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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 -
Communication No. 37
THE LIVING TRADITION CEARNÓG BELGRAVE, BAILE NA MANACH, CO. ÁTHA CLIATH Phone: 01-2800295. Fax: 01-2803759 Email:[email protected] Website:http://www.comhaltas.ie COMHALTAS – CORONAVIRUS Communication No. 37 The dictionary definition of ‘Think-Tank’ is ‘a group of people expert in some field, regarded as a source of ideas and solutions to problems’. Never was this more appropriate than on the 19th June. Here we had the leadership of our cultural movement bringing their experience and vision to the table. The Comhaltas Think-Tank na nGael didn’t disappoint. It was focused, positive and energising. The combined experience and responses to challenges was a lighthouse in these troubled times. Well done to all concerned. • FLEADHFEST ‘ A BRILLIANT IDEA’…. It is nostalgic, uplifting and inspirational. Here is how Comhaltas stalwart Joannie O’ Leary of San Francisco Comhaltas puts it: ‘I cannot tell you how excited we are at the release of the FLEADHFEST videos for our West Region this week. We sincerely appreciate the opportunity to present our story, which was greatly enhanced by our West Region Vice-Chair Mary Carey and her daughter Diana in Oregon…What a brilliant idea which has enticed us to start our own branch archives. Congratulations on a wonderfully successful project and thank you.’ • SCOIL ÉIGSE…Briseann an dúchas…. We are delighted to announce that this year the Comhaltas Scoil Éigse will be delivered online via Zoom from Monday August 2nd to Thursday August 5th. The Director again is Kieran Hanrahan and Administrator Liza O'Shea. We were accepting online applications only from 10am, Monday 5th July. -
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. -
Danu Study Guide 11.12.Indd
SchoolTime Study Guide Danú Friday, March 9, 2012 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime! On Friday, March 9, 2012 at 11 am, your class will a end a performance by Danú the award- winning Irish band. Hailing from historic County Waterford, Danú celebrates Irish music at its fi nest. The group’s energe c concerts feature a lively mix of both ancient music and original repertoire. For over a decade, these virtuosos on fl ute, n whistle, fi ddle, bu on accordion, bouzouki, and vocals have thrilled audiences, winning numerous interna onal awards and recording seven acclaimed albums. Using This Study Guide You can prepare your students for their Cal Performances fi eld trip with the materials in this study guide. Prior to the performance, we encourage you to: • Copy the student resource sheet on pages 2 & 3 and hand it out to your students several days before the performance. • Discuss the informa on About the Performance & Ar sts and Danú’s Instruments on pages 4-5 with your students. • Read to your students from About the Art Form on page 6-8 and About Ireland on pages 9-11. • Engage your students in two or more of the ac vi es on pages 13-14. • Refl ect with your students by asking them guiding ques ons, found on pages 2,4,6 & 9. • Immerse students further into the art form by using the glossary and resource sec ons on pages 12 &15. At the performance: Students can ac vely par cipate during the performance by: • LISTENING CAREFULLY to the melodies, harmonies and rhythms • OBSERVING how the musicians and singers work together, some mes playing in solos, duets, trios and as an ensemble • THINKING ABOUT the culture, history, ideas and emo ons expressed through the music • MARVELING at the skill of the musicians • REFLECTING on the sounds and sights experienced at the theater. -
Traditional Fiddle Music of the Scottish Borders
CD Included Traditional Fiddle Music of the Scottish Borders from the playing of Tom Hughes of Jedburgh Sixty tunes from Tom’s repertoire inherited from a rich, regional family tradition fully transcribed with an analysis of Tom’s old traditional style. by Peter Shepheard Traditional Fiddle Music of the Scottish Borders from the playing of Tom Hughes of Jedburgh A Player’s Guide to Regional Style Bowing Techniques Repertoire and Dances Music transcribed from sound and video recordings of Tom Hughes and other Border musicians by Peter Shepheard scotlandsmusic 13 Upper Breakish Isle of Skye IV42 8PY . 13 Breacais Ard An t-Eilean Sgitheanach Alba UK Taigh na Teud www.scotlandsmusic.com • Springthyme Music www.springthyme.co.uk [email protected] www.scotlandsmusic.com Taigh na Teud / Scotland’s Music & Springthyme Music ISBN 978-1-906804-80-0 Library Edition (Perfect Bound) ISBN 978-1-906804-78-7 Performer’s Edition (Spiral Bound) ISBN 978-1-906804-79-4 eBook (Download) First published © 2015 Taigh na Teud Music Publishers 13 Upper Breakish, Isle of Skye IV42 8PY www.scotlandsmusic.com [email protected] Springthyme Records/ Springthyme Music Balmalcolm House, Balmalcolm, Cupar, Fife KY15 7TJ www.springthyme.co.uk The rights of the author have been asserted Copyright © 2015 Peter Shepheard Parts of this work have been previously published by Springthyme Records/ Springthyme Music © 1981 A catalogue record of this book is available from the British Library. The writer and publisher acknowledge support from the National Lottery through Creative Scotland towards the writing and publication of this title. All Rights Reserved. -
Contemporary Folk Dance Fusion Using Folk Dance in Secondary Schools
Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part Contemporary Folk Dance Fusion Using folk dance in secondary schools By Kerry Fletcher, Katie Howson and Paul Scourfield Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part The Full English The Full English was a unique nationwide project unlocking hidden treasures of England’s cultural heritage by making over 58,000 original source documents from 12 major folk collectors available to the world via a ground-breaking nationwide digital archive and learning project. The project was led by the English Folk Dance and Song Society (EFDSS), funded by the Heritage Lottery Fund and in partnership with other cultural partners across England. The Full English digital archive (www.vwml.org) continues to provide access to thousands of records detailing traditional folk songs, music, dances, customs and traditions that were collected from across the country. Some of these are known widely, others have lain dormant in notebooks and files within archives for decades. The Full English learning programme worked across the country in 19 different schools including primary, secondary and special educational needs settings. It also worked with a range of cultural partners across England, organising community, family and adult learning events. Supported by the National Lottery through the Heritage Lottery Fund, the National Folk Music Fund and The Folklore Society. Produced by the English Folk Dance and Song Society (EFDSS), June 2014 Written by: Kerry Fletcher, Katie Howson and Paul Schofield Edited by: Frances Watt Copyright © English Folk Dance and Song Society, Kerry Fletcher, Katie Howson and Paul Schofield, 2014 Permission is granted to make copies of this material for non-commercial educational purposes. -
Hornpipes and Disordered Dancing in the Late Lancashire Witches: a Reel Crux?
