___ .. . . .
. . - the Emerald Isle set _,-
. . ..- -~
- Warder -
They were leaving for a better land, they were told. Hunger,
povetry and despair would be all they left behind. Yet, there
was little joy in the hearts of the irishmen who gathered on
crowded decks to watch their beloved Emerald Isle sink slowly
beneath the horizon.
It was a refreshing concept to be able to live by one's own
wits and strenght once again, instead of relying on blind luck
and hope. Yet the home island haunted their thoughts, like
a mother reluctantly sending her offspring out to the world.
Not a single one of the immigrants leaved Mayflower's deck
until after the morning mist finally veiled Eire from sight.
Now that I have prepared my audience with the new-ageish
feadanaigh epic, I can finally track some authentic Irish
Note that it's a set; before you complain about the lack
of coherent structure, consider that it's actually a set of
separate tunes, not a single one.
Are you up to some semi-flames?
Since most contemporary music is homophonic in nature,
chording systems derivated from classical polyphonic theory
theory are absurd, especially the voicings. The parallel-fifth
ban is nothing but a key to create choral parts that are easier
to *sing*. Who is going to sing your pad sections?
In my opinion, the moves that really should be avoided are
parallel octaves between lead and bass, and more than one parallel
third movements at once.
Classical general bass and harmony don't work with a separate
lead melody; they cover only polyphonic music, where each
voice is equal, and the melody is formed of all the voices
Using classical voicing along with modern homophonic lead
creates an overflow of thirds, intervals that are very dissonant
in nature, though beautiful. They tend to cloud the general
harmony spectrum, muffling the leads.
You should never listen to chords by themselves; look at the
general picture they form with bass and lead melodies.
Since I tend to like homophonic music, and dislike the sound
of conventional chords in that music, I need something a bit
different, hence this method of harmonizing. Check on my
pages for more thoughts on the subject.
If you are into truly polyphonic music (no one in the scene
has ever tracked such a piece I have heard) then I advise
sticking with general bass. Multi-part leads are a primitive
form of this technique, so basic counterpoint should be observed.
The general point of this babble is that you should *never*
follow a rule you don't feel comfortable with or think you
understand. My snorts to everyone who writes theory tutorials
without explaining whys along with hows.
Everyone I forgot
2 Row Melodeon
If my style gets a bit
more like Bill Whelan's,
I might as well change
# Vesa Norilo (Warder)
# (C) Crystalline 1998
# Synth sounds from #
# Korg Trinity #
# Acoustic sounds are #
# Howard low D whistle #
# and Landola Acoustic #
# Sampled via ART Tube #
# PAC and Shure SM58 #
# Timpani is a ViperMAX #
# MIDI Patch #