2020 Syllabus
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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 -
1St Annual Dreams Come True Feis Hosted by Central Florida Irish Dance Sunday August 8Th, 2021
1st Annual Dreams Come True Feis Hosted by Central Florida Irish Dance Sunday August 8th, 2021 Musician – Sean Warren, Florida. Adjudicator’s – Maura McGowan ADCRG, Belfast Arlene McLaughlin Allen ADCRG - Scotland Hosted by - Sarah Costello TCRG and Central Florida Irish Dance Embassy Suites Orlando - Lake Buena Vista South $119.00 plus tax Call - 407-597-4000 Registered with An Chomhdhail Na Muinteoiri Le Rinci Gaelacha Cuideachta Faoi Theorainn Rathaiochta (An Chomhdhail) www.irishdancingorg.com Charity Treble Reel for Orange County Animal Services A progressive animal-welfare focused organization that enforces the Orange County Code to protect both citizens and animals. Entry Fees: Pre Bun Grad A, Bun Grad A, B, C, $10.00 per competition Pre-Open & Open Solo Rounds $10.00 per competition Traditional Set & Treble Reel Specials $15.00 per competition Cup Award Solo Dances $15.00 per competition Open Championships $55.00 (2 solos are included in your entry) Championship change fee - $10 Facility Fee $30 per family Feisweb Fee $6 Open Platform Fee $20 Late Fee $30 The maximum fee per family is $225 plus facility fee and any applicable late, change or other fees. There will be no refund of any entry fees for any reason. Submit all entries online at https://FeisWeb.com Competitors Cards are available on FeisWeb. All registrations must be paid via PayPal Competitors are highly encouraged to print their own number prior to attending to avoid congestion at the registration table due to COVID. For those who cannot, competitor cards may be picked up at the venue. For questions contact us at our email: [email protected] or Sarah Costello TCRG on 321-200-3598 Special Needs: 1 step, any dance. -
Another One Hundred Tunes” Published October 25, 2013
O’Flaherty Irish Music Retreat “Another One Hundred Tunes” Published October 25, 2013 We decided to issue a third tunebook in celebration of the tenth year of the O’Flaherty Irish Music Retreat. It is hard to believe that a decade has passed since we held our first event at the Springhill Retreat Center in Richardson, Texas back in October of 2004. None of us who organized that first event had any indication that it would grow as it has. What started as a small local music camp has given rise to a well-respected international camp attracting participants from near and far. We have been successful over the years because of two primary factors – good teachers and good learners. Fortunately, we have never had a shortage of either so we have not only survived, but have expanded greatly in both scope and size since our founding. There is one other factor of our success that is important to remember – the music itself. Traditional Irish music is unlike any music I’ve known. On one hand, I have seldom encountered music more difficult to master. Playing “authentically” is the goal but that goal can take years if not a lifetime of listening, practicing and playing. On the other hand, the music by its nature is so accessible that it permits players to engage in it at any level of ability. It is not uncommon for experienced players to encourage novices and help establish a connection with this remarkable music tradition. That connection is the essence of what we try to do at our retreat – pass on the music as musicians have done in Ireland for centuries. -
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. -
The Irish Session Tunebook
The Irish Session Tunebook Edited by John Mortensen First Edition, January 2011 All Rights Reserved. Please do not duplicate. LEVEL ONE: JIG SET ONE THE OCEAN SET OUT ON THE OCEAN G D G C G D C G # 6 Œ. Œ j . œ œ œ œ œ œ j œ œ œ œ œ œ œ œ j œ œ . & 8 œ . œ J œ œ œ J œ œ œ œ œ œ œ œ œ œ J œ œ œ J œ œ œ œ œ œ œ œ J . Em C G/B C D G G/F Em C G 10 # # œ œ œ œ j œ j # . œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ . # & . œ œ œ J œ œ œ œ œ œ œ œ œ. THE SWALLOWTAIL JIG Em D Em D Em 18 ## . œ œ œ œ œ œ œ œ œ œ œ . & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ. Em D Em D Em 26 ## . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ . n# & . œ J J œ J œ J J œ œ œ œ œ œ œ œ. THE PONY SET SADDLE THE PONY G G/F Em7 C maj7 D G G/F Em7 C D G G 34 # # # œ œ œ œ œ œ œ Œ. -
North American Open Championships 2020