Early Theatre 16.1 (2013), 139–49 doi: http://dx.doi.org/10.12745/et.16.1.8 Note Brett D. Hirsch Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux? A memorable scene in act 3 of Thomas Heywood and Richard Brome’s The Late Lancashire Witches (first performed and published 1634) plays out the bewitching of a wedding party and the comedy that ensues. As the party- goers ‘beginne to daunce’ to ‘Selengers round’, the musicians instead ‘play another tune’ and ‘then fall into many’ (F4r).1 With both diabolical interven- tion (‘the Divell ride o’ your Fiddlestickes’) and alcoholic excess (‘drunken rogues’) suspected as causes of the confusion, Doughty instructs the musi- cians to ‘begin againe soberly’ with another tune, ‘The Beginning of the World’, but the result is more chaos, with ‘Every one [playing] a seuerall tune’ at once (F4r). The music then suddenly ceases altogether, despite the fiddlers claiming that they play ‘as loud as [they] can possibly’, before smashing their instruments in frustration (F4v). With neither fiddles nor any doubt left that witchcraft is to blame, Whet- stone calls in a piper as a substitute since it is well known that ‘no Witchcraft can take hold of a Lancashire Bag-pipe, for itselfe is able to charme the Divell’ (F4v). Instructed to play ‘a lusty Horne-pipe’, the piper plays with ‘all [join- ing] into the daunce’, both ‘young and old’ (G1r). The stage directions call for the bride and bridegroom, Lawrence and Parnell, to ‘reele in the daunce’ (G1r). At the end of the dance, which concludes the scene, the piper vanishes ‘no bodie knowes how’ along with Moll Spencer, one of the dancers who, unbeknownst to the rest of the party, is the witch responsible (G1r). -
The Quintessentially English Tune an Appraisal of the ʻcut-Timeʼ Hornpipe, Using Examples from the Burnett Ms
The Quintessentially English Tune An appraisal of the ʻCut-Timeʼ Hornpipe, using examples from the Burnett Ms. c.1840 By Paul Davenport, Cert.Ed., M.Mus. This essay was written in response to the arrogant declaration in GCSE Music guidance notes which declare that a ʻsimple folk melodyʼ will only earn the candidate a minimal mark at examination. Introduction As a brief and somewhat cursory introduction to this musical form it might be said that the hornpipe appears to have begun its life in the 17th century as a tune in ʻtripleʼ time, being set in time signatures of 3/2. 6/4 or even 9/8. Gathering and retaining popularity throughout the 17th and 18th centuries, it gradually began to recede from the popular milieu in the 18th century and was effectively extinct by the early 19th century having been succeeded by its progeny the 2/2, or ʻcut-timeʼ, hornpipes. The earlier form enjoyed a revival of interest amongst vernacular musicians in the late 20th century due to the publication, by John Offord, of his collection, ʼJohn of the Greeny Cheshire Wayʼ. Players of traditional music in the North-West of England are currently particularly interested in this form of the tune. Curiously, and this is never remarked upon by the players themselves, a majority of this generation had been introduced to the 3/2 hornpipe at school via ʻThe Young Personʼs Guide to the Orchestraʼ by Britten whose musical vehicle was Purcellʼs ʻRondo in Abdelazerʼ. This melody is a triple time hornpipe, one of two in the larger work, the second being published in the guise of a country dance tune by Playford as, ʻThe Hole in the Wallʼ. -
2020 Syllabus
The 22nd Annual Garden State Feis Sponsored by Marie Moore School of Irish Dancing SUNDAY MARCH 1, 2020 DAVID BREARLEY HIGH SCHOOL 401 Monroe Avenue, Kenilworth, NJ 07033 Start Time 8:30 A.M. Entry Deadline: February 23, 2020 (Late fees begin after February 16, 2020) PLEASE REGISTER EARLY. FEIS WILL CLOSE WHEN 1000 PAID ENTRIES ARE REACHED. ALL FEIS UPDATES POSTED AT: mariemooreirishdance.com Adjudicators Musicians Christina Ryan - Pennsylvania Lisa Chaplin – Massachusetts Karen Early-Conway – New Jersey Siobhan Moore - New York Breda O’Brien – Massachusetts Kevin Ford – New Jersey Kerry Broderick - New York Jackie O’Leary – Canada Patricia Moriarty-Morrissey – New Jersey Eileen McDonagh-Morr – New York Brian Grant – Canada Billy Furlong - New York Sean Flynn - New York Terry Gillan – Florida Ann Marie Acosta – New York Marie Connell – UK Philip Owens – Florida Chairpersons: