DOCSLIB.ORG

The Journal of the Lowland and Border Pipers' Society

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Journal of the Lowland and Border Pipers' Society Volume 10 No 1 June 1995 THE JOURNAL OF THE LOWLAND AND BORDER PIPERS SOCIETY IN THIS ISSUE - Bellows Technique - - Papers from the 1994 Collogue - Scottish Step-dancing - - Piping Competition + Music - Harmonious Piper - Price 2.75 Richmond, "pleasing to the ear". The From Jon Swayne effect has been to slow the tempo and Somerset produce an uneven and jerky rhythm - certainly impossible to dance to. The very interesting article The Journal of the Lowland and Border Pipers Society "Stock Imagery in Piping" by Hugh Quavers - even or dotted? No Cheape in the December issue of traditional musician plays quavers COMMON STOCK calls to mind the Editorial LETTERS either even or dotted, but with subtle book La Cornemuse (pub a The Annual Collogue goes from strength to timings which cannot be shown in Renaissance du Livre, 1983) by Hubert written music notation. This is what strength. This year it will be held in Edinburgh From Hamish Moore Boone, who amongst other things is an (details on b gives traditional musk its ack cover), and it will be spread Perthshire assistant at the Musee Instrumental, over a weekend. One of the reasons for this, characteristic "lift" and "swing". Brussels. This is a survey of bagpipes and a good one at that. is to encourage those In his letter (CS Vol 9 No 2 Dec 94) "for a in Flemish Art, with which many who, having .some distance to travel, balk at Seamus Richmond makes several in- Mr. Richmond considers that tune to be pleasing to the ear, it must members will no doubt be familiar. It making the effort for just a one day event. teresting points regarding be played properly with the correct contains reproductions, in some cases ornamentation and the timing of pipe Gradually the format of COMMON STOCK is tunes. I agree that for the piper with no gracing, with dots and cuts, as is detail, of some 35 works of art, many of taking shape and settling down. Regular fea- background in Highland piping, it shown in the Highland piping collec- which give the impression of being tures are solicited; and in this issue we have the tions", But what is correct? What was most accurately observed, rather than makes life easier if the ornaments are " " correct by " start of a series on Scottish dancing and its shown in the music. I do however think considered W. Gunn in mere "artists impressions . Included Is 1847 or W. Ross in 1925 was most associated music. Having said that, I should that it is more important to have the a version (from the Musee "incorrect" according to the same W. point out that the article by Maggie Moore has tunes published, with or without Instrumental, Brussels) of the Ross in 1954. nothing whatever to do with the picture on the ornaments (which after all are only one Bloemaert piper which is however front cover. persons personal ideas), than not probably rather less organologically published at all. I would suggest that all ornamentation Planning ahead, it is intended to concentrate be used with great sensitivity as a way sound than the version in the article. The Bloemaert drone the next issue on the subject of Lowland pipes - The hornpipes, jigs, strathspeys and of enhancing the internal rhythm of those with the conical bored chanter. If anyone reels which make up the bulk of the the tunes, and not as a technical ex- arrangement has always intrigued me, has any thoughts on the subject; playing, repertoire, were originally dance tunes. ercise in manual dexterity. and l wonder whether what we see is making, maintaining them etc, I would be If we are to be so bold as to pass the complete instrument. Perhaps the pleased to hear about it. I do know that some judgement on whether a tune is played piper had lost the top section of his pipers have become discouraged at an early "correctly", then surely we must pay (arr W. Gunn (1847) small drone in a drunken brawl, and to stage by their sheer cussedness: others have close attention to the original dance stop it losing air or making unwanted revelled in the challenge of coaxing them into style. noises, he simply placed a stopper in tuneful action. it would be useful, I think, to air the end of the tenon. If it is the whole both problems and solutions and maybe see The ornamentation of pipe tunes has instrument we see, and it is accurately something of what the future holds for this become more and more complex over observed, why the striking