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Reelin' and Rockin' (2 of 2)

     "Gravel Walks" is pleasantly complex, with all the ingredients of a first-class Celtic foot-stomper. It rumbles along in modal A for 24 bars and then shifts to C for most of the last eight bars before tumbling back to modal A when it bites its tail and starts at the top again.

    There are plenty of opportunities for tasty ornaments. I’ve indicated several double pull-offs, combining hammer-on/pull-offs, and quick triplets. (As always when dealing with ornaments, treat them merely as suggestions and move them around or leave them out to keep your playing and your arrangements fresh.)

     But one of the things I like best about this tune is how the melody propels forward across the bar lines if you let it. When first poking through the notes to get them under your fingers, you’ll likely hear pairs of bars as complete phrases. Try not to. Try to play through the repeat and hear the whole eight bars as one unbroken musical thought.

    Of course, it’s hard to come up with a rhythmic accompaniment to a reel like this that doesn’t break it back down into individual bars and threaten to fight against the forward propulsion. Whether you go for a down-beat rock drive (ONE-two-THREE-four) or a back-beat swing (one-TWO-three-FOUR), you may be less than satisfied with the "Celtic-ness" of your results.

    Is there a solution to the problem? Well, here’s one, courtesy of cultural cross-pollination. Believe it or not, there’s a wonderful Middle Eastern and North African rhythm called baladi that’s worked its way into Celtic reels in recent years.

    You can see from the tab transcription that the rhythm cycles every other bar, helping to pull past every other bar line. It also stresses the TWO beat in its first bar and the ONE and THREE in its second bar, discouraging a choppy back-beat accompaniment or a too-heavy downbeat pulse. The baladi mixes things up just enough to let the melody say what it has to say.

    As with any accompaniment pattern, baladi needs to be varied or combined with other ideas so it doesn’t become annoying or boring. But I highly recommend trying it out with Irish reels like "Gravel Walks" a a way of breaking away from any predisposition you may have for fou/four accompaniment patterns.

    What you’ll find with baladi is, it locks beautifully with the internal melodic rhythm common to so many Irish reels, in which tunes start with a quarter note followed by seven pairs of eighth notes.

    When I play "Gravel Walks" solo I like to give it the subtlest swing, slightly emphasizing the second and fourth beats of each bar. If you keep the swing subtle, it doesn’t conflict with the baladi accompaniment.

    It’s not just that leaning too heavily on the first and third beats tends to result in a "monkey-with-a-stick" coarseness. This tune has acquired a sort of swing in sessions from California to Edinburgh. Actually, in Edinburgh, the swing was probably encouraged by Shetland-style players, who in the last generation or so have taken Scots and Shetland reels into swing territory formerly occupied only by the likes of Django Reinhardt.

     But, whether you consciously swing or not, do try to play the long phrases, thinking ahead, and listening for the longer, more eloquent musical thoughts. Celtic tunes have more character when viewed from this angle, and may be easier to remember when you’re sipping your Guinness in the pub and it’s your turn to "Give us a tune!"

[Click here for printable notation for "The Gravel Walks"]

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