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Scotland's TANNAHILL WEAVERS “...an especially eloquent mixture of the old and the new...” NEW YORK TIMES Now in their 51st year, the Tannahill Weavers are one of Scotland's premier traditional bands. Their diverse repertoire spans the centuries with fire-driven instrumentals, topical songs, and original ballads and lullabies. Their music demonstrates to old and young alike the rich and varied musical heritage of the Celtic people. These versatile musicians have received worldwide accolades consistently over the years for their exuberant and humorous performances and outstanding recording efforts that seemingly can't get better...yet continue to do just that. ROY GULLANE PHIL SMILLE MALCOLM BUSHBY MIKE KATZ lead vocals, guitar flute, whistles, bodhran, vocals fiddle, vocals, bouzouki highland bagpipes, scottish small pipes, whistles SCOTLAND’S PREMIER TRADITIONAL BAND www.tannahillweavers.com [email protected] Scotland's TANNAHILL WEAVERS Listen: Òrach (listen on Spotify) The Geese in the Bog/The Jig of Slurs (download) Watch: Gordon Duncan Set Johnnie Cope Photos: (click for downloads) SCOTLAND’S PREMIER TRADITIONAL BAND www.tannahillweavers.com [email protected] Scotland's TANNAHILL WEAVERS Press Quotes "…the group has found an especially eloquent mixture of the old and the new. - Stephen Holden, New York Times “The music may be pure old time Celtic, but the drive and enthusiasm are akin to straight ahead rock and roll.” - Winnipeg Free Press “Formed from a Paisley pub session in 1968, seminal trailblazers the Tannahill Weavers now also rank as national treasures.” - Glasgow Celtic Connections 2018 “…the Tannies are the best that Scotland can aspire to (and believe me, that is THE BEST).” - The Living Tradition “Scotland’s Tannahill Weavers play acoustic instruments, but the atmosphere at their shows is electric. -
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 -
SCQF Level 6 Bagpipes Practical
Z The Royal Scottish Pipe Band Association Pipe Band College Certification Education Guidelines PDQB CERTIFICATE - SCQF 6 Bagpipes This guide is intended for both Students and Instructors. It must be read in conjunction with SCQF 6 Bagpipes Syllabus to ensure all aspects are covered. Refer www.pdqb.org. It is strongly recommended that all students sitting this level have access to the RSPBA Structured Learning Books. It is also recommended to purchase The College of Piping Tutor 4 – Piobaireachd be purchased. It is therefore important that Instructors use these recommended books as their main source material. The RSPBA Structured Learning Books are available free from the RSPBA Pipe Band College :- https://www.rspba.org/ Obtain College of Piping Tutor 4 Knowledge of SCQF 2 through 5 are essential for SCQF 6. Students who start at SCQF 6 may be required to prove competency of prior levels by the Examiner. Be prepared for this. Theory Aspects: • Write bars of a monotone rhythm in various combinations e.g. Compound Duple time / Cut Common time / Common time etc. And be able to consider rests in the combinations and ensure each bar has different combination of note values. • Explain the accent pattern in reels and describe two important factors in reel playing – could be any type of tune – say Reel or Strathspey etc– accent pattern - Simple Duple Time meaning 2 beats in the Bar SW for reel or Simple Quadruple Time SWMW for Strathspey etc. – important factors in playing different types of tunes – discuss this e.g. good technique, appropriate tempo, decision of round or dot cut etc. -
Bartlett, T. (2020) Time, the Deer, Is in the Wood: Chronotopic Identities, Trajectories of Texts and Community Self-Management
Bartlett, T. (2020) Time, the deer, is in the wood: chronotopic identities, trajectories of texts and community self-management. Applied Linguistics Review, (doi: 10.1515/applirev-2019-0134). This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/201608/ Deposited on: 24 October 2019 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Tom Bartlett Time, the deer, is in the wood: Chronotopic identities, trajectories of texts and community self-management Abstract: This paper opens with a problematisation of the notion of real-time in discourse analysis – dissected, as it is, as if time unfolded in a linear and regular procession at the speed of speech. To illustrate this point, the author combines Hasan’s concept of “relevant context” with Bakhtin’s notion of the chronotope to provide an analysis of Sorley MacLean’s poem Hallaig, with its deep-rootedness in space and its dissolution of time. The remainder of the paper is dedicated to following the poem’s metamorphoses and trajectory as it intertwines with Bartlett’s own life and family history, creating a layered simultaneity of meanings orienting to multiple semio-historic centres. In this way the author (pers. comm.) “sets out to illustrate in theory, text analysis and (self-)history the trajectories taken by texts as they cross through time and space; their interconnectedness -
