Simon ​Meyler  Music       

The Rise of Madame Melda  /Simon Meyler

 

This album begins with an up-tempo multi-instrumental contemporary ballad, the mandolin taking centre stage as both solo and accompanying instrument.  There are dous and motifs intertwined throughout the composition where the mandolin engages with either clarinet, bass or guitar.

 

A song I have always loved and in particular the arrangement is Andy Irvine and Paul Brady’s, ‘The Plains of Kildare’, Track number 11.  It is an instrumental composition as much as it is a song, containing a number of melodies and parts.  For ‘Madame Melda’ I planned to compose something similar with as much emphasis placed on the instrumentals as on the lyrics. 

Similarly, I envisioned an up-beat foot tapping tempo to drive the song.

 

Through this arrangement it was important to demonstrate for the album,  the range and versatility of the five course mandolin.   I factored into the instrumental parts, the various techniques and ornamentation associated with the mandolin such as tremelo, the hammer on, pull-offs, double stops, cross-picking etc.  The mandolin is a Stefan Sobell which I have tuned D-G-D-A-E. 

 

Matt Hanaphy accompanies me on guitar with some nice chords and scale runs.  The guitar follows the mandolin throughought the song, changing dynamics accordingly as the content of the verses dictate.  Adding the spice! are Seín Mackay who places the clarinet right on target, Joey Lynch with some solid bass guitar and Martin Lawlor on bodhrán who gets in on the beat.

 

 

A few years ago I met a lady who in turn inspired this song:

 

It happened that I was exhibiting paintings at an Art exhibition in the city centre.  It was a fairly grand affair in a prestigious spot with a handful of important people present, the remainder trying to look important.  I was standing in a corner alone watching and listening to the usual waffle when across the room a lady caught my eye. 

 

She looked like a million dollars.  She wore her hair half pinned up to one side, the other trailing down her front.  Dressed in a short black dress with royal blue trim, and adorned with jewellery she made her way towards me.  As she came nearer, like a Polaroid photo developing before me, her looks began to wane and I could tell she was a lady of considerable age. 

 

She raised an outstretched hand to my face, presumably for me to kiss, and introduced herself as ‘Imelda Isis Venus, Goddess of the Universe’.  I asked her about her title and as she began earnestly to explain about ‘Isis’ the god of nature, ‘Venus’ of  beauty and that she was ‘the Goddess of Natural Beauty’ beamed down from the heavens, I guessed that she was a little odd and eccentric.  However I spent a while chatting and enjoying her company until I was interrupted and had to part.  As I walked away I could hear that she had moved on to greet another with the same introduction, ‘I am Imelda Isis Venus, Goddess of the Universe’.

 

Over the coming months, this stranger (my absent muse) would inspire a series of paintings and sculpture and now a few years on, a musical composition.   I never laid eyes on the Lady again as either did any of my colleagues.  I taught about who she was, where she came from, the story of her life, etc. all a mystery and before long I had created in my own odd imaginary mind her life’s story from which came the lyrics to the song.

 

Melda’s childhood remains a mystery.  In her late teens she chose or was forced down a pathway different to many.  She became a woman of the night where through circumstance, hard knocks and ambition, she climbed from the squalors of her humble beginnings to the very top of society and celebrity.  This is her song:

 

 MANDOLINIA,  Track 1

 

 

 

 

 

 

 

 

Kyrk Polska & Hins Polska

 

Both of these tunes hail from Sweden, a major player in the international traditional folk music scene and over the last number of years an important player in the promotion of the Nordic repertoire.

 

In 1811 the organized collection of Swedish traditional music (folkmusik) began with a first publication of transcriptions appearing in 1813 (Ref. Götiska Förbundet).  These tunes which were based largely on ancient folkloric records were collected orally among the peasants of the Swedish countryside.  This trend continued through the 19th century with professional and semi-professional archivists travelling the land transcribing and annotating tunes.