dis- most versatile bagpipe. the years and the even quavers in reel similarity between the drones. If the playing have been changed to dotted two drones are intended to be played I have a confession. Some time ago a couple of quavers and semi-quavers. These four line drawings were sent - from North America I examples [opposite page] are all of together, there does not seem to be i think - and in the upheaval of tak ng over The Rejected Suitor. enough difference in length to account Editorship of COMMON STOCK they became for the pitch relationship you would lost. One was called "The Wandering Piper Ornaments. These have become expect between two drones, i.e. octave, c.1840; and one was. I think, lifted from an more numerous and more complex in fifth or fourth, unless the widely flar- old catalogue. If anyone recognises what Im order to make the tune more techni- ing bell of the longer drone is only an on about, please execute an encore! I promise cally demanding, thus making the external flare. A widely flaring bell not to lose them next time round! judges task easier and the decision lowers the pitch of a drone by only a Jock Agnew. more clear-cut. The effect on the music small amount in proportion to its has not always been, to quote Mr. 11 Ulting Lane, Langford, Essex CM9 6QB length. If the small drone does play at 2 3 a fifth, then its differing shape may be From Matt Seattle Border pipes, meticulously written of response from the membership and down in the heyday of their tradition, accounted for by the fact that to be in Newbiggin-by-the-Sea that the use of the term Lowland and at the height of creativity of one of balance, a fifth drone needs to be Small pipes is a kind of brain washing I am writing this in defence of the their practitioners. Take it. Or leave it. significantly quieter than its com- before the event. Of course anyone is Lowland and Border Pipers Society. But dont dare deny that it existed and panion. A bell or cavity tends to alter free to use the term if they wish but it There is a perceived need for a flourished on this Earth. In these the harmonics in such a way as to sticks in my throat as a recently coined L owland and Border Pipers Society. I Borders. make the drone subjectively louder, description which has no historical believe that it is a real need, a whereas a plain exit would assist in validity at all. Even if it turns out to be necessary focus for a necessary music. making the drone less obtrusive. a regional colloquial term from maybe I was not in at the beginning, but I am From Douglas Deakin Alternatively, perhaps, the drones are Aberdeenshire it certainly was not now firm friends with many that were, Sussex alternatives. There are two bottom used in the Borders and was never and I hope that since joining I have sections, but only one top. The top previously mentioned by Collinson or made some contribution, however I have just bought what I presume Ray Sloan [see Dec 94 section on one plays a drone on the any of the other historians of the feeble, and tried to honourably dis- charge my self-appointed duty as a COMMON STOCK] would describe first degree of the scale, and on the Border and lowland bagpipes. If the other on the fourth or some other General Irritant. But there is a crisis as an "Expensive Ornament or bundle term was to be used for a completely of confidence within the Society at the of Firewood". I consider my new set of degree of the scale. The unused bottom new instrument then so be it. But to moment, because the Society is being small pipes made by a "Highland Pipe section is plugged with a stopper, as use it for pipes which have a perfectly pulled in different directions. Maker of Distinction" to be a pure indeed appears to he the case. On the satisfactory historical nomenclature Some (a very few) ways to delight. Excellent tone, and very well other hand, Hubert Boone comments then it smacks of some modishness recreate the edifice of Lowland and made. But then perhaps it takes 15 " Our example is probable furnished and unwarranted abuse of the proper Border piping as it once was, or as they years experience before a mere with a small drone the end of which is names for the bellows blown pipes i.e. once were, for the two terms are not customer should be allowed to express closed by a stopper (which can be Lowland, Border, Pastoral and Small quite synonymous. an opinion. mored for tuning purposes?) and pipes. I know there is a desire to find a Some are self-confessed musical I have no experience of Ray pierced by a lateral hole.
