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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 -
WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers. -
The Open Back of the Open-Back Banjo
HDP: 13 { 02 glasswork by M. Desy The Open Back of the Open-Back Banjo David Politzer∗ California Institute of Technology (Dated: December 2, 2013) ...in which a simple question turned into a great adventure and even got answered. (Of course, you might already know the answer yourself.) In a triumph of elementary physics, six measured numbers receive a satisfactory account using two adjustable parameters. ∗[email protected]; http://www.its.caltech.edu/~politzer; 452-48 Caltech, Pasadena CA 91125 2 The Open Back of the Open-Back Banjo I. THE RIM QUESTION The question seemed straightforward. What is the impact of rim height on the sound of an open-back banjo? FIG. 1. an open-back banjo's open back 3 mylar (or skin) head metal flange rim height drum rim wall open back resonator back (Which head is bigger? Auditory (as opposed to optical) illusions only came into their own with the development of digital sound.) FIG. 2. schematic banjo pot cross sections There are a great many choices in banjo design, construction, and set-up. For almost all of them, there is consensus among players and builders on the qualitative effect of possible choices. Just a few of the many are: string material and gauge; drum head material, thickness, and tension; neck wood and design; rim material and weight; tailpiece design and height; tone ring design and material. However, there is no universal ideal of banjo perfection. Virtually every design that has ever existed is still played with gusto, and new ones of those designs are still in production. -
Extension Activity
Extension Activity - How the Banjo Became White Rhiannon Giddens is a multi-instrumentalist, singer, and found- ing member of the old-time music group Carolina Chocolate Drops. In 2017 she was awarded the Macarthur “Genius” Grant. Below are excerpts from a keynote address she gave at the 2017 International Bluegrass Music Association Conference, where she discusses the erasure of African Americans in the history of bluegrass, a genre that predominantly features the banjo. So more and more of late, the question has been asked: how do we get more diversity in bluegrass? Which of course, behind the hand, is really, why is bluegrass so white??? But the answer doesn’t lie in right now. Before we can look to the future, we need to understand the past. To understand how the banjo, which was once the ultimate symbol of African American musical expression, has done a 180 in popular understanding and become the emblem of the mythical white mountaineer—even now, in the age of Mumford and Sons, and Béla Fleck in Africa, and Taj Mahal’s “Colored Aristocracy,” the average person on the street sees a banjo and still thinks Deliverance, or The Beverly Hillbillies. In order to understand the history of the banjo and the history of bluegrass music, we need to move beyond the narratives we’ve inherited, beyond generalizations that bluegrass is mostly derived from a Scots-Irish tradition, with “influences” from Africa. It is actually a complex creole music that comes from multiple cultures, African and European and Native; the full truth that is so much more interesting, and American. -
Pocketbook for You, in Any Print Style: Including Updated and Filtered Data, However You Want It
Hello Since 1994, Media UK - www.mediauk.com - has contained a full media directory. We now contain media news from over 50 sources, RAJAR and playlist information, the industry's widest selection of radio jobs, and much more - and it's all free. From our directory, we're proud to be able to produce a new edition of the Radio Pocket Book. We've based this on the Radio Authority version that was available when we launched 17 years ago. We hope you find it useful. Enjoy this return of an old favourite: and set mediauk.com on your browser favourites list. James Cridland Managing Director Media UK First published in Great Britain in September 2011 Copyright © 1994-2011 Not At All Bad Ltd. All Rights Reserved. mediauk.com/terms This edition produced October 18, 2011 Set in Book Antiqua Printed on dead trees Published by Not At All Bad Ltd (t/a Media UK) Registered in England, No 6312072 Registered Office (not for correspondence): 96a Curtain Road, London EC2A 3AA 020 7100 1811 [email protected] @mediauk www.mediauk.com Foreword In 1975, when I was 13, I wrote to the IBA to ask for a copy of their latest publication grandly titled Transmitting stations: a Pocket Guide. The year before I had listened with excitement to the launch of our local commercial station, Liverpool's Radio City, and wanted to find out what other stations I might be able to pick up. In those days the Guide covered TV as well as radio, which could only manage to fill two pages – but then there were only 19 “ILR” stations. -