 

In 1922 an important tome of Swedish tunes, the ‘Svenska Lätar’ (Ref. Folkmusikkommissionen) was published.  This book contained over seven thousand instrumental tunes and around eight hundred vocal songs from all parts of Sweden.  This along with other large collections led to the establishment of the Swedish repertoire, and national folk musical tradition.

 

Within a few decades the first concerts of Swedish music were being performed by the country’s own folk musicians (spelmän) in the capital city, Stolkolm and beyond where virtuoso musicians revived a new interest in lost traditions and culture.

 

In the early 1940s small folk groups (spelmanslag) began to appear and spread across the country and within a few years came the first important recordings of Swedish folk music.  1960 saw the world wide revival of traditional folk music followed by the ‘Green Wave’ of the 1970s were a new generation began to reach back to the raw unadulterated music of the folk musicians of old.  Sweden rode this wave, organizing its own ‘Woodstock’, Gärdesfesten in 1970.  The music peaked in the late 70s.

 

In the 1980s innovative and experimental groups such as Herdningarner, Väsen and Groupa inspired a new generation of listeners and thus re invented and invigorated the country’s folk music while still preserving the character, history and traditions of Sweden.

 

Today traditional music festivals (spelmansstämma) both large and small take place all over Sweden.  Throughout these meetings you will often find a lot of small groups of musicians playing outdoors in informal sessions (buskspel) or singing sessions (visstuga) usually indoors.

 

Similar to the session music in Ireland, Large groups of musicians (spelmanslag) regularly meet all over Sweden to play melody tunes in the characteristic ‘wall of sound’.

 

 

I recorded both Polskas playing my Joe Foley Cedar top mandolin but in different tunings.  Kyrk Polska is played in standard GDAE.  The most popular tune (lät) in the Swedish repertoire of folk music is the polska (polkor).   The polska is a lively dance tune (danced with partners) which is played in ¾, the same time signature for the waltz (valser) but with differing accents although variants in 2/4 do exist.  The polska is also played at a slower pace than the waltz.  Similar to Irish tunes it is common enough to find tunes named after the musician who made them popular rather than their unknown or forgotten authors.

 

When playing a waltz the emphasis is usually placed on the first beat with a heavy downstroke, the other beats played with a lighter feel to create the typical ‘um pa pa / um pa pa’ feel.  Typically when playing the polska, emphasis is placed on both the first and third beats with a lighter feel on the second to create an ‘um pa um / um pa um’ feel.  There are many different types of polska played in Sweden and throughout other Nordic countries all with varying accent patterns but still played within a ¾ time signature.

 

MANDOLINIA, Track 2 ‘Kyrk Polska’

 

 

The fiddle is the most popular instrument in Sweden.  There is a great emphasis placed on the bowing to best bring out the rhythms of Sweden’s lively dance music.  In Sweden as in other Scandinavian countries the fiddle can be found tuned in many different keys.  While the standard tuning of GDAE is common throughout Sweden, in some parts, particularly the west, a tuning of ADAE is preferred.  Another common tuning, also popular in old time American fiddle tuning is AEAE where some wonderful resonance and sound can be achieved on the open strings when playing in the Key of ‘A’.  Scordatura is the name given to this tuning.

 

The ‘Devils Tunes’ (näckästamning or trollstämning) are those which are played in the tuning AEAC#.  These tunes are associated with old folkloric creatures such as trolls, goblins or näcken, a water spirit who himself enchantingly plays the fiddle.

 

I spent a good deal of time trying to hunt down one of these tunes on Swedish music sites and folkloric sites.  I came across plenty of old time American tunes in AEAE tuning and a small few in AEAC#.  until just about giving up the ghost’ I stumbled across one Swedish tune, ‘Hins Polska’ (Hin Onde, the Devils Polska).

 

When playing näkästamning or trollstämning a fiddler sometimes uses left hand pizzicato to bring special effects into the tune.  Playing this tune in AEAC# tuning, I quickly found that these and other effects were quite easily achieved, again by exploiting the notes on the open strings which are usually in the triad.  Playing in AEAE or GDGD tuning, it is very easy to play in octaves as it just involves moving the same finger patterns across the strings.