Load more

Recommended publications
  • View Or Download Full Colour Catalogue May 2021
    VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental
    [Show full text]
  • 2016-Program-Booklet-Final.Pdf
    CONTENTS Page Background on the Workshop 4 “Antique (SSP) Archæology” - Ralph R. Loomis Tips for a New Scottish Smallpipe Owner 8 Chris Pinchbeck The William Davidson (Glenesk) Pipes 12 Ian Kinnear Meet Your Maker - Kim Bull 15 Richard Shuttleworth Goodacre’s Razor A CUT BELOW THE OTHERS. 17 Julian Goodacre How dos Wood choice afect the Tone of Bagpipes? 18 And a number of refections on Pipe Making and Tone - Nate Banton A New Perspective on Old Technique, Scales and Embellishments 21 Barry Shears Biographies 21 Dan Foster 22 Barry Shears 21 Laura MacKenzie 23 Brian McNamara 22 Chris Gray 23 Benedict Kœhler 22 Owen Marshall 23 Bill Wakefeld 22 Iain MacInnes 23 Will Woodson Music 24 The Wisdom House Gathering (music) - Bob Cameron 25 The Lichtfeld Hills (music) - Bob Cameron 26 Didn’t We Meet in Lichtfeld? (music) - Bob Cameron Dear Piping Friends, Welcome to the 2016 Pipers’ Gathering. We’re thrilled to offer you a stellar line- up of instructors - we work hard to bring you a consistently interesting mix of folks from North American and across the pond. You’ll hear a lot at this year’s Gathering about sustainability, applied in many different ways. Attending events like ours and playing in your communities sustains a small piping tradition: • We welcome attendees of all ages who are new to bellows-blown piping. Hopefully this event will inspire you to stick with them, and do your part to sustain the traditional music community in your area in your own unique way! • We welcome those who are taking a risk and trying something new at any age! Whether you already play one type of “alt” pipes, and are giving another type a try, or are push- ing yourself a little outside your comfort zone with new tunes and techniques, you are sustaining the tradition as well.
    [Show full text]
  • The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality
    CASSANDRE BALOSSO-BARDIN,a AUGUSTIN ERNOULT,b PATRICIO DE LA CUADRA,c BENOÎT FABRE,b AND ILYA FRANCIOSIb The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality. hen interviewed about the technique as the Greek tsampouna or the Tunisian mizwid) to of the bag, bagpipe maker and award- a fully chromatic scale over two octaves (the uilleann winning Galician piper Cristobal Prieto pipes from Ireland and some Northumbrian small- Wsaid that. ‘the handling of the bag is one of the most pipes chanters). Bagpipes in their simplest form are important things. The secret of the bagpipes is how composed of a bag with a blowpipe and a melodic one uses the bag […] You need a lot of coordination: pipe (hereafter referred to as the chanter).2 Other blowing, fingers […] it depends on the arm, the pipes can then be added such as a second melodic pressure of the air. The [finger] technique is much pipe, semi-melodic pipes or drones.3 The blowpipe simpler. Everyone blows all over the place when they is usually, but not always, fitted with a small valve start to play. It’s like a car: you have to think how you in order to prevent the air from leaving the bag. In are going to do all of this at the same time. The use models without this system, the piper uses his/her of the bag is the most important aspect, even more tongue to prevent the air from escaping whilst s/he than the fingers, [or] velocity’.1 breathes in.
    [Show full text]
  • The Cultural History of the Bagpipe in Britain, 1680-1840. Phd Thesis
    Williams, Vivien Estelle (2013) The cultural history of the bagpipe in Britain, 1680-1840. PhD thesis. http://theses.gla.ac.uk/5085/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] The Cultural History of the Bagpipe in Britain, 1680-1840 Vivien Estelle Williams Submitted in fulfilment of the requirements for the Degree of: Doctor of Philosophy Subject area: English Literature School of Critical Studies College of Arts University of Glasgow September 2013 Abstract In this thesis I seek to trace the cultural history of one of the most representative icons of Scottishness – the bagpipe – within the wider context of Great Britain in the period spanning from the advent of Jacobitism to late Romanticism. In developing my analysis I take into consideration a variety of literary, artistic and musical sources. By investigating the role and symbolism of the bagpipe in the various contexts, I endeavour to illustrate how the construction of the icon changed through time, according to the political and social situation. I argue that during the course of the eighteenth century a radical change in perspective took place; a transformation which is closely linked to Jacobitism and its effect on British politics.
