DOCSLIB.ORG

Cs June 2010.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cs June 2010.Pdf ISSN 1352-3848 June 2010 VOLUME 27 NO 1 THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY Jock Agnew and Martin Lowe launch ‘The Wind in the Bellows’ IN THIS ISSUE From the Archive(4): New Tune Book(5): Music Resources(6): John Armstrong’s Sword(7): Tutor Launch(9): Melrose(11): LBPS Annual Competition(13): Stock Imagery(18): Piper Gould(24): Revival or Survival?(26): Event Reports(35): Nate Banton Interview(41): Coming Events(48): Reviews(51): Back Lill(55) 1 President Julian Goodacre Minute Sec. Jeannie Campbell Chairman: Jim Buchanan Newsletter Helen Ross Treasurer Iain Wells Membership Pete Stewart Secretary Judy Barker Editor CS Pete Stewart THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY EDITORIAL ol 25 no 1 is the 47th issue of some from far-flung parts of the world; Common Stock [issues were there were lowland pipers in America, in V rather erratic in the early years], Australia, in Germany and the Nether- but it is the first I have supervised as lands, in India and in Oman, it seemed, editor. It is extraordinary to find that I and they were all keen to become part of am only the third person to hold this this new organization and share their privileged position. It is indeed a privi- enthusiasm. lege to take over a publication which has And because they did, I am now given recorded the trajectory of bellows piping the honour of editing the journal they from the days nearly thirty years ago first produced in Dec 1983. when various enthusiasts around the This revisiting of the early days has world began to discover that they were been largely the result of the work that not alone in their interest and that there has been done recently on preparing the was demand for an organization which Society’s records for deposit in the Na- would represent it. Since then the face of tional Library of Scotland. I have intro- Scottish music has been changed, and duced a new section of the Journal those early pioneers can be said to have, which I hope will revisit some of the if not originated then certainly focused, momentous occasions recorded in this that process. archive. Looking back through the archive, I One outcome of this archive-gazing have been surprised to find that has been the emergence of a new per- amongst the early letters that responded spective on the revival; indeed, one be- to the article Mike Rowan published in gins to wonder whether survival might the ‘International Piper’ magazine were The views expressed in Common Stock are those of the contributors and not necessarily those either of the Editor or of the Lowland & Border Pipers Society. The contents of Common Stock are protected by copyright. None of them may be repro- duced without the written consent of the copyright owner. The copyright in the individual contributions belongs to their authors and the copyright in each edition of the magazine as a whole belongs to the Society. 2 be a more appropriated term. In addi- peth Gathering received no entries. tion to all those pipers across the world There are a number of similar competi- who responded to Mike Rowan’s 1981 tions at festivals around the border re- proposal, it is now becoming clear that gion and most of them are poorly there were not only players but also supported by pipers, whether Society makers of Lowland pipes between the Members or not. Such competitions are period of the Half-long revival in the a valuable channel for presenting the 1920’s and the ‘new revival’ in the pipes and their music to the general 19080’s. Paul Roberts has made a major public who may be unaware of their contribution to the unearthing (if that is existence, and the Society encourages the right term) of this information and you to support them if you can. The some of his research is included in this next such event is at Newcastleton Folk issue. Festival 2-4 July (see back cover). While this is a good time to look back Whilst attending the concert in celebra- at our history, it is also a good time to tion of Colin Ross in Newcastle I was look forward, to consider what a vision prompted to wonder why so many of the Society’s future might reveal. One women play Northumbrian smallpipes, development that is imminent seems to while so few play Scottish smallpipes; be the re-launch of the North American this issue contains comments from two, Lowland Pipers’ Association, under and we know of a few others, including whatever new title it chooses. Accord- some professional players, but my im- ing to reports on the Bob Dunsire Bag- pression in Newcastle was that women pipe Forum, plans are well underway to there outnumbered men. Lowland pip- establish a web