Chords for Homecoming: A Tale of Two Traditions

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_ [D] _ _ [E] _ _ _ _ _
[A] _ _ _ _ _ [A] _ _ _
_ _ _ _ _ [Am] _ _ _
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_ [D] _ _ _ _ _ I'm at a stage now where branching out into other things that interest me and that have a very genuine, sincere significance to me is an obvious [Em] path.
_ _ _ _ _ [C] _
_ [D] It's _ _ [E] _ _ [D] _
quite an unusual thing [Dm] for a classical musician to dedicate like 20 [C] minutes within a [G] disc to [Dm] music with a traditional band.
[F] I'm new [D] to so much of it.
[C] _ _ _
[G] _ _ _ [Dm] Could you [E] just play it once for me?
[Dm] We're going to play it through.
I just [F] want to make sure that I'm not_
[A] _ [Em] _ _ _ _
_ [C] _ _ _ _ [G] _ _ _
_ It's around there somewhere.
_ _ [D] _ _
_ _ _ [G] Oh no, yeah.
We'll see where it goes.
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_ [F#] _ _ _ _ [A] _ _ _
_ [E] _ The song's called Coshi Hiru, which means walk my love.
A woman's song sang about her love who has been drowned at sea, [D] presumably around the Hebrides.
[A] It's quite an old song and [G] it's found in many [A] different guises around the Hebrides and the North [Am] West of Scotland.
I'm now moving on, [D] she's been hiding me all [Am] year long.
[F] Wish she'd feel like going on, for [Am] like falling [A] in love.
[Am] _
_ It has [E] a certain sort of flowing feel about it.
It's still not part of an arc.
And once we get to that, then we kind of stay there, but we're not really feeling [A] like it's going to this place.
[Dm] _ _ [Am] _ _ _ _ [G] _
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[Am] _ _ _ [G] _ _ _ _ _
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[Dm] _ _ _ _ Could [F] it ever be normal for [D#] the_
I'm not [F#] hearing the variation on that.
You can do what you want.
There's no_
_ _ By the [D] way, I did exactly what you said.
I practiced [E] with my arm hooked around the [D] back of a chair.
Instantly it showed me how [A] to isolate my wrists and not [D] use the full arm.
[Bm] Actually when I'm playing now I keep going_
[A] _ _ _ _ [D] _ _ [A] _
[B] It's just the tunes are going so fast you can't use the [E] whole bow. _ _
_ _ [F#m] _ _ _ [A] _ _ [F#m] _
_ [C#] _ [D] Isn't that amazing?
[E] So deliberately [A] _ [E] taught opposite [D] methods.
_ [A#] _
_ _ _ _ _ [D#] _ _ _
[Dm] OK, again, [Gm] so_
To look at these tunes on [Dm] the page, _ _ [Cm] you _ cannot [A#] visualise unless you're experienced in doing [D#] it.
_ [G#]
And of course in classical music there are a million more [Gm] markings.
But even that, it's just an estimation.
It's still [D#m] not really a portrayal of what they had in their mind.
And we still rely on passing [D] down generation to generation, musician to musician,
how they wanted the music to sound and how the music was intended.
And I guess that's what you must rely on.
Somebody taught you and you played in groups.
It's actually all about people.
_ [Bm] _ _ [B] _ _ [D] _
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_ [D] _ _ _ _ _ _ [Bm] _
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_ [D] _ _ _ _ [E] _ _ _
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_ [A] _ _ _ [F] _ _ [Bm] _ _
_ The [F#m] instrument of the violin is so closely [G] associated with all parts of Scottish [Em] traditional culture.
[D] And _ I am kind of [F#m] joining what is an ongoing [E] celebration of Scottish music. _ _ _
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[G] OK, so I'll [F#] do twice round, then we'll do once round all together.
As much sound as we can all make [A] collectively. Brilliant. _ _ _
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[G] _ _ [A] _ _ _ [Bm] _ [A] _ _
[G] _ _ _ _ _ [E] _ _ _
_ [G] _ _ [Am] _ _ [E] _ _ _
_ [A] _ _ It's exercising a completely different kind of creativity.
But I think just the [E] sense of togetherness will be one [Em] of the most [Dm] significant things I'll take [Em] away from [Dm] this whole experience
and [E] hope to repeat many times in the future.
[Dm] _ _ _
[Em] _ _ _ [Em] _ [Dm] _ _ _ _
_ _ _ [A] _ _ I _ can't do it!
_ _ [D] It's so tiring!
_ _ _ _ [A#m] _ _ _ [Bm] _ _ _ [B] _ _ _ _ _