    [Show full text]
  • INSIDE: AGM, Etc Campbell's Border Travels Union Pipe Origins?
    Bellows and mouth-blown Scottish small pipes being examined in the National Museum of Antiquities of Scotland in Edinburgh. The photograph was apparently taken in the mid 1930s. INSIDE: AGM, etc Campbells Border travels Union pipe origins? THE EDITOR offers his apologies journal, Common Stock, and, of small pipes (already the judges for the delay in bringing out course, our first competition. were talking about separate this second issue of Common classes for Lowland and small Stock, which should have He also paid tribute to the pipes), and there were some who appeared in the Summer. societys late honorary president blythely played Highland pipe Nevertheless, the December issue Jimmy Wilson, who died in selections (some of them will appear in December! February, and who would be much excellent) despite the onus on missed. An appreciation of Jimmy the competitor to include The editor also offers his will also appear in the December appropriate Lowland/Border mat- grateful thanks to Peter Cooke Common Stock. erial. and Peggy Morrison at the School of Scottish Studies, Edinburgh OFFICE BEARERS, 1984-85 Chairman Such, however, are the University, for their kind help - Mike Rowan inevitable vagaries of a music in setting this material. Secretary - Jeannie Campbell just at the beginnings of Minute Secretary - Jim Gilchrist revival...and a music which in N.B. Editors new address:- All Treasurer - David Hannay its heyday seems to have been information, manuscripts etc. for Musical Advisor - Gordon Mooney standardised and for which any Common Stock should be sent to Technical Advisors - Colin Ross attempt at standardisation today Jim Gilchrist, 10 Pittville Robbie Greensitt would be highly questionable.
    [Show full text]
  • Wee-Pipes for Wee Folk (And Their Dads)
    by John Slavin PRODUCTS NEW Wee-pipes for wee folk (and their dads) THOMAS ZÖLLER HAT do you do when a child is the music, and the instrument, repertoire and simple type of bagpipe which would have one ready to move from the chanter history from him when I was at the RSAMD. drone and a really small bag. He also worked Wto the pipes but is too small to He was a big inspiration for me and a great out how long the mouthpiece should be and play them? There’s now a solution to this person and musician. I felt I wanted to pass put the practice chanter the boy played into problem — a set of Wee-pipes. on his style and approach to the instrument that pipe.” This new product is the brainchild of Ger- and the music.” The Principal of The National Piping man piping teacher Thomas Zöller, who is a The students at the Dudelsack-Akademie Centre, Roddy MacLeod, attended the Du- graduate of the RSAMD BA (Scottish music come from a wide variety of ages and back- delsack-Akademie’s annual concert two years — Piping) degree. His interest in piping grounds. But it was the difficulty faced by one ago and saw the boy playing these new pipes. was first sparked by listening to the music of of the younger pupils that started Thomas on He asked about the instrument and Thomas Planxty, which led to a love of drone-based his journey to design the Wee-pipes explained that it had been developed in Ger- music ranging from medieval music, hurdy He picks up the story: “There was a boy who many and they wanted to take them to a wider gurdy to Far Eastern music and of course bag- was around eight or nine at that time.
