The Tunes
The tunes are a mixture of common and not so common 6/8, 2/4
and 4/4 time single and double jigs, measures, polkas and
marches. Most are two or three part tunes of 4, 8 or 16 bars per
part. There are some instances where tunes have been adapted or
extended to produce music with the correct number of bars to fit
the dance; one recent dance has required the use of a tune with
2, 4 and 6 bar parts.
Points to note when selecting tunes:
- Key: Tunes in different keys give different
‘mood’ to the dance.
- Changing key can be used to 'lift' the dance.
- Time signature: In general the time signature depends upon
the stepping type:
- Single Step: triple time tunes (6/8)
- Polka Step: duple time tunes (2/4 or 4/4)
- Bars: The tune length (number of bars in each part) and
number of parts (one, two, three or four) is chosen to fit each
figure or chorus. Shorter tunes are more flexible in that they
can be repeated to make up the correct length, but may become
repetitious. Longer tunes may have an all too fleeting
appearance.
- Simply watching the dance can give a good indication of the
nature of the tunes chosen. Dances with lots of movement may
benefit from tunes with rapid changes in pitch. Slower dances
will benefit from more sedate music.
The Arrangement
In order to integrate the dance and music the music played for
the Buttercross Belles' dances' is chosen and arranged
with the greatest care. In most cases each dance has at least two
tunes, the chorus (distinctive figure which appears between dance
figure) has its own tune, or part of a tune. The length of the
music played for the figures is adjusted so that a clear and
distinct change can be heard when changing from one figure or
chorus to the next. Being able to associate a particular tune
with a particular part of the dance helps both dancers and
musicians to know where they are without having to
‘count’.
Points to note when arranging the music:
- If the chorus is 16 bars long then use both parts of a single
tune for it throughout the dance.
- If the chorus uses a single tune then each figure will need
its own tune; identical and similar figures can share some
tunes.
- When using a single tune for a figure don't repeat the
same part of the tune - play the parts sequentially i.e. for a 24
bar figure using a 2 part tune play ABABAB rather than AABBAA.
This avoids the problem of having to remember where you are when
playing the tune. However if there is some repetition within the
figure it may be better to play the parts to fit the pattern.
e.g. if the same 24 bar figure starts and ends with the same 8
bar pattern with a central 16 bar pattern a better sequence would
be ABAABA.
- If the chorus is 8 bars long (as most are) then use the first
part of a tune for the chorus and the second part for the figure
which follows, repeating the second part of the tune as many
times as is necessary for the length of the figure.
- If two figures follow each other without an intervening
chorus change from one tune to another when the second figure
starts. Better would be to choose a 3 part tune so the first part
can be used for the chorus, the second part for the first figure
and the third part for the second figure, returning to the first
part for the chorus which follows.
The Performance
As is usual with dance music the tunes are played in a
Staccatissimo style with a ‘swing’. A single
instrument plays the ‘intro’ to set the pace after
which any other musicians and percussion players join in. When
ready the dancers start to the call of ‘This Time’.
At the end of the dance the music stops dead after the dancers
have been given sufficient music if they are ‘dancing
off’. If the dance comes to an end with the dancers
‘in position’ the call is again ‘This
Time’. The music stops dead with the dancers, who will
‘dance off’ when the music starts again after a short
pause and introduction.
Points to note when playing for the dance:
- Allow a single instrument to set the tempo and ensure
everyone starts at the same time (after the introduction).
- Continue to play the ’intro‘ music until the
dancers are ready, then change to the first tune when ’This
Time‘ is called.
- Keep to a strict tempo when playing for North-West Morris
dances (and most others).
- Follow the drum - this is the instrument everyone can hear
and everyone should follow.
- Add emphasis at appropriate times, e.g. when the dancers kick
or raise their arms.
- Watch the dance at all times because:
- The dance gives the clue as to when to change from one tune
to another.
- The dance gives the clue as to when to add emphasis to the
music.
- Small alterations to the tempo may need to be made if the
dancers are getting into difficulties, e.g. due to a bad choice
of tempo, difficult terrain, slippery conditions etc.
- If the dance starts to go wrong the music will probably need
re-arranging ‘on the fly’.
- At the end of the dance the music stops dead, i.e. no drawn
out notes.