Fanitullen pdf

Might be possible to "split" the bottom course into drones too sometimes. G string tuned up to A for the resonance is fairly common in Swedish fiddling, as you may know.

Have you tried playing from the altered tuning music? I've done it in other styles, and it feels a bit odd, just a matter of playing literally what's on the page untl the feel starts to come. An awful lot easier than if the notation shows the notes as they sound, but you have to find your way around an altered tuning.

It's a fairly different thing but I enjoy playing Swedish music on fiddle, the main challenge I've found trying stuff out on mandolin is that the left hand ornamentation is a lot tougher. No real info I'm afraid.

I'd just like to hear how you get on. I am not really sure if they are making it sound more complicated than it is on that tuning page. Fanitullen is just played with the instrument tuned AEAC right?

That is the std Black Mountain Rag tuning for American fiddle. I took a few Hardanger workshops many years ago but i think we mainly worked by ear on the tunes. That may be easier I would think esp to get the nuances of the phrasing etc. It's nice, but somewhat unrelated to the topic To the point of the topic, however, I have learned multiple tunes off that CD and they weren't any harder than any other fiddle tunes.

Perhaps transcribing them is doing it the hard way. I am surprised more fiddlers haven't used the Hardanger, though.

It has a great sound. Still being new to the instrument, I'm a bit warry of attempting altered tunings. Indeed, I seem to remember reading in other posts that a mandolin shouldn't go to far afield from standard tuning.

Despite what the sheet says, the tuning for Fanitullen is actually something like B flat-F-C-E: it's an E flat instrument actually, a little below E flat.

Perhaps it would be just as easy to tune down one string and read as if on a C instrument since I won't find any Norwegians to play with. As for learning by ear, I have two recordings of Fanitullen, both Annbjorg Lien. It certainly helps with phrasing, but I am aware that they are both reinterpretations of a traditional tune. Learning from the score may prove to be too difficult and mostly unnecessary.

So, are you basing the tuning on the recording? Also, I think you can retune a mandolin, as long as it is not too high a pitch above normal and as long as it is not a fragile vintage one.

You can also switch to lighter gauge strings if you are concerned. This thread reminded me of the Hardanger mandolin that was in the classifieds a couple of years ago. I enjoyed playing this piece very much. I retuned one of my mandolins and simply played it as written, and it sounds fantastic!

I did go to the trouble of transcribing it into Finale so that I could look at the actual sounding notes. The original notation is admittedly over-complicated because of its clumsiness.

Why not just use accidentals when you need them? Suffice it to say that I understand the bickerings involved when unusual tunings get married to black dots. That being said, here is my opinion on transcribing the piece to standard tuning GDAE : just say no.

I tried playing it at pitch in standard tuning and found that it was possible only at the expense of some rather tricky fingering. Also, a number of grace notes and pedal points had to be sacrificed. That was basically a good idea, but it came with its own share of tricky fingerings and sacrifices. So much of good fiddle music depends on the interplay between the heavy use of open strings and stopped notes, and the numerous grace notes.

Take those things away and it begins to sound more like a classical piece, not to mention being much more challenging to play. But it does give you an idea of the possibilities. I used a steel string guitar patch from my sound card to get a feel for what it can sound like on the mandolin.

So in the final analysis, I believe the best way to play Fanitullen is in its original tuning, but the best way to notate it would probably be in tablature. Cheers, John. Zman: What tuning did you use? Vigee says "B flat-F-C-E". I thought the tuning was indicated as AEAC. I think Vigee was referring to one of his recordings of the piece. It has more brightness that way as well. I may just keep that axe tuned that way, and let it be dedicated to pieces that use that particular tuning.

Speaking of Fanitullen and titles of these tunes in general. I have a feeling that they are more generic than we suppose. Vigee, is this actually the tune that you have on recordings? Sometimes these are just referring to the type of tune.

I recall lots of Swedish tunes called Polska. That lead me to this page of audio samples. Jim: there are a number of different tunes with the same title, reflecting various regional traditions, but all related to a general myth about a fiddle tune that would make the devil leave.

It would say that it is no different that the number of Roustabouts that have been played and recorded. As for tuning, I believe that the transposition of a minor third is general. Duration 20 minutes Composer Time Period Comp.

Period Romantic Piece Style Romantic Instrumentation Orchestra: 2 flutes 2nd also piccolo , 2 oboes, 2 clarinets, 2 bassoons 4 horns, 2 trumpets, 3 trombones, timpani, percussion, harp, strings External Links Wikipedia Dutch.

Categories : Scores published by Hansen Sibley Mirroring Project Scores Halvorsen, Johan Romantic style Romantic Suites For orchestra Scores featuring the orchestra Works first published in Works first published in the 20th century Pages with commercial recordings Pages with commercial recordings Naxos collection.

Suites ; For orchestra ; Scores featuring the orchestra. Contents 1 Performances 1. Pub lisher. Copenhagen: Wilhelm Hansen , n. Plate This file is part of the Sibley Mirroring Project. Javascript is required for this feature. Halvorsen, Johan.