NOTING the TRADITION an Oral History Project from the National Piping Centre
NOTING THE TRADITION An Oral History Project from the National Piping Centre Interviewee Professor Roddy Cannon Interviewer James Beaton Date of Interview 30 th November 2012 This interview is copyright of the National Piping Centre Please refer to the Noting the Tradition Project Manager at the National Piping Centre, prior to any broadcast of or publication from this document. Project Manager Noting The Tradition The National Piping Centre 30-34 McPhater Street Glasgow G4 0HW [email protected] Copyright, The National Piping Centre 2012 This is James Beaton for ‘Noting the Tradition.’ I’m here in the National Piping Centre with Professor Roddy Cannon, piper, piping historian and researcher, and also professionally a scientist. It’s St Andrew’s Day 2012 and we’re going to be speaking really about Roddy’s life and times in piping. Roddy, good morning and welcome. Good morning. Good morning. It’s always good to be back. Well, it’s nice to see you here and it’s nice to have you back. I come here on averageabout once a year these days. I give a number of classes and I talk to your students and I talk to the staff and I talk to you and it’s wonderful. Well, it’s nice to have you here. The thing that strikes me very much about your classes is that they’re so different from one year to the next. Some sit quietly and listen, some of them join the debate vigorously, and very occasionally I get confuted by counter arguments and that’s what I like best. -
Sheila Stewart
Sheila, Belle and Jane Turriff. Photo: Alistair Chafer “…Where would Sheila Stewart the ballad singing Scottish Traveller, Traditional Singer and Storyteller tradition in Scotland 1935 - 2014 be today without the unbroken continuity by Pete Shepheard of tradition passed on to us by Sheila and other members of Scotland’s ancient Traveller community…” “…one of Scotland’s finest traditional singers, inheriting The family was first brought to When berry time comes roond look for the Stewarts who rented Traveller lore and balladry from all light by Blairgowrie journalist each year, Blair’s population’s berry fields at the Standing Stones sides of her family, and learning a rich oral culture Maurice Fleming in 1954 following swellin, at Essendy. So he cycled up to songs from her mother, some of a chance meeting with folklorist There’s every kind o picker there Essendy and it was Sheila Stewart the most interesting, and oldest, of songs, ballads Hamish Henderson in Edinburgh. and every kind o dwellin; he met (just 18 years old at the songs in her repertoire came from Discovering that Hamish had There’s tents and huts and time) who immediately said she Belle’s brother, her uncle, Donald caravans, there’s bothies and and folk tales that recently been appointed as a knew the song and told Maurice MacGregor, who carefully taught there’s bivvies, research fellow at the School it had been written by her mother her the ballads. Donald could had survived as And shelters made wi tattie-bags Belle. Maurice reported the of Scottish Studies, Maurice neither read nor write, but was an and dug-outs made wi divvies. -
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. -
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. -
7. Audit of Traditional Music Services (Including Tuition) …Page 17 8
Contents 1. Introduction……………………………………………………………….. page 2 2. Acknowledgements……………………………………………………..page 4 3. Executive Summary………………………………………………………page 5 4. Main Findings……………………………………………………………….page 7 5. Recommendations……………………………………………………….page 10 6. Defining the Traditional Musics sector………………………...page 13 7. Audit of Traditional Music services (including tuition) …page 17 8. How Traditional Music tuition is delivered…………………..page 30 9. Access to instruments………………………………………………… page 37 10. Competitions……………………………………………………………….page 43 11. Performance Infrastructure..