presence. The LBPS ing offers an escape from the intense looks forward to working closely with world of highland piping, surely it offers this group. It is my intention that Com- an alternative to the locker-room too? mon Stock should also spread its net This issue turned out to be another across the world; this issue contains bumper one, and there’s already a stack reports from several international events of fascinating material lined up for the and an extended interview with US next issue. (including an article on the pipemaker Nate Benton. I hope this will much rumoured ‘Border Pibroch’) but be the first of an ongoing series that will that doesn’t mean I dont’ want to hear look at bellows-piping activities and from you. All contributions are always practitioners internationally, and wel- welcome. I’ve greatly enjoyed putting come contributions and suggestions for this one together, particularly establish- future articles and interviews. ing some links across the world; I hope Some rather dispiriting news came you find something to enjoy here too. from Morpeth earlier this spring, where the Border pipe competition at the Mor- Pete Stewart [email protected] 3 Lowland Pipes on the streets of Edinburgh for the first time in 200 years ociety President Julian Goodacre has been preparing the Society’s archives for eventual deposit at the National Library of Scotland. This is a surprisingly Scomplete record of the history of some very significant changes in the Scottish music scene and it is planned to include a series of extracts in subsequent issues. Here, Dr David Hannay, destined to become Society treasurer in the following year, describes the opening event of the 1982 Edinburgh Folk Festival. The Edinburgh Folk Festival this year At the end of the meeting the chairman had a contribution from the Lowland of the Lowland pipers’ Society, Mike Pipers’ Society, with two of their mem- Rowan, … said that the Society now bers, Ian MacDonald and Dr David had sufficient members to be put on a Hannay – playing at the “Proclamation more formal basis and this would be of the Folk Festival” at the Mercat done at the next meeting of the society Cross on March 27th. The opening cere- on June 6th” mony included a pipe band and groups When asked for his memories of this of dancers who paraded along the High event, David said: Street and across George IV Bridge “I do not have a copy of what I wrote with the two Lowland pipers playing in at the time [Ed.- fortunately the archive the procession. This may have been the does], nor can I remember what I played, first time that Lowland pipes have been but I do remember the event. Myself heard in the streets of Edinburgh for and another lowland piper, were due to about 200 years. play at the Mercat Cross by St Giles Later that day Ian MacDonald gave a Cathedral, for the opening of the Edin- talk at the School of Scottish Studies on burgh folk festival. I was playing a set of “The Lowland Pipes in relation to the half long pipes I had recently acquired European Tradition”... As well as the from Colin Ross. We started playing Lowland pipes, he gave a demonstration outside St Giles with various groups of on the Uilleann and Breton pipes, dancers milling around, causing suffi- amongst others. Great interest was cient obstruction for us to be eventually shown by an enthusiastic audience moved on by the police. We then all which included Francis Collinson, Wil- marched, or rather ambled, up the High liam Sinclair and Jimmy Wilson. Mr Street and up George IVth Bridge be- Sinclair had made Lowland Pipes with fore stopping at the Bedlam Theatre. I Robertson’s of Edinburgh in the 1920’s had never really marched with the bel- and for many years Jimmy Wilson was lows pipes before, nor have I done so probably the only person still playing since.” them in Scotland… 4 “A Collection of Pipe Tunes” A revised and enlarged edition of an old favourite, this collection of classic border tunes will be available again from mid-June ock Agnew and Jim Richmond’s Northumbrian Minstrelsy (first pub- Joriginal edition was produced in lished 1882) in good versions suitable 1993, when little other appropriate for Border pipes and Scottish small- music was readily available for the Bor- pipes.” Some versions have been der pipe, and finally went out of print sourced from other Northumbrian and about a year ago. In the last 17 years, the Border publications or MSS. bellows pipe revival of the Scottish A few tunes in the original edition have Lowlands and Borders has blossomed: been omitted completely as they were but despite the plethora of suitable mu- adaptations of originals often extending sic now available, the two Societies feel well beyond the nine-note pipe range.
