Marche de Concert, Olly Oakley

Hi y'all. This evening's lunatic fringe tune is Olly Oakley's "Marche de Concert". I don't know why I decided to tab this one out, but I did...and now I'm looking for a recording of it. Did Mr. Oakley record it? Anybody with a mp3 they'd like to share?

This is one of those odd circumstances, I was working on Tim Twiss's suggested tune over on the Minstrel list and while working thru it, discovered a section in F#m (natural minor of Amaj). While investigating this, I ran across the term "parallel minor" (Amaj's "parallel minor" is Am). So, when the Oakley piece dropped off a cliff and into some wacky minor-sounding stuff, I sorta knew where to look to find out what was going on...

Anyway, at M69 (which starts page 2 of the original dots), for only 10 measures, "Marche de Concert" suddenly gains 3 flats (from Cmaj to Cm). I can only describe it as jarring. No modulation, no anticipatory noodling, no "I'm about to change here..." This is sort of like Tiger Woods lining up a shot on the 10th tee, loudly and uncomfortably passing gas and then going back to playing golf.

I thought I had somehow completely screwed up the tab when I heard it.

So, now I'm wondering if anyone ever had the guts to record it. Dots and MIDI attached. I'll post the TAB when I sort out all those chromatic runs...

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Permalink Reply by Trapdoor2 on September 14, 2009 at 4:26
And...here's the TAB. Lots of choices here, naturally. As usual, I used the original fingering to get me started but after picking thru it a couple of times, I made changes...mostly from linear chromatics to "arpa" or "melodic" ones. There are some others, but with tunes at this level you should be making these decisions yourself! ;-)

At a walk, this is not a horribly challenging tune (not easy by any means) but...it sounds like it ought to be clocked around 120bpm (Olly probably did it quite a bit faster).

It is one of the very few tunes I've tabbed where one actually hits that 'c' at the 22nd fret! About time I put some scratches in that one. ;-)

Here's the TAB...
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Permalink Reply by David Wade on September 14, 2009 at 6:42
Oakley recorded it 5 times from 1910 (one is anonymous on Ariel Records but has the same numbers as the 1910 Zonophone release). His last recording was at his last session in 1930 that also produced Tony and White Rose.
I have some versions on cassette which record to mp3, the only mp3 I have is of it is by Nick aged 15.
It's not a tune I've ever worked on, maybe now is the time. Well done Marc!
Permalink Reply by Trapdoor2 on September 14, 2009 at 13:55
Yes, I sort of made up my mind that it was a Cm "interlude" (perhaps "deviation" might be a better term) and then remembered I had the piano score. The banjo solo does not indicate a key change but the piano score does. Go figure.
Permalink Reply by Jody Stecher on September 14, 2009 at 23:48
Marche de Concert modulates to E flat major at the top of page 2. It wouldn't be jarring to most ears I think, but it would be if one were imagining that C were still the tonic note.

Trapdoor2 said:
Yes, I sort of made up my mind that it was a Cm "interlude" (perhaps "deviation" might be a better term) and then remembered I had the piano score. The banjo solo does not indicate a key change but the piano score does. Go figure.
Permalink Reply by marc dalmasso on September 15, 2009 at 11:31
yes , well done Marc ; i notice that the tittle is in French ... , ? may be because Samuel Stewart edited his " concert march " ( my vidéo ) before this one ?
Permalink Reply by Trapdoor2 on September 16, 2009 at 3:07
Jody, if you say Eb maj...I have no schooling to say different. However, I would submit that there is no "modulation"...that is, some prepratory meandering around shared structure; nothing to hint that something is about to happen (sure, the reader knows...but the listener has no clue). The listener has been hearing that C tonal center and at m69 it abruptly switches to something else. Cm at least keeps the C tonality...Eb? Why?

I really ought to take some courses in this stuff. I find it way too interesting...and am too quickly out of my depth.

Jody Stecher said:
Marche de Concert modulates to E flat major at the top of page 2. It wouldn't be jarring to most ears I think, but it would be if one were imagining that C were still the tonic note.

