Fylde Longscale Irish Bouzouki tuned down to FCGC (Dec 12, 2013)
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- Опубліковано 10 гру 2013
- Doodling around with the tuning FCGC. Already two octaves below the mandolin, the longscale bouzouki gets even darker, a step down, but still retains bright overtones.
Best thing I have ever heard on a bouzouki! This little ditty has mesmorized me for years and I finally found it! (I only had rough audio of this exact recording). Thank you so much! 8^)
Very nicely played. Well done.
The overtones emanating from this are fantastic..
An Irish bouzouki? very interesting sound....
netwitch56 How interesting! They did bouzouki their very own...
This how I have been tuning mine a lot, lately. Great for C!
Steady as a train :D
Cheers, friend, thx.
it would be great if you could do a teaching video on how to play that wee tune. Loved it.
pleasant chord progression. that piece would sound nice with a five string banjo picking in the background
Thank you. Hey, I love the sound of your homemade Banjo. Excellent playing as well !
superrr!
zauzari cheers, thanks!
Very little music will bring tears to my eyes. Yet, you bring such a resolution of hope to my heart in this song, because of possessing the most important theory of music that any giver could understand to acquire....a natural gift honed into a skill presented with the warmth of the bright light of the heart.
Most assuredly, the dynamics must powerfully exist within the realm of a musical sphere which is presented in its external motion. Yet, the lasting power of any sphere is the purity within its internal motion which is the extension of its creator, given that the archetypes of music are built in us.
With the utmost gentleness and in all humility, we have heard the saying that talk is cheap, because it does not usually cost anyone anything to talk. Unless of course, one can live what that one speaks, for if one can speak truth in power, it is because that one lives it in truth.
Simply, as deep calls to deep, so truth calls to truth.
Therefore, the purer one’s heart is, the more powerful the sphere of energy that one will be able to generate and suspend in a perfect way, because of its lasting impression upon the memory of the listeners in being carried home and nurtured as a healing balm within the heart.
Perhaps in our motion of music our paths may cross, or perhaps no, either way please know that you are in my thoughts and my thoughts have become my prayers.
Thank you kindly,
Adieu,
Michael
Your response brought tears to my eyes, Michael . This was nothing but feelings, that I had for a female. That's it. You summed up how I feel, when this pours out, without any explanation. Thank you, my friend. It means a lot to me, that you even noticed this tune. I don't have anything else left, except music. Most would not understand this, so I won't go any further than the words, Multiple Sclerosis.
And your words have brought back something, that I thought packed it's bags, and left. Inspiration. I can't tell you in words. The next thing that flows out of my hands, is dedicated to you.
BmoreBusker
Dear Jim,
I believe you have harnessed some very intense energy in this piece, simply because of what you played and most importantly because of who you are when you play it. The key that a great artist understands (even if they can’t explain it) is that they do indeed create masterworks and that they walk in the power of this knowledge, yet always in a true humility which is fortunately and miraculously governed by suffering.
Those who are able to walk this gauntlet are the real greats, regardless of fame or lack thereof.
And in our strong suffering, if on occasion, you or I take our eyes off of that which is divine within us, we may often forget about what we already possess. Thank goodness, that as we keep our ears to the rail so to speak, we are able to gently remind and encourage each other of the spark of divinity deep within.
You are the one who is instilling your inspiration in me, for again if one can play music in power, it is because that one lives it in truth. Yet, one will pay dearly for truth, for that one will indeed suffer to possess it. For it is only through suffering that one develops patience and perseverance of the will, which breeds strong character, thus giving us hope in life.
So, as you have given to me very profoundly in this song, I would hope to give to you, if even only as a subtle reminder of what you already greatly possess, for one can only give to another what that one has first in their possession. And you have given to me hope, joy and contentment in the flawless blending of tension and release in this piece.
In this motion of music we may find sadness, loneliness or perhaps even some anguish, yet in the evolution of the progression you have given us the only answer or solution with a sense of courage. It’s all there in the song by reference or by inference, from the very sympathetic drone notes, to the pleading unresolved movements to their resolution, even to the array of beautiful counterpoint melodies which to most ears are only felt and not heard.
May God have mercy on us Jim, in the wake of the brilliance of this song. There is not a soul upon earth that couldn’t find refuge in its eternal presence. Please know that I am not the only one who understands that this is a masterpiece. It is so precious and delicate and so very powerful in the strength of the presentation of such openness and vulnerability. Thank you so.
Much of my life, I contemplated the external harmonies of the world and I lived and I worked as a musical artist, even in a world class setting. Now, I have learned to quiet myself to hear the internal harmony of the soul. It would be difficult to properly convey the very deep solace and contentment I have found in my work. And as I have pondered the possibility of gathering some diatonic Cajun accordions into my musical sphere, I came upon your work.