    [Show full text]
  • Border Pipes
    IN THIS ISSUE Letters(3): Mouth Blown Pipes(4): North Hero 2003(7): Summer School 2003(8): Hamish Moore Concert(12): Interview - Robbie Greensitt Ann Sessoms(15): Dance to Your Daddy tune (23): Washingtons march(24): "Bagpipes and Border Pipers"(26): Jackie Latin(32): Harmonic Proportion(34): Collogue 2003(38): Reviews(52): Letters appropriate key were again made. From Peter Aitchison Sets pitched in D with Highland Dunbar, Scotland fingering had actually been made in the mid-19 t century by the Glasgow Looking back into the Common Stock maker William Gunn. Sets fitted with issue of Dec 2002 [Vol 17 No.2], practice chanters exist but they suffer Nigel Bridges writes about the from the poor intonation and tone of strathspey "The Gruagach" by P/M the miniature pipes. D.R.MacLeennan on page three. On In my opinion the revival of any page fourteen Iain Maclnnes mentions instrument or tradition depends upon D.R.MacLellan. Maybe it should be several factors. There must be an D.R.MacLennan? P.S. I knew him. interest or demand for the particular instrument, there must be music appropriate to the instrument, and From Robbie Greensitt there must be instruments available. Monkseaton Northumberland This implies that there must be EDITORIAL hit the streets and, judging by the [abridged - Ed] makers, players and music publishers, The cover picture of a musette was orders and comments, has been well I was surprised by Colin Ross and as well as other enthusiasts like purchasd by Ian Mackay in Bombay! The received. assertion in the June issue of Common historians, working together to promote the revival.
    [Show full text]
  • The Only Piper in the Village
    by Alex Monaghan PROFILE The only piper in the village Angus MacKenzie ABOU, Cape Breton Island, Nova Scotia: an area famous for its Alex Monaghan talks to Angus MacKenzie, Mfiddle music and Gaelic cul- native of Cape Breton now living on Skye, ture, but not, it seems, for pipers at that time. Angus MacKenzie was definitely the exception rather than the rule when he took who is a piper with the group Dàimh. up the pipes as a child. “I grew up in Mabou Mines, just outside brother Iain MacDonald, so they were both so I was always exposed to that type of music, the village of Mabou,” explained Angus. “It’s a important influences on my piping.” and I was always more interested in recordings strong Gaelic-speaking area – my father came Angus is modest about his piping achieve- of Battlefield Band or Wolfstone, rather than over from South Uist, and my mother’s family ments. It seems he always has been. “I was the pure piping. The older I got, the more I found are Gaelic speakers from Mabou itself. There only piper in the village. My mother taught in that my piping style was shaped by non-piping were also families from other Gaelic-speaking the school, so I used to arrange to get the last influences. The fiddle played a big part, but I areas of the Scottish Highlands. I didn’t speak music lesson of the day, when everyone else was found through my teenage years that my style much English until I went to school.
    [Show full text]
  • Bagpipe Timbers, Past, Present and Future
    Detail from painting of Campbeltown Fair Courtesy Campbettown Museum Library IN THIS ISSUE Back to the Borders (4): Friars Carse summer school (17): The pipers role in rural society (22): Bagpipe timbers and their future (26): Memories of a founder-member (34): Skipinnish at the Collogue (37) Dancing at the Collogue Mike Paterson/Piping Today EDITORIAL THE cauld wind pipes revival has been intentions of this society, the Scottish thriving burgh of Campbeltown and its A lad o paints straddling the Highland-Lowland bellows pipes revival has never really annual fair, to examine the role pipers divide of late - though it can doubtless caught on in their one-time Lowland once had in rural society. We also take AT BANFF, by the far-off Moray Firth be argued that we have still to establish and Border heartland have been a look at our own history as a society, around 1783, around 1783, Isaac Cooper a satisfactory definition of when greeted by an impressive new album and report founder member Mike provided for a distinguished clientele in the traditional dual role of musician and Lowland/Border pipes become of piping, released this month, which Rowans talk to the Collogue about the Highland reel pipes. Societys seminal years, as well as dancing master. In publishing his Last months showcases four fine Border players. collection he observes that the public LBPS Collogue was held in Birnam, in recalling the inimitable PM Jimmy Wilson. had been "so much imposed upon by Highland Perthshire, when a very Borders Pipes is part of the on- people who have published reels, and lively ceilidh dance was blithely going "Border Traditions"series, called them new and at the same time propelled by the fine West Highland produced by Dr Fred Freeman (who After Mikes talk, David Hannay they were only reels with new names".
