When I first heard On the Boulevard from the Liz Carroll album, Lost in the Loop, It seemed repetitious. The similarity between the A part and the B part seemed a little redundant. It was as if the B part was a replay of the A part an octave higher.
Then, I started playing the tune. When I got involved I found that the contrast between the tow parts was subtle but interesting. Now I’ve gotten to like the jig very much and have included it in the 2nd Sunday Session we have in Palm Harbor.
Maybeyou’ve heard the insensitive comment that all these Irish tunes sound alike. (Or, all these old timer tunes sound alike. Or, all these fiddle tunes sound alike. You get the idea.) Let’s not be that person. Let’s be open minded that we may not appreciate a tune when we hear it, but we know that some people may like it alot.
I got this tune from Liz Carroll’s book, Collected. It has 185 of her original tunes. When I play it as tabbed, I include a little tweak in the A part that organizes playing the first phrase four times for me. Otherwise, it is mostly as published in music notation.
Indian Point is a jig written by Rick Mohr. It has become a popular session tune. Mr. Mohr has used a musical device in this tune that is very effective. Maybe he did not set out to do this composer’s trick, but it is a neat one.
The contour of the melody and chord progression in the A part is speeded up to twice as fast in the B part. That doesn’t mean that notes go faster. It’s the change of chords, and the arc of melody that moves faster. I hope that makes sense.
I find this jig absolutely magnetic. I love to play it.
In the first chart you find the basic tune in fiddle tab as it is published elsewhere in music notation. The second chart has some ornaments I like to use when I play the tune. Look for the pdf file for printing and the mp3 file for listening. They are below each graphic image.
One of the principles of music notation publishing is economy. Publish as much music as possible in the smallest amount of space. This principle was driven by physical constraints of material and human labor. It led to the use of repeat signs, target signs of several types, measure repeat signs, and more.
When I was putting together my book 43 Fiddle Tunes in Tab, I used these concepts to draw maps of tabs that were sometimes hard to follow. It gives me great satisfaction to straighten out some of these twisty pathways on this blog.
One such is the fiddle tab chart I made for Swallowtail Jig. There is one area in the B part that has stumped students repeatedly, (forgive the pun). In the chart below it is rewritten more intuitively.
About a decade back, I was playing regularly at retirement homes. The only jig ever requested was Irish Washer Woman.
I had noticed that many collections of American fiddle tunes included Haste to the Wedding. That being the only jig in a collection of hoedowns, you would think it a popular tune. No one ever asked for it.
One of my string colleagues reminded me why Irish Washer Woman is popular, especially with people just a little older than me. It was thematic in a John Wayne movie,The Quiet Man.
Playing Irish Washer Woman as often as I do, I got in the habit of abbreviating it I.W.W. This amused me also because the same letters stand for the now defunct workers’ union, International Workers of the World. People used to ridicule the organization saying the letters stood for “I Won’t Work,” or “I Want Whiskey.”
My last comment: I really play the tune in F when I do it with a medley that starts with Scatter the Mud, goes to Kilfenora Jig, then to I.W.W. But the rest of the world plays it in G. That’s what we have here.