I love how you play the “Back of Town” Cajun song in D on an Acadian. If it pleases you, perhaps you might consider playing another take of “Back of Town” in the colour of G, with a slower feel. I believe the eternal qualities of the motions of this song are more clearly felt when presented in a slower tempo. However, this is only my perception and accordingly all of this is upon you and not I.
Stay well and move in courage.
Adieu,
Michael
Sheeps Meadow You thoughts and writing are crystal clear brother. In this vast community of people online, it's rare to find. Do you have a Cajun accordion, and if so what is the primary key it's in? I can definitely make a slowed down version of 'back o' town' to learn from, if'n you'd like. I could dissect it as good as I can. Also, if you want to hear stuff I've recorded on audio (mostly not Cajun, but there are a few), look up Jim Pettijohn Reverbnation. A mix of many recordings I've donw in the past decade. They are free to download if you'd like. The site degrades the quality, but I have the original WAVs I can upload on my FTP. This particular tune I added as a somewhat of a solo/bridge to a Sea Shanty that I rewrote (originally called Goodmorning, Ladies Al)l. i changed the lyrics to be more about friends, and made it an ode to three of my friends who passed, too early I'd write more, but I gotta hop off of here, for now. Thanks again for all your kind words.
BmoreBusker
Dear Jim,
Please forgive me in not getting back with you sooner.
About a year ago in Virginia, I was absorbing some Mazurka music especially in the Gypsy style and I came upon a version of the Cajun accordion music of the song “Back O’ Town”. I am very moved by this song. I am actually knocked out by its motion, which parallels the same avenues of motion say in John Philip Sousa’s music, which deeply influenced all of the “sit down” jazz bands of New Orleans. Most importantly, it’s the motion I am making reference to and not the different genres or styles of music.
I was born into the music of the accordion, given that my dad is a very gifted musician and he always played all kinds of live accordion music as far back as my memory reaches in this turn of the wheel of life. However, my dad played mostly piano accordion, versus, the diatonic Cajun instrument. To me, in being able to adjust the reeds with the stops concerning the melodeon, places them each in different universes, regardless of the Cajun instrument being diatonic, driven by the direction of motion of the bellows.
Yet, this is one of the very features that is drawing me back into the instrument, as playing the instrument wet creates a very circular and therefore mystical motion. A perfect example of this understanding would be Chris Miller’s short internet rendition of “Back O’ Town”, simply because he is playing a very wet tuned instrument which is recorded alone, up close and recorded with a very dry signal. The song seems to hover in the air as a rhythmic globe.
Personally, I am able to feel a different motion in the song when it is played slightly slower, although, your rendition in D moves at a similar tempo as Octa Clark’s does in G. And of course, yours is filled with your signature nuances that are indeed quite an elixir. I’ve listened to your rendition hundreds of times, much to my enjoyment. Your specific use of the motion of the bellows seems to enhance and accentuate the reeds adjusted wet in such an exacting fashion.
You are so incredibly kind in offering me a tutorial concerning the song “Back O’ Town”. Thank you kindly. Honestly, I am very deeply moved that you would offer me such a beautiful gift. And perhaps in time I would receive this from you depending on its availability in the future. Simply, I would never presume nor make assumptions upon anything.
At the moment there are no diatonic Cajun accordions available to play nor do I own any, as my small entourage and I are wintering in the mountains of the southern forests of Vermont. In every direction are the snow covered mountains with beautiful virgin forests. It is very serene and soothing for the soul.
However, if you choose to extend yourself, I would thoroughly enjoy and therefore require your playing a slightly slower version of “Back O’ Town” in G…. a nice long version. Not as a tutorial, but as your art. I would love to absorb that train of thought as I put together a new musical repertoire.
In time, I am hoping to head to Louisiana to absorb the Cajun accordion music and meet with some of the Cajun accordion builders. I am very moved by this music and I hope to explore it, especially its similarities that I find in other music.
Take the song “Bernadette” played by the Magnolia Sisters. Anya Burgess’s fiddle mirrors Ann Savoy’s accordion, just as say Walter Jacobs used to mirror the guitar lines of Muddy Waters with his harp in a deep blues, or even as I do with guitar and harp in the rack in creating simultaneous melodies and chord phrases in blues or in playing my own or the world’s other ethnic folk musics.
Currently, with me I have a very beautiful sounding J200 Jumbo acoustic guitar, which possesses a very loud, fat sound which is perfect for open air playing. I have been creating a new diatonic French harp bag, which consists of 1896’s and Special 20 Marine Band harmonicas with a few Delta Frost harps. I really like the Special 20’s and the Delta Frosts.