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]
  • Irish Music If You Are a Student, Faculty Member Or Graduate of Wake and Would Like to Play Irish Music This May Be for You
    Irish Music If you are a student, faculty member or graduate of Wake and would like to play Irish music this may be for you. Do you know the difference between a slip jig and a slide? What was the historic connection between Captain O’Neill of Chicago and Irish music? Who was Patsy Touhey and was he American or Irish? What are Uilleann pipes? What is sean-nós singing and is there a connection with Irish poetry? For the answers, join this Irish Music association. GOALS: to have a load of fun playing Irish music and in the process: Create a forum for a dynamic musical interaction recognizing and promoting Irish music Provide an opportunity for musicians to study, learn, and play together in the vibrant Irish folk tradition Promote co-operation between outside music/fine arts departments in Winston-Salem Enhance a community awareness of Irish music, song and culture Expose interested music, and other fine arts, students to an international dimension of folk music based on the Irish tradition as a model Explore the vocal and song traditions in Ireland in the English and Gaelic languages Learn about the history of Irish folk music in America HOW THIS WILL BE DONE: Meet every two weeks and play with a Gaelic-speaking piper and whistler from Ireland, define goals, share pieces, develop a repertoire; organize educational and academic demonstrations/projects; hear historic shellac, vinyl and cylinder recordings of famous pipers, fiddlers, and singers. Play more music. WHAT THIS IS: Irish, pure 100%..... to learn not only common dance music forms including double jigs, reels, hornpipes, polkas but also less common tune forms such as sets, mazurkas, song airs and lullabies etc WHAT THIS IS NOT: Respecting our Celtic brethren, this is NOT Celtic, Scottish, Welsh, Breton, Galician or Canadian/Cape Breton music which is already very well represented by some fine players here in North Carolina.
    [Show full text]
  • Traditional Irish Music Presentation
    Traditional Irish Music Topics Covered: 1. Traditional Irish Music Instruments 2 Traditional Irish tunes 3. Music notation & Theory Related to Traditional Irish Music Trad Irish Instruments ● Fiddle ● Bodhrán ● Irish Flute ● Button Accordian ● Tin/Penny Whistle ● Guitar ● Uilleann Pipes ● Mandolin ● Harp ● Bouzouki Fiddle ● A fiddle is the same as a violin. For Irish music, it is tuned the same, low to high string: G, D, A, E. ● The medieval fiddle originated in Europe in ● The term “fiddle” is used the 10th century, which when referring to was relatively square traditional or folk music. shaped and held in the ● The fiddle is one of the arms. primarily used instruments for traditional Irish music and has been used for over 200 years in Ireland. Fiddle (cont.) ● The violin in its current form was first created in the early 16th century (early 1500s) in Northern Italy. ● When fiddlers play traditional Irish music, they ornament the music with slides, cuts (upper grace note), taps (lower grace note), rolls, drones (also known as a double stop), accents, staccato and sometimes trills. ● Irish fiddlers tend to make little use of vibrato, except for slow airs and waltzes, which is also used sparingly. Irish Flute ● Flutes have been played in Ireland for over a thousand years. ● There are two types of flutes: Irish flute and classical flute. ● Irish flute is typically used ● This flute originated when playing Irish music. in England by flautist ● Irish flutes are made of wood Charles Nicholson and have a conical bore, for concert players, giving it an airy tone that is but was adapted by softer than classical flute and Irish flautists as tin whistle.
    [Show full text]
  • Annual Reports2014
    EASTERN UNITED STATES PIPE BAND ASSOCIATION Annual Reports Saturday, November 8, 2014 Renaissance Cleveland Hotel Cleveland, OH 2 President’s Report ................................................................................................................. 4 Vice President’s Report on Fair Hill .................................................................................. 5 Treasurer’s Report .................................................................................................................. 5 Executive Secretary’s Report ........................................................................................... 8 EUSPBA Annual General Meeting Minutes Nov. 9, 2013 Newark, NJ .............. 9 Membership Coordinator ................................................................................................. 13 Music Board Report ............................................................................................................ 15 The Voice ................................................................................................................................ 15 Florida Branch Report ....................................................................................................... 16 Metro Branch ......................................................................................................................... 18 Mid Atlantic Branch ............................................................................................................ 18 Northeast Branch ...............................................................................................................
