It amuses (but does not surprise) me that when we needed to find
a tune to go between two brand new ones we'd written that we wanted
to put in the same set even though they didn't work right next to
each other, the tune we found to bridge the gap is more than two
centuries old.
I now have chords for the tune that I needed to learn more piano
for. Some of the chords came from working them out on the piano,
and some from hearing how the first draft sounded on guitar while
hearing the melody on a whistle. But the whole exercise has gotten
me interested in learning more piano, so I plan to continue
working on that. (And no, I still haven't gotten that tune up to
speed, but I got good enough at it to hear what I needed to hear.)
The chords we came up with are a lot harder to play on guitar[1]
than the melody is (because I've got places where there's a different
chord on each eighth-note in a faster-than-dancing-speed reel -- yes,
my left hand is that fast, but this is pushing the envelope). I may
have actually written a rythm part that'll be easier to play in
hocket than straight. Considering that the point was to write
something blazingly fast that sounded harder than it was ... Hmm.
I'll have to see what Jim (cittern) and Bill (hammered dulcimer)
think about hocket. We already come close to that in a few
sets.
(
Music-encyclopaedia entry for hocket)
[1] A danger of writing them on the piano; I suspected that might happen.