A History of British Music Vol 1
A History of Music in the British Isles Volume 1 A History of Music in the British Isles Other books from e Letterworth Press by Laurence Bristow-Smith e second volume of A History of Music in the British Isles: Volume 1 Empire and Aerwards and Harold Nicolson: Half-an-Eye on History From Monks to Merchants Laurence Bristow-Smith The Letterworth Press Published in Switzerland by the Letterworth Press http://www.eLetterworthPress.org Printed by Ingram Spark To © Laurence Bristow-Smith 2017 Peter Winnington editor and friend for forty years ISBN 978-2-9700654-6-3 1 3 5 7 9 8 6 4 2 Contents Acknowledgements xi Preface xiii 1 Very Early Music 1 2 Romans, Druids, and Bards 6 3 Anglo-Saxons, Celts, and Harps 3 4 Augustine, Plainsong, and Vikings 16 5 Organum, Notation, and Organs 21 6 Normans, Cathedrals, and Giraldus Cambrensis 26 7 e Chapel Royal, Medieval Lyrics, and the Waits 31 8 Minstrels, Troubadours, and Courtly Love 37 9 e Morris, and the Ballad 44 10 Music, Science, and Politics 50 11 Dunstable, and la Contenance Angloise 53 12 e Eton Choirbook, and the Early Tudors 58 13 Pre-Reformation Ireland, Wales, and Scotland 66 14 Robert Carver, and the Scottish Reformation 70 15 e English Reformation, Merbecke, and Tye 75 16 John Taverner 82 17 John Sheppard 87 18 omas Tallis 91 19 Early Byrd 101 20 Catholic Byrd 108 21 Madrigals 114 22 e Waits, and the eatre 124 23 Folk Music, Ravenscro, and Ballads 130 24 e English Ayre, and omas Campion 136 25 John Dowland 143 26 King James, King Charles, and the Masque 153 27 Orlando Gibbons 162 28 omas -
Slate Mountain Ramblers
The Slate Mountain Ramblers The Slate Mountain Ramblers is a family old-time band from Mt. Airy, NC. They formerly lived in Ararat, VA, a small community at the foot of the Blue Ridge Mountains. For many years, Richard Bowman, his wife, Barbara, and their daughter Marsha, have spent weekends playing music. Richard plays fiddle, Barbara the bass and Marsha plays claw-hammer banjo. The band has a winning tradition by winning and placing at fiddler’s conventions they have attended throughout the years. Richard, on fiddle, and Marsha, on claw-hammer banjo, have received many individual awards. The Slate Mountain Ramblers play for shows, dances, family and community gatherings, benefits and compete at fiddler’s conventions throughout the year. They have played internationally at the Austrian Alps Performing Arts Festival and in Gainsborough, England for the Friends of American Old Time Music and Dance Festival. They also lead fiddle, banjo, bass and dance workshops. Richard Bowman is a champion fiddler, winning old-time fiddle competitions at many fiddlers conventions including Galax, Mt. Airy and Fiddler’s Grove. He has been playing the fiddle for about 45 years, the last 35 plus as leader of the Slate Mountain Ramblers. Learning from local old-time fiddlers, Richard’s long-bow style is easily recognizable. At fiddler’s conventions, he can be found with fellow musicians in a jam session. Other weekends finds Richard and the band playing for square dances where everyone enjoys flat footing or two-stepping to a pile of fiddle tunes. Marsha Bowman Todd is a hard driving clawhammer banjo player. -
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. -
CARRY on STREAMIN from EDINBURGH FOLK CLUB Probably the Best Folk Club in the World! Dateline: Wednesday 5 August 2020 Volume 1.05