 

The keys, ADAE, AEAE, GDGD, AEAC# are actually easier to play than they look and even easier to play a lot of these folk tunes in, most of which were written scordatura than on standard GDAE tuning.  In general the more open strings, the less the finger patterns shift to the right. 

 

MANDOLINIA, Track 2 ‘Hins Polska’

 

 

 

 

 

 

 

 

 

The Pooka  /Simon Meyler

 

Like Sweden we too have our devils and spirits.  Both revered and feared, the Púca is a creature of Irish folklore who’ according to legend is capable of assuming a variety of terrifying forms to scare the living daylights out of humans.  However, the Púca is considered to be harmless, just a big practical joker!  

 

I composed this waltz  a few years back in  A A B format (first part played twice, second part once) and recently added the brige, a C part played twice.  I am joined by Seán who picks along on classical guitar.  I wrote a number of harmony lines and melodies for the banjo-mandolin again wanting to feature this instrument on the album. 

 

MANDOLINIA, Track 3

 

 

 

 

 

 

 

 

The Little Drummer

 

My research has thrown up very little about this song other than it was recorded by the Renowned Irish folk group Planxty in 1974.  This song has always been a favourite of mind.

 

If anyone out there has any information on this song? It would be great to hear from you!

 

MANDOLINIA, Track 4

 

 

 

 

 

 

 

 

Unst Bridal March / Da Bride's a Bonnie Ting

 

These two Bridal tunes come from the Shetland Islands.  Shetland is renowned for its great fiddle tradition.  The music is quite distinctive and is closely connected to the Scandinavian Hardanger Fiddle rather than the Scottish or Irish styles of playing.  Shetland music was played at weddings, funerals, dances and for entertainment.  When the days were shorter in the winter months the fiddlers were busy.  Most weddings took place over these quiet months along with other celebrations such as Yuletide festivities.  The tunes are either indigenous or have travelled from abroad and adapted to Shetland style.

 

Shetland also has a vast repertoire of ritual and work tunes, such as Bridal marches and Sea Shanties.  Ritual patterns were followed in the preparation of weddings and there existed tunes for each stage.  In Norway fiddlers still lead wedding processions.  ‘Unst Bridal March’ and ‘Da Bride’s a Bonnie Ting’ as the titles suggest are both good examples of Shetland ritual tunes and also good examples of scordatura as they are played in AEAE tuning.  I learned both tunes from Paul Mc Grattan. 

 

MANDOLINIA, Track 5

 

Unst Bridal March:

 

“Whenever a weddin wis held ida auld days dey always had a fiddler ta lead da procession.  Dis tün was ösed in Unst te lead da weddin company fae da kirk efter da couple wis married.  Dere were very few roads danadays, so mony a time da company hed to buks ower broos an hedder an sometimes it wis a job fir da fiddler ta keep on playin.”

 

Da Bride’s a Bonnie Ting:

 

“Dis is annider wedding tun frae Unst.  Some says hit wis played whin da bride can trow da door o’ da hoose efter da procession fae da kirk an some says it wis annider march at dey played on da wye fae da kirk.  Dey were leakly bride’s marches in every district o’ Shetland at wan time bit a lok o’ dem haes been lost. Mair’s da peety.”

 

From the Shetland music book ‘Hand Me Doon Da Fiddle’ (Anderson and Swing, 1979).

 

The Shetland style can be characterized by the use of ringing strings and double-stops, syncopated rhythms, strong accents, changes of keys within tunes, cross bowing and scordatura tuning. Throughout Shetland as in Scandinavian countries the fiddle can be found tuned in many different keys, scordatura.  While the standard tuning of GDAE is common throughout the islands, in some parts, a tuning of ADAE is preferred.  Another common tuning , also popular in old time American fiddle tuning is AEAE where playing tunes in the Key of ‘A’, some wonderful resonance and sound can be achieved with the open strings.  Playing in AEAE or GDGD tuning, it is very easy to play in octaves, another trait found through the Shetland style, as it just involves moving the same finger patterns across the strings, above or below.