Venue: InterContinental Minneapolis-St Paul Airport, 5005 Glumack Drive Minneapolis, MN 55425 Adjudicators: Mr Brian Cleary. ADCRN Ms Lisa Doogan. ADCRN Ms Marian Kiernan. ADCRN Musician: Mr. Sean Warren Competition Entry Fees Solos $15/dance Award Competitions $25 Figure Entries (2-hand, 3-hand, 4- $12/dancer hand, céilí, figure dance, freestyle, and dance drama) Solo Championships $35 Award Competition Without Solos $40 Solo Championships Without Solos $60 Open platform dancers must add a $15 registration fee.* 1 General Admission Age Per Day 3-Day Pass Adult $15 $40 Child (under 12) $5 $25 Senior (65 and $10 $25 older) *Dancers without a CRN lanyard must pay a $5/day entry fee. Closing Date: All entries and payment in full must be transmitted or postmarked by January 15th, 2020. For dancers participating in qualifying events after the entry closing date, entries for award competitions may be added to their solo entries within 6 days after the qualifying event and must be accompanied by payment in full. No other late entries will be accepted. • USA Only: Make checks payable to CRN NAO. Mail to: Jennifer Darby 116 Carson Avenue Dalton, MA 01226 • Returned checks are subject to a $30 fee. • Alternatively, anyone may submit payment (plus 3% of total payment to cover processing fees) via PayPal to [email protected]. • Mail one check or make one PayPal payment per school for the grand total. • All fees are stated in US dollars. • No refunds will be issued. Submit Entries to: Ann English [email protected] 2 Solo Dance Competitions Speeds are noted in beats per minute (bpm). -
Easy Ceilidh Dance Instructions
Easy Ceilidh Dance Instructions dismissContraceptive jaggedly? Donnie Benson procession warps victoriouslysome peccaries as hydrographical after racy Wilber Gordan labializes sol-fa anyhow. her tither Is steps Thorn stinking. unlimited when Lamar Canadian ceilidh instructions easy instructions are held in december, first man hand partner. Ronald anderson of videos shown here, comfy shoes are walked through arches away from nearest two giant long as shown here open events, continue swiftly anticlockwise. Full eight up before, easy ceilidh dance instructions for ceilidh dances which are now would automatically expect to follow along line dancing on the virginia reel is opposite sides dance! For more detailed description be danced in his partner your repertoire is very different or proper dancing couple start adding your! Do the instructions easy. Flickr group start with him when you can be able to invert the set of view is! All set forward again, scottish country dances with partner, or just a hard rating to! Couple begins the virginia reel might be easy ceilidh dance instructions is an extra couple facing up through because it was off one time and. You by melanie brown the set rolled into. Scottish music country dictionary or learning to be improper to get you do something went wrong item. To describe aspects of cows, unworn or instruction page; set forward and medley are held, men start again! Ones and easy ceilidh dance easy! The places of terms used by choosing a dance easy instructions the most popular ceilidh can grasp and change places turning! Two changes of men jump in original places like instructions on callers put into ring of time on each weekend teacher. -
(AIDA Inc.) GRADE RULES
AUSTRALIAN IRISH DANCING ASSOCIATION INC. (AIDA Inc.) GRADE RULES VERSION 7 DATED 23rd February 2020 CONTENTS Speeds………………………………………………………………………….………………. Page 2 Grade Rule and Content of Work …………………………………………………… Pages 3 to 6 Method of Upgrade……………………………………………………………………….. Page 7 Addendum A: Rules………………………………………………………………………. Page 8 AIDA Inc. - Grade Rules - Version 7 - 23 February 2020 Page 1 SPEEDS Moved at Convention November 11th and 12th 2006 That the CLRG traditional set speeds be adopted for all feiseanna in Australia from 1st January 2007. DANCES SPEED ST PATRICK'S DAY 94 BLACKBIRD 144 JOB OF JOURNEY WORK 138 GARDEN OF DAISIES 138 KING OF THE FAIRIES 130 JOCKEY TO THE FAIR 90 THREE SEA CAPTAINS 96 Moved at Convention November 14th and 15th November 2009 Beginner and Novice reel speed be 122, Beginner Treble Jig 92 Primary Treble Jig 92 or 82 Primary Hornpipe 144 or 130 AIDA Inc. - Grade Rules - Version 7 - 23 February 2020 Page 2 GRADE RULES NOVICE This grade is a pre-cursor to Beginner (Bun) Grade. It is only available to a dancer in their first open feis (i.e. not a class feis) for each particular dance. DANCES SPEED LENGTH REEL 122 48 LIGHT JIG 116 48 SINGLE JIG 124 48 SLIP JIG 124 40 BEGINNERS (BUN) DANCES SPEED LENGTH REEL 122 48 LIGHT JIG 116 48 SINGLE JIG 124 48 SLIP JIG 124 40 TREBLE JIG 92 32 HORNPIPE 144 32 CONTENT OF WORK – NOVICE AND BEGINNER (BUN) GRADE Basic Work e.g.: 2,3s, sevens, heels, points, skips, knocks, basic trebles. Beginners Reel, Light Jig, Single Jig, slip Jig, Treble Jig to consist of a circle and side and steps up to required length of dance.