    [Show full text]
  • Degrees of Challenge and Diversity BA (Scottish Music — Piping)
    DEGREE Degrees of challenge and diversity BA (Scottish Music — Piping) NE student on the BA (Scottish Music — Piping) degree programme Ois leading the revival of a community pipe band in the Renfrewshire village of Maxwell Derek Photo: Kilbarchan, several are touring and recording with other musicians, one has successfully produced an album for a schools pipe band and others are making their mark as keen solo competitors. All of this is extracurricular activity, but it is helping to further the students’ pursuit of the diverse aspirations that led them to apply for the programme in the first place. The course, taught jointly by The National Piping Centre and the Royal Scottish Academy of Music and Drama (RSAMD), is now embarking on its important third year: a final year for its first graduates. Brian McNeill, director of the Scottish Music programme at RSAMD, admitted to having been “skeptical at first about having a separate BA (Scottish Music — Piping) degree. “I’ve always worked very hard, and with the Battlefield Band (of which he was a co-founder) we fought for 30 years, to get the pipes accepted as another Scottish instrument which was not separate. “But I’ve converted since then. What the National Piping Centre does is so good that I feel a concentration on piping has been a beneficial thing. “There are important issues about how they “Jimmy Banks (the Centre’s degree “The fact that it is more specialised than join in with the rest of us, what their influence programme administrator) and I spend a lot of our general degree is good, and it may well be a should be on the rest of us and what our time working on the right ways to make the model, a template, for future degrees for fiddle, influence should be on them.
    [Show full text]
  • About More2screen
    PRESENTS ABOUT MORE2SCREEN More2Screen is a leading distributor of Event Cinema with an unparalleled reputation for the delivery of great cinema events to audiences around the world. Founded in 2006 by CEO Christine Costello, it has been a global pioneer in the harnessing of digital technology to bring the very best in live music, performance arts and cultural entertainment to local cinema audiences. More2Screen won the Screen Award ‘Event Cinema Campaign of the Year’ category in 2018 for the live broadcast of the musical Everybody’s Talking About Jamie, and recent releases include Kinky Boots The Musical, Gauguin from the National Gallery, London, Matthew Bourne’s FILMED LIVE AT THE 3ARENA, DUBLIN Romeo & Juliet and 42nd Street The Musical. RUNNING TIME: 120 minutes (Part 1 55 minutes / Interval 5 minutes / For more information visit More2Screen.com Interval Feature 8 minutes / Part 2 52 minutes) BBFC: U Share your thoughts after the screening #Riverdance25Cinema @Riverdance / @More2Screen BRINGING MORE CHOICE TO YOUR CINEMA Live and recorded theatre, opera, @more2screen ballet, music & exhibitions CAST PRODUCTION Composer Producer Director Riverdance Mide Ni Bhaoill Riverdance Bill Whelan Moya Doherty John McColgan Irish Dance Troupe Andrew O’Reilly Flamenco Soloist Senior Executive Producer Tomas O’Se Rocio Montoya Julian Erskine Principal Dancers Natasia Petracic Bobby Hodges and Callum Spencer Riverdance Poetry and Music Amy-Mae Dolan Megan Walsh Russian Ensemble Riverdance Poetry - Theo Dorgan Peter Wilson dance captain Spoken by
    [Show full text]
  • School Show Study Guide
    420 East Packer Avenue Bethlehem, PA 18015-3179 (610) 758-2787 www.ZoellnerArtsCenter.org School Show Study Guide: Wednesday, March 13, 2019 at 10:00am Baker Hall at Zoellner Arts Center USING THIS STUDY GUIDE Dear Educator, On Wednesday, March 13, your class will attend a performance by Murphy’s Celtic Legacy, at Lehigh University’s Zoellner Arts Center in Baker Hall. You can use this study guide to engage your students and enrich their Zoellner Arts Center field trip. Materials in this guide include information about the performance, what you need to know about coming to a show at Zoellner Arts Center and interesting and engaging activities to use in your classroom prior to and following the performance. These activities are designed to go beyond the performance and connect the arts to other disciplines and skills including: Dance Culture Expression Social Sciences Teamwork Choreography Before attending the performance, we encourage you to: Review the Know before You Go items on page 3 and Terms to Know on pages 9. Learn About the Show on pages 4. Help your students understand Ireland on pages 11, the Irish dance on pages 17 and St. Patrick’s Day on pages 23. Engage your class the activity on pages 25. At the performance, we encourage you to: Encourage your students to stay focused on the performance. Encourage your students to make connections with what they already know about rhythm, music, and Irish culture. Ask students to observe how various show components, like costumes, lights, and sound impact their experience at the theatre. After the show, we encourage you to: Look through this study guide for activities, resources and integrated projects to use in your classroom.