    [Show full text]
  • See Program 2018
    2018 BALMORAL CLASSIC Welcome! Welcome to the Twelfth annual Balmoral Classic, Pittsburgh’s The award winners of the US Junior Championship will be annual celebration of Scottish Bagpiping, Snare Drumming, announced during the opening of the Saturday evening and traditional Scottish arts. concert at 7:30pm in the Carnegie Lecture Hall, and the overall winners in piping and drumming will be asked to The Balmoral Classic’s core event is the US Junior perform at the start of the second set. Trophies and prizes are Solo Highland Bagpiping and Solo Snare Drumming listed elsewhere in the Program Guide. Championships, the only US national competition for pipers and drummers 21 years of age or younger. This free event The articulate and charming Scotsman Arthur McAra will takes place on Saturday, November 17 at the University be the emcee for the Saturday piping competition and the of Pittsburgh’s Bellefield Hall. There are thirteen piping Saturday evening events. and three drumming contestants representing California, On Sunday, November 18, there will be a Piobaireachd Colorado, Maine, Maryland, Michigan, New Jersey, New York, workshop on the Silver Medal tunes for 2019 conducted by Ohio, Pennsylvania, Ontario, and Scotland. Dr. Angus MacDonald of Glenuig, Scotland. The workshop They have worked intensively for years to earn their position will take place from 11am to 1pm in the Panther Room of by competing with distinction in the upper amateur grades the Wyndham University Center, 100 Lytton St. and is free of their respective regional pipe band associations. For any and open to the public. Music to be covered is: The Battle competitor at this level it takes a lot of talent, focus, and of Strome, Salute to Donald, MacGregors’ Gathering, and time, in some ways analogous to preparation for top athletic Marquis of Argyll’s Salute.
    [Show full text]
  • Bagpipe Further Reading
    Robert Menzies (Capt). The Bagpipe Preceptor; or, The art of playing the great Highland bagpipe rendered perfectly easy to every capacity ... To which are added a few favourite simple airs, etc. Edinburgh: Oliver and Boyd, 1818. Library shelfmark: Mus.Box.q.59.4 Tom and Valerie Byran. Ullapool. Music of Lochbroom and Coigach - past and present. 1988. Library shelfmark: Mus.D.s.59 William Bryson. The Edcath collection of Highland Bagpipe music. Compiled by William Bryson. Book 3. Edinburgh: Hugh Macpherson, 1968. Library shelfmark: Mus.Box.q.180.5 Archie M Cairns Pipe Major. Canadian Forces Pipe Band Manual. Compiled /composed / arranged by Pipe Major A H Cairns and Master Warrant Officer J B Kerr. Department of National Defence: Ottawa, 1979. Library shelfmark: MH.183 Archibald Campbell. The Kilberry book of Ceol Mor. Glasgow, 1948. Library shelfmark: Mus.D.I.22. Fifth edition. Glasgow,1980: MH.204= William Connell. Ceol-Mor. A self tuition book written in authentic Cameron style of playing. Book 1. 1980. Library shelfmark: Mus.Box.643.1. William Connell. Teach Yourself to Play the Great Highland Bagpipe. A complete self-tuition method. Book 1. Willie Connell. Library shelfmark: MH.v.438 and corresponding cassette: M.Cas.110 Simon Fraser.The Piobaireachd of Simon Fraser, with canntaireachd. Compiled and edited by Dr B J Maclachlan Orme. Second edition. B J Maclachlan Orme? Burwood, 1985. Library shelfmark: Mus.Box.718.9 Glasgow Piobaireachd Society / Comunn na Piobaireachd. The Piobaireachd Society present a Collection of Ceol Mor composed during the twentieth century, 1930-1980. Piobaireachd Society: Glasgow, 1980. Library shelfmark: MH.v.392 Glasgow Piobaireachd Society / Comunn na Piobaireachd.The Kilberry Book of Ceol Mor.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]