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Boys of Malin Key of A major
There are three parts in this tune. The chords used are A major, D major and E major though obviously each part requires different patterns. The rhythm is the same boom-chick method as the previous two standard settings. The A chord I play is quite like a bar chord. I like this chord because it's easier to reach at a faster tempo and you can dampen easily using this hand shape. I usually sound the four middle strings, dampening the low E string with the flesh of the thumb and the high E string with the flesh of the first finger. Try not to strum all the way through the six strings.
I sometimes add an F# (D string, 3rd finger, 4th fret) to the otherwise modal D chord; this is a simple but effective use of color, requiring one easy finger action. This chord will appear regularly later on as I like the sound of this F# being employed instead of the F# on the high E string. I occasionally deviate from the boom-chick style for a bit of variation.
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Boys of Malin Dropped D Tuning, Key of A major
The second chord in the first part (Asus) is half a bar late; the tune would suggest a D chord at the beginning of bar two, returning to A in the second half, but, I have delayed the change and moved to an A sus4 instead of a D. The return to A therefore doesn't happen until bar three. The E major chord is different from standard because the low E string is now low D. Be sure to dampen both the A and D strings with the flesh of your first finger when playing this E major chord, making a percussive sound rather than a ringing note. My thumb is dampening the low D string on the A chord. Notice in bar three that I lift my index finger off from beat 2 thus changing the texture within the bar. I play a variation of this in bars five and seven but return to the full chord for the last beat, 4.
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Boys of Malin with substitutions
There are some chords uncommon to traditional music in this version of the tune. On the A chord in the first part I sometimes lift the index finger thus letting the B string ring: this adds a major second to the chord. It's also easy to move from the C# to a D on the G string thus giving you an open D chord on the four bottom strings, but, in keeping with the added major second, I let the E on the B string sound, thus continuing the harmonic movement from the Asus2 chord.
In the B part of the tune, I use a B minor and a C# minor 7th. Neither of these are full chords because the fifth note of the chord isn't sounded. I use the two D strings and the G string to move up the frets, first holding down the 9th fret on the two D strings (giving two B's), and the 7th fret on the G string (giving a D) and then moving up two frets. Remember to dampen the A string.
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