 

These keys, ADAE, AEAE, GDGD, AE AC# are actually easier to play than they look and even easier to play these folk tunes, by exploiting the notes on the open strings which are usually built around the triad.  A lot of these tunes were written on scordatura rather than on standard GDAE tuning.  In general the more open strings, the less the finger patterns shift to the right.

 

 

 

 

 

 

 

 

 

Lonesome Moonlight Waltz

 

William Smith Monroe 1911–1996 was Kentucky born mandolinist and the father/founder of ‘Bluegrass’ music.  Taking its name from his ‘40s group the ‘Bluegrass Boys’, Monroe defined this hard edged country style of music.   Monroe played mandolin with blistering speed, precision and virtuosity and sang complex vocals and harmonies with a plaintive high lonesome voice.

 

Bill Monroe played a 1923 Gibson F5 Lloyd Loar mandolin which became his trademark and no doubt popularized the Gibson model above other mandolins.

 

He has inspired generations of musicians and is one of the most influential figures in American music, the only American to have single-handedly invented a new genre.  It was important to get one Monroe piece on this album.  ‘Lonesome Moonlight Waltz’ was recorded in 1972 on the Decca label.  It has since been recorded by countless others.

 

Hano, one morning handed me an arrangement of the tune for two mandolins which he had newly penned.  About two dozen sheets of music all sellotaped together unfolded before me like an accordion which I was told to go off and learn!   It was all cool and over the coming weeks we deviated very little from his arrangement deciding to record the full 6 minutes plus.  We sat on opposite ends of the studio with separate microphones hooked up to each instrument and recorded the mandolins together.  The guitar and clarinet were laid down afterwards. 

 

MANDOLINIA, Track 6

 

 

 

 

 

 

 

 

Standin' Tough

 

For Standin’ Tough I employed another alternative tuning for the mandolin which completely changed the instruments sound and capabilities.  Throughout the decades Open G tuning was favoured by many of the great blues guitarists such as Muddy Waters and Robert Johnson.  I used an open G tuning for this bluesy song which allowed for some great chord patterns, blues runs and drones.  Unlike other cross-tunings on the album- AEAE, AEAC# etc. besides changing the tuning of each course of strings I also split the tuning of the bottom three courses:

 

A simple open G tuning similar to the A tuning used on the Bridal Marches (Track No. 5) where the bass strings are raised a whole tone; GDAE = AEAE is to instead lower the treble strings of the mandolin a whole tone; GDAE = GDGD.  In fiddling this G tuning is known as ‘Saw Mill Tuning’.  Alternatively the E course can be lowered to B; GDAE = GDGB to make a G triad, G, B & D being the three notes of the G major chord.  I tuned the mandolin around this triad for Standin’ Tough:

 

Fourth Course;  G  G (higher octave)

Third Course;  D G (higher octave)

Second Course;  B D

First Course;  D D

 

The fourth course remained tuned in G but with one of the strings tuned an octave higher.  On the third course I tuned the second string up to G (higher octave).   The second course A strings were tuned up to B and D and the last course both tuned to D but again in different octaves.

 

Due to the different tensions string gauges also needed to be adjusted and I thus went with the following which wasn’t too hard to work out:

 

14/39  24/14  14/11  11/24

 

This tuning dramatically increased the tone, resonance and volume of my mandolin, well suited to ‘this song:

 

I wrote Standin’ Tough as a protest song and a ‘pick me up’ for anyone from ‘playground to Qaboun’ who has been bullied, mobbed, coerced, harassed, intimidated, threatened, assaulted, abused……

To all the bullies and all their lieutenants out there, ‘YOU’RE GOIN DOWN!’

 

MANDOLINIA, Track 7