……………………………………… page 47 12. Professional development opportunities……………………. page 51 13. Partnerships and collaborations…………………………………. page 52 14. Investment…………………………………………………………………. page 54 15. Media…………………………………………………………………………. page 58 16. CD production……………………………………………………………. page 61 Appendix 1 individuals and organisations contacted………………. page 64 Appendix 2 publications and other sources consulted…………….. page 68 2 1. Introduction This audit of Traditional Music in Northern Ireland was commissioned by the Arts Council of Northern Ireland (ACNI) as one of the actions contained in the Arts Council of Northern Music Strategy 2013-2018 (ACNI) and as an action under its Traditional Arts Policy as set out in Art Form and Specialist Area Policy 2013-2018 - Traditional Arts. The strategic context and rationale for commissioning the review is described in the Arts Council of Northern Ireland Music Review and Strategy (Ackrill, Knowles 2011). The terms of reference for the audit -
QH 40Th Anniversary Press Release
EMBARGOED TILL 5/11/18 at midday THE QUEEN’S HALL – LIFE BEGINS AT 40 1979-2019: Former church celebrates 40 years of welcoming music worshippers through its doors Southside of the Tracks 12.01.19 Steven Osborne & Alban Gerhardt 06.07.19 The Queen’s Hall enters its fortieth year in 2019 with a packed and varied programme of high quality events which reflect the wealth of entertainment it has provided audiences over the years, whilst also looking forward to a bright future. The celebrations start on 12 January with a who’s who of singer-songwriters brought together on the same stage for the first time by Scotland’s foremost fiddle player, John McCusker. Renowned for his skill at transcending musical boundaries, John has shared stages with Paul Weller, Paolo Nutini and Teenage Fanclub and has been a member of Mark Knopfler’s house band since 2008. In Southside of the Tracks: 40 years of traditional music at The Queen’s Hall he will perform with his chosen house band of James Mackintosh, Ian Carr, Ewen Vernal, Michael McGoldrick and Louis Abbott (Admiral Fallow) with special guests, so far, Roddy Woomble (Idlewild), Kathleen MacInnes, Phil Cunningham, Adam Holmes, Daoiri Farrell, Heidi Talbot and Rachel Sermanni. More guests are to be announced. Nigel Griffiths, Chair of The Queen’s Hall Board of Trustees says, “We’re starting our fortieth year as we mean to go on and have a bold and ambitious programme which reflects the calibre of artists performing on our stage. In the face of developing competition it is so important for Edinburgh, as the capital city, to keep this beloved institution on the map and I believe we’re now poised to enter a truly dynamic era in The Queen’s Hall’s history.” To commemorate the concert on 6 July 1979 when The Queen’s Hall was officially opened by HM Queen Elizabeth II, we have multi-award-winning Scottish pianist Steven Osborne with one of the world’s finest cellists Alban Gerhardt performing a programme of Schumann, Brahms, De falla, Debussy and Ravel. -
THE ELIZABETH ROSS MANUSCRIPT Original Highland Airs Collected at Raasay in 1812 by Elizabeth Jane Ross
THE ELIZABETH ROSS MANUSCRIPT Original Highland Airs Collected at Raasay in 1812 By Elizabeth Jane Ross Edited by Peter Cooke, Morag MacLeod and Colm Ó Baoill for the University of Edinburgh School of Celtic and Scottish Studies on-line publications series 2011 Published by the School of Scottish Studies Archives, University of Edinburgh, 27 George Square, Edinburgh EH8 9LD Scotland http://www.celtscot.ed.ac.uk/ Editors of this volume: Peter Cooke, former Senior Lecturer & Hon. Fellow retd., School of Scottish Studies. Morag MacLeod, Hon. Fellow retd., School of Scottish Studies. Colm Ó Baoill, Emeritus Professor, Department of Celtic, University of Aberdeen. The edition and translations are copyright © 2011 the editors and The School of Scottish Studies Archives, University of Edinburgh. A FACSIMILE of the manuscript is also available in Portable Document Format from the same site. Its copyright rests with the School of Scottish Studies. The edition and translations may be freely downloaded for study or performance (including commercial recordings) provided that they are properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder(s). CONTENTS Acknowledgements vii Introduction The manuscript 9 The author 9 Survey of the contents 11 Concordant sources 15 Editorial Method 23 Commentary on the airs 27 * 1. Crodh Aillen [Crodh Chailein] Colin’s cattle 81 2. ’N Gille duth ciarduth [An gille dubh ciardhubh] The dark sultry Lad 82 3. Gillen in fheilidh [Gillean an fhèilidh] The kilted Lads 83 4. Ho ro mo chuid chuidichde u [Horó mo chuid chuideachd thu] Oh, My own comrade 84 5. -
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.