CARRY ON STREAMIN from EDINBURGH FOLK CLUB Probably the best folk club in the world! Dateline: Wednesday 5 August 2020 Volume 1.05 CARRY ON STREAMIN You may recognise in our banner a ‘reworking’ of the of the Carrying Stream festival which EFC’s late chair, Paddy Bort, created shortly after the death of Hamish Henderson. After Paddy died in February 2017, EFC created the Paddy Bort Fund (PBF) to give financial assistance to folk performers who, through no fault of their own, fall on hard times. No-one contemplated anything like the coronavirus. Now we need to replenish PBF and have set a target of (at least) £10 000. Lankum at The Traverse Bar, Edinburgh There are two strands to Carry On EDINBURGH VENUES! So where are we now? Streamin - this publication and our YouTube channel where you will find, Douglas Robertson writes ... Many venues around the country have closed permanently, swathes of good staff have been every fortnight, videos donated by IT WOULD be a mistake to look back with laid off , countless well-established festivals some of the best folk acts around. nostalgia to the old days before Covid 19 as have been cancelled, and an army of musicians, Please donate to PBF as best you can, some kind of gig heaven in Edinburgh. agents, sound engineers and others are using the PayPal links we provide. A lethal mix - of a city council only too eager struggling to survive. to grant planning permission to every new The immediate future continues to look grim hotel, every proposed ‘student flat’ with social distancing determining that venues development, or ‘soon-to-be-AirBnB’ housing would be operating on a 25%-to-33% capacity, scheme combined with a university devouring in no way viable to cover costs and remunerate every available plot - ensured that scruff y professional artists. -
Old Time Music at Clarence Ashley's”--Doc Watson, Clarence Ashley, Et.Al
“Old Time Music at Clarence Ashley's”--Doc Watson, Clarence Ashley, et.al. (1960-1962) Added to the National Registry: 2012 Essay by Steve Kaufman (guest post)* Album cover In 1960, Smithsonian historian Ralph Rinzler convinced the virtually unknown Clarence “Tom” Ashley, Doc Watson, Gather Carlton, Jack Johnson, Fred Price and Clint Howard to walk into the studio and record their mountain heritage music. Ralph Rinzler met Clarence at an Old Time Fiddler’s Convention. Ashley hadn’t played banjo for many years, but Ralph convinced him to pick it back up again and record it. Doc Watson didn’t own an acoustic guitar at the time. He had been playing in a rockabilly band playing square dances and the like. Doc honed his instrumental skills playing fiddle tunes on the guitar. Doc told me that the square dance bands he played in did not have a fiddle player so he played the tune as the fiddle would. This combination of Clarence on banjo and Doc on guitar and banjo, along with Fred Price and Gaither Carlton on fiddle, make an old-time band that is authentic and powerful. Seventeen songs make up this collection, of which T. Clarence Ashley wrote nine. It seems odd that he would credit the song as being by T.C. Ashley. He would credit his singing as Tom Ashley. Doc would credit him as Clarence throughout Doc’s long career. I’ve heard Doc mention Clarence on many occasions. These are the original tracks to this classic “Old Time” recording. It was recorded in Shouns, Tennessee; Saltville, Virginia; and Deep Gap, North Carolina. -
Paisley FM Community Radio Licence Application Form
Paisley FM community radio licence application form 1. Station Name Guidance Notes What is the proposed station name? This is the name you expect to use to identify the station on air. Paisley FM ‘Radio for Renfrewshire’ 2. Community to be served Guidance Notes Define the community or communities you are It is a legislative requirement that a service is intended proposing to serve. Drawing from various sources of primarily to serve one or more communities (whether or data (e.g. from the Office of Population, Census and not it also serves other members of the public) and we Survey) and in relation to your proposed coverage need to understand who comprises that community or area, please determine the size of the population communities. The target community will also be concerned and the make-up of the population as a specified in the licence, if this application is successful. whole, along with any relevant socio-economic The legislation defines a ‘community’ as: people who live information that would support your application. or work or undergo education or training in a particular (Please tell us the sources of the information you area or locality, or people who have one or more provide.) interests or characteristics in common. Answer in fewer than 300 words: Paisley FM intends to serve the communities as published in the invitation to apply, namely: Paisley, Renfrew and Johnstone and surroundings parts of Renfrewshire. It is the intention to serve the entire population of the Renfrewshire Council local government authority area. The 2015 population for Renfrewshire is 174,560 with the main town being Paisley with a total population of 74,640.