    [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]
  • Jordi Savall and Carlos Núñez and Friends Thursday, May 10, 2018 at 8:00Pm This Is the 834Thconcert in Koerner Hall
    Jordi Savall and Carlos Núñez and Friends Thursday, May 10, 2018 at 8:00pm This is the 834thconcert in Koerner Hall Carlos Núñez, Galician bagpipes, pastoral pipes (Baroque ancestor of the Irish Uilleann pipes) & whistles Pancho Álvarez, Viola Caipira (Brazilian guitar of Baroque origin) Xurxo Núñez, percussions, tambourins & Galician pandeiros Andrew Lawrence-King, Irish harp & psalterium Frank McGuire, bodhran Jordi Savall, treble viol (by Nicholas Chapuis, Paris c. 1750) lyra-viol (bass viol by Pelegrino Zanetti, Venice 1553) & direction PROGRAM – CELTIC UNIVERSE Introduction: Air for the Bagpipes The Caledonia Set Traditional Irish: Archibald MacDonald of Keppoch Traditional Irish: The Musical Priest / Scotch Mary Captain Simon Fraser (1816 Collection): Caledonia's Wail for Niel Gow Traditional Irish: Sackow's Jig Celtic Universe in Galicia Alalá En Querer Maruxiña Diferencias sobre la Gayta The Lord Moira Set Dan R. MacDonald: Abergeldie Castle Strathspey Traditional Scottish: Regents Rant - Lord Moira Ryan’s Mammoth Collection (Boston, 1883): Lord Moira's Hornpipe Flowers of Edinburg Charlie Hunter: The Hills of Lorne Reel: The Flowers of Edinburg Niel Gow: Lament for the Death of his Second Wife Fisher’s Hornpipe Tomas Anderson: Peter’s Peerie Boat INTERMISSION The Donegal Set Traditional Irish: The Tuttle’s Reel Traditional Scottish: Lady Mary Hay’s Scots Measure Turlough O’Carolan: Carolan’s Farewell Donegal tradition: Gusty’s Frolics Jimmy Holme’s Favorite Carolan’s Harp Anonymous Irish: Try if it is in Tune: Feeghan Geleash
    [Show full text]
  • Réalta Carry on the Bothy Band Tradition of Taking Tunes By the Scruff of the Neck and Firing Excitement Through Them Like Hot Flames!” - Herald Scotland
    www.realtamusic.com “Réalta carry on the Bothy Band tradition of taking tunes by the scruff of the neck and firing excitement through them like hot flames!” - Herald Scotland Hailing from the Ulster city of Belfast, this award winning multi- instrumentalist group present an enchanting programme of Irish traditional dance music interspersed with the occasional air and song. Performing on duelling uilleann pipes, whistles, bodhrán, guitar, bouzouki, banjo, double bass and vocals, their unique sound and masterful musicianship has secured Réalta’s position as one of the most exciting acts on the Celtic music scene today. For more information see: www.realtamusic.com / RealtaMusic [email protected] Biography Described by Irish Music Magazine as “a full bodied pipe and whistle extravaganza”, Réalta carry on the Bothy Band tradition of taking tunes by the scruff of the neck and firing excitement through them like hot flames! Hailing from the Ulster city of Belfast, this award winning multi-instrumentalist group present an enchanting programme of dance music interspersed with the occasional story, air and song. While Conor Lamb and Aaron O’Hagan pursue the melody on uilleann pipes and whistles, guitarist and vocalist Deirdre Galway explores the harmony and rhythms within the tunes. All-Ireland champions Dermot Mulholland and Dermot Moynagh complete the line-up with dynamic accompaniments on double bass, bouzouki, banjo, voice and bodhrán, making this one of the most exciting acts on the Irish music scene today. The release of their second album, Clear Skies, has brought Réalta widespread critical acclaim, with the Irish Music Magazine summing things up by writing “Réalta have grown bigger, bolder and braver and this is one of the best CDs to have come out of Ireland this year!”.