Trapdoor2 said:
Yes, I sort of made up my mind that it was a Cm "interlude" (perhaps "deviation" might be a better term) and then remembered I had the piano score. The banjo solo does not indicate a key change but the piano score does. Go figure.
Permalink Reply by Trapdoor2 on September 16, 2009 at 3:15
There's a question for the ages, Marc. If the English use French words to sound "elegant", what language do the French use to sound "elegant"?

marc dalmasso said:
yes , well done Marc ; i notice that the tittle is in French ... , ? may be because Samuel Stewart edited his " concert march " ( my vidéo ) before this one ?
Permalink Reply by Jody Stecher on September 16, 2009 at 5:36
As to whether it modulates: I used the word to indicate a key change, not to indicate a preparation for a key change. That's the usual musical meaning of the word *modulate/modulation".

As to why: because this is how most classic banjo music proceeds. Key changes, especially in the "trio" and the occasional fourth section, are common. No pre-key change hints are usually given. From C it can go anywhere. Most often to F. But sometimes to A flat, E flat, or any related key. E flat is the relative major of C minor and as you say C minor is the parallel minor of C major. It's not an unusual jump. I think if you set an electronic tuner to hum at E flat while you play those 10 measures you'll see that E flat is the tonal center of all those phrases. It's something you'll recognize intuitively.


Trapdoor2 said:
Jody, if you say Eb maj...I have no schooling to say different. However, I would submit that there is no "modulation"...that is, some prepratory meandering around shared structure; nothing to hint that something is about to happen (sure, the reader knows...but the listener has no clue). The listener has been hearing that C tonal center and at m69 it abruptly switches to something else. Cm at least keeps the C tonality...Eb? Why?
I really ought to take some courses in this stuff. I find it way too interesting...and am too quickly out of my depth.
Jody Stecher said:
Marche de Concert modulates to E flat major at the top of page 2. It wouldn't be jarring to most ears I think, but it would be if one were imagining that C were still the tonic note.

Trapdoor2 said:
Yes, I sort of made up my mind that it was a Cm "interlude" (perhaps "deviation" might be a better term) and then remembered I had the piano score. The banjo solo does not indicate a key change but the piano score does. Go figure.
Permalink Reply by Trapdoor2 on September 16, 2009 at 19:20
LOL, contrary to popular belief, I did not just fall off a musical turnip truck.

I've done a good bit of research into harmony and general music theory over the years...I'm obviously not articulating my questions properly.

I have segregated the annoying 10 measures in question and now that they're "stand alone", they indeed sound like they're in Eb maj. I think you're right in that my ears were still trying to hear that Cmaj tonal center and simply couldn't make the transition to Ebmaj come out as a major key. I have my suspicions as to why...

I'll just continue to try to resolve my discordant dilemma on my own. Heck, I'll learn more about this stuff if I just hold my nose and dive in. I started playing the piano part (on the piano) at lunch today and it doesn't sound quite so odd as it does on the banjo.

Jody Stecher said:
As to whether it modulates: I used the word to indicate a key change, not to indicate a preparation for a key change. That's the usual musical meaning of the word *modulate/modulation".

As to why: because this is how most classic banjo music proceeds. Key changes, especially in the "trio" and the occasional fourth section, are common. No pre-key change hints are usually given. From C it can go anywhere. Most often to F. But sometimes to A flat, E flat, or any related key. E flat is the relative major of C minor and as you say C minor is the parallel minor of C major. It's not an unusual jump. I think if you set an electronic tuner to hum at E flat while you play those 10 measures you'll see that E flat is the tonal center of all those phrases. It's something you'll recognize intuitively.


Permalink Reply by David Wade on September 19, 2009 at 15:21
Right, according to my index Neovox M1004 has two version: 1910 Zonophone and 1930 Parlaphone.
I may have other versions or version that are more accesable, gig tonight so not much time.
David Wade said:
Oakley recorded it 5 times from 1910 (one is anonymous on Ariel Records but has the same numbers as the 1910 Zonophone release). His last recording was at his last session in 1930 that also produced Tony and White Rose.
I have some versions on cassette which record to mp3, the only mp3 I have is of it is by Nick aged 15.
It's not a tune I've ever worked on, maybe now is the time. Well done Marc!
Permalink Reply by David Wade on September 21, 2009 at 18:56
Ok folks this is the 1910 Zonophone version.
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Permalink Reply by Trapdoor2 on September 21, 2009 at 19:58
Ah, bless you mate! Substantial difference in the dots and his performance...typical "Olly-isms" throughout!

Seems to be some rhythmic differences in the A part (Olly vs the CE dots) but that just may be Olly throwing the kitchen sink into his interpretation (can it be called an 'interpretation' when the composer plays it?). This will bear some directed listening...so, many thanks for the mp3!

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