Marie Moore-Cunniffe, ADCRG Frank Cunniffe, ADCRG Jacqueline Erel All entries must be completed online at FeisWeb.com – PAYPAL PAYMENT ONLY Please address all questions to: [email protected] FEIS IS REGISTERED, SANCTIONED AND WILL BE GOVERNED BY THE RULES OF AN COIMISIUN (www.clrg.ie), THE MID-ATLANTIC REGION (www.mid-atlanticregion.com) and THE NORTH AMERICAN FEIS COMMISSION (www.northamericanfeiscommission.org) JIM GRAVEN - PRESIDENT. PLEASE REFER TO APPLICABLE WEBSITES FOR CURRENT RULES GOVERNING THE FEIS If the Mid-Atlantic Region and the NAFC have divergent rules, the Mid-Atlantic Rules prevail. NAFC CHAMPIONSHIPS - 2020 Gerry Campbell Perpetual -
6Th Grade Dance Study Guide
6th Grade Dance Study Guide History • Dance has been used throughout civilization by various cultures and society to communicate concepts such as customs, self-expression and social interaction. Types of Dance • Square Dance: Performed with partners, in groups of eight forming a square. • Contra Dance: A dance in which couples stand in long lines facing each other, and move in opposite directions. Examples: Virginia Reel • Round/Circle Dance: Round dance is a term used as early as the eighteenth century in Europe for dances in which partners perform in a circle and usually move in a counterclockwise direction. Round dances are also called couple or partner dances. Examples: Heel Toe Polka, Jiffy Mixer, the Waltz, the Polka, Five Foot Two • Line Dancing: A dance performed in a line, usually no partners. Examples: Hot Chocolate, Rollercoaster, Electric Slide • Folk Dance: A Dance performed from customs and traditions of people. Dances that come from countries other than the United States. It is “the dance of the people”. Terminology Closed Dance Position – Girl’s right hand in boy’s left, girl’s left hand on boy’s shoulder; boy’s right hand in middle of girl’s back to guide her. Do-Si-Do - Two dancers face and move toward each other passing right shoulders. Each person then moves to his right, passing in back of the other person and without turning, passes left shoulders and moves backward to place. Line or Contra – type of formation; dancers stand side by side facing in the same direction. Line of Direction – Refers to the direction of movement of dancers around a circle, counterclockwise. -
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. -
Milwaukee Irish Fest School of Music Classes & Instructors Enrollment
Milwaukee Irish Fest Enrollment and Fees School of Music Private lessons, group classes, samplers and workshops are offered for Irish music students of Milwaukee Irish Fest School of Music classes are varying ability levels and ages. a great way to get musicians of all ages excited about learning music for a lifetime of enjoyment, Small group 45 minute lessons are offered for building self-esteem, and making friends with $15 per lesson. There is also a $12 class fee for Classes people who play Irish music across the globe. the 12 week session. Private lessons in all 12-week sessions beginning Tin whistle and bodhrán (Irish frame drum) are instruments are subject to teacher availability. January & September great starter instruments for kids. Do you have Students are responsible for supplying their own children who play in school orchestra or band? instruments. Contact teachers for instrument Samplers and Workshops Or did you play yourself? Our teachers can teach rental or purchase information. you to play a different style of music. Please visit website for current offerings The school opened in the fall of 2002 at the Most classes are held in the evenings. Class historic Milwaukee Irish Fest Center. schedules are arranged on the basis of individual student interest and teacher availability. Please Classes & Instructors contact instructors directly to arrange your class. For general school information, please contact Bodhrán (Irish drum) Kristina Paris at [email protected] or call John Ceszynski, Amy Richter, Patrick Roe 414-372-3060 in the evening. Cello Heather Lewin Fiddle Play a part…in Milwaukee Irish Fest Kaitlin Hahn, Heather Lewin, Maria Terres Irish Fest School Flute of Music students Jeff Ksiazek, Brett Lipshutz will have an opportunity to Guitar participate at Randy Gosa, John Nicholson Harp Milwaukee Irish Dorothy Walsh Fest, the Domes Mandolin and other Randy Gosa community events.