    [Show full text]
  • The Compositions of Patrick Mclaurin** Barbara Mclaurin (9/8 March) a 9/8 March for My Mom
    **The Compositions of Patrick McLaurin** www.patrickmclaurin.com Barbara McLaurin (9/8 March) A 9/8 march for my mom. Apparently there are two versions, the 3rd and 4th parts are just the other version. Patrick McLaurin 9 8 www.patrickmclaurin.com Beer with Gillian (Reel) A large portion of the band Haggis Rampant is composed of the Brownlee family. The parentals, Pam and Steven, often tagged their adventures without their daughter Gillian with the hashtag #beerwithoutgillian while Gillian was off getting her masters degree. I was fortunate enough to live in the same city as her graduate school, so I got to have #beerwithgillian. Patrick McLaurin 2 2 www.patrickmclaurin.com Bryan’s Great Pipe (Jig) Bryan has several Great Pipes: 1950’s full ivory Robertson and half engraved silver and moose antler Colin Kyo, to name a couple... Patrick McLaurin 6 8 www.patrickmclaurin.com Burden of Innocence, The (Slow Air) Without children, we would never evolve: physiologically, socially, or spiritually. Our world needs constant reminders of what it is like to be innocent. Children are our clean slate upon which we can conquer disease, bigotry, and evil. The composition of this tune was my emotional response to the murder of 27 people, 20 of whom were children, in Newtown, Connecticut on December 14th, 2012. Patrick McLaurin 6 8 www.patrickmclaurin.com Calista and Clark’s Playtime (Hornpipe) Clark is my nephew, Calista my daughter, and they were born exactly 4 weeks apart. I straight up borrowed, unknowingly, the first part of Moving Cloud as the first part of this tune.
    [Show full text]
  • Traditional Irish Instruments Facts the Fiddle and the Violin Are the Same Instrument! We Call It a Fiddle When It Is Used in Traditional Irish Music
    Traditional Irish Instruments Facts The fiddle and the violin are the same instrument! We call it a fiddle when it is used in traditional Irish music. The fiddle has 4 strings and it is played with a bow. It is one of the most popular instruments used in traditional Irish music. Traditional Irish Instruments Facts The flute is a woodwind instrument. It has been used in Irish music for many years. The Irish flute is usually made from wood and has 6 holes and up to eight keys. The Irish flute and the tin whistle have the exact same fingering. Many Irish flute players start off on the tin whistle before moving onto the flute because of this. Traditional Irish Instruments Facts The tin whistle is also known as the penny whistle. It was first used in traditional Irish music in the 19th century. The tin whistle is a small metal tube with 6 holes and a mouthpiece. It is considered a good starting instrument for traditional Irish musicians. Today, many children up and down the country are being taught how to play the tin whistle in school. Traditional Irish Instruments Facts The Irish word for elbow is ‘uillinn’. To produce a sound on the uilleann pipes, the piper must squeeze air into a bag with their elbow, while playing the pipes with their fingers. It is one of the more difficult traditional instruments to play. The uileann pipes are played sitting down. Traditional Irish Instruments Facts A melodeon is similar to an accordion. Music is produced by pressing buttons on either end of the melodeon and moving the instrument in and out, depending on what sound you want to achieve.
    [Show full text]