Yet, there is really nothing that howls quite like an 1896 harp, although it takes a lot of wind and strength to make one sing, as it may not be quite as airtight as some of the harps available in the new renaissance of the harmonica recently. However, the tone of the 1896 Marine Band will always be there, with its nailed down cover plates and all.
Shortly with hope, when the warmer weather comes, I will be immersed in a new musical project. This will involve acoustic style guitars and French harps played in a rack simultaneously in a completely instrumental fashion. Possibly, the consummation of time and understanding has brought me to a place of capability to finally create a musical sphere that may cause a pure eternal motion.
The external arc of the motion will be rooted in the combined resonance of both guitar and harp as a constant, with the flawless blending of each instrument in its interchange as mouth, or doorway of the sphere. However, the internal arc of motion will rest solely in the purity of one’s heart, which is the only real lasting power that will sustain a sphere externally in its suspension, regardless of the required technical expertise found in its creation.
In the southwest corner of Virginia, I also have an old Gibson dreadnaught acoustic guitar, which has been a trustworthy standby through the years, as well as a lead tenor steel drum (steel pan) that was made by Louis Patrick Arnold of Trinidad, who is one of the originators concerning pan. Perhaps, within a month I may slip down and back on route 81 and gather the pan and the dreadnaught to me. Patrick has also built me a double second set of two steel drums (steel pans) that I have not yet received.
These are the instruments that concern me now, gone are all the old Gibson and Fender electric guitars, as well as all the vintage amplifiers. The collectors had a field day, although these were my tools. Gone are the remarkable microphones and recording equipment. I don’t listen to recorded images unless I am observing or studying something.
About 7 years ago, I dumped all the masters of my life’s work in a construction dumpster which sat there unmoved for a year…. many different genres of music all gone….remarkable recordings, some heard, some never heard….to some the loss is astonishing…to me I am free. I am bringing myself to a point of only extemporaneous music presentation, as well as only listening to music in this way.
In all humility, in my life I have toured playing 80 gigs in 60 days on either side of the Mississippi River from New York to Los Angeles, to Chicago to New Orleans, yet this was always in a booked venue and not as in a free open air setting concerning true busking with the street as a stage. However, I have played in setups in major slums with no police escorts playing free music.
Regardless, the point that I am trying to make is that most musicians are not true minstrels in being able to present a live art in a public setting of equality and survive on true gifts of gratitude and also respectful acceptance. Perhaps, if I am blessed I may experience what I now see to be the purest reality, which would be to present something eternal to others for free without demanding gold in return, as that which is truly eternal is always given away for free, otherwise it is no such thing but is only myths and fables. It seems as the wheel of life is being so merciful to me in coming full circle.
I would use a harp in low F to cover your “Good Morning Song” as an instrumental with some kind of tuning or capo use on a 6 string acoustic guitar. I have made it mine only through delightful absorption and not authorship.
I would cover “Back O’ Town” on acoustic guitar in G and use a C harp in playing cross harp. I listen to many versions to get a feel for a tune. I would still like to hear yours in G.
C’mon Jim, I love the way you play “Back O’ Town” so please post it in G, only a wee bit slower as to catch most of its motion in a powerful way.
Please give your dad my best regards as he also is creating this beautiful music with you.
Adieu,
Michael
Dude, are there any chord shiets for Irish Bouzouki?
EarlSergejTheRakish There should be somewhere online.... I just kind of figured them out on my own
Hey! I have my bouzouki tuned to FCGC aswell, but bass strings are very loose and not sounding best, so do you use some thicker strings on yours?
What brand bouzouki do you have, and is it standard, or long scale? I can't recall the guages, but they are heavier. If you know your scale length, Roger Bucknal, at Fylde, may let you know the gauges.
Thanks for a reply, i have one made by Hora and it should be longscale, but i ve seen selling only one type of strings for Irish bouzouki, i think it was 011-040 by D´Addario
When I'm in GDAD or GDA, I hop on JustStrings.com. The gauges are similar to what it came wit. Just some are slightly heavier gauge. Basically just the steel strings. For GDAD I've found my ears like 48/23, 28/12, 16/16 and 11/11. i could be slightly off for the wound, G higher octave string, being 23,
The closest to that i managed to found are these: www.augustinus.sk/image/cache/data/feed/39715-550x650.jpg .do you think that it will do? Or should i go rather for medium gauge?: im9.cz/sk/iR/importprodukt-orig/82b/82becb346fbbce229cdcd8d4181779b6.jpg or light ones : mediacdn.shopatron.com/media/mfg/15808/product_image/c947a968d1a04266111048a95144cd54.jpg