble tune from the Bal Folk Tune Book; it does not even have a name listed*. I’m wondering if anyone knows the name, and even if there is a lyric. This tune has everything I love about bourrées the streams of eighth notes, the odd melodic accents that make the 3/8 meter seem like a faux pas that is not actually faux. Dedicated to Brigid Chapin, as she begins her graduate program this week!
Thanks to -Y- over on mel.net I have discovered that this is a tune called “La Ricoise!” Check out these vids of others playing same:
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.”
Two bourrées in honor of the impending four month mensiversary (#notamadeupword) of my marriage to Sunshine! The two bourrées are La Bourrée des Dindes (#166) La Bourrée á Six de Briantes (#164) from the Bal Folk Tune Book.
And if the second tune sounds familiar, it’s because de Briantes is identical to one of the Youp Nanettes. Yes, the identical tune (in a different key) is in the book twice.
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.