Piobaireachd: a Comprehensive Introduction to Cedi Mar
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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. -
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. -
Spring 2015 Vol. 44, No. 1 Table of Contents
Spring 2015 Vol. 44, No. 1 Table of Contents 4 President’s Message Music 5 Editorial 33 Jimmy Tweedie’s Sealegs 6 Letters to the Editor 43 Report for the Reviews Executive Secretary 34 Review of Gibson Pipe Chanter Spring 2015 35 The Campbell Vol. 44, No. 1 Basics Tunable Chanter 9 Snare Basics: Snare FAQ THE VOICE is the official publication of the Eastern United 11 Bass & Tenor Basics: Semiquavers States Pipe Band Association. Writing a Basic Tenor Score 35 The Making of the 13 Piping Basics: “Piob-ogetics” Casco Bay Contest John Bottomley 37 Pittsburgh Piping EDITOR [email protected] Features Society Reborn 15 Interview Shawn Hall 17 Bands, Games Come Together Branch Notes ART DIRECTOR 19 Willie Wows ‘Em 39 Southwest Branch [email protected] 21 The Last Happy Days – 39 Metro Branch Editorial Inquiries/Letters the Great Highland Bagpipe 40 Ohio Valley Branch THE VOICE in JFK’s Camelot 41 Northeast Branch [email protected] ADVERTISING INQUIRIES John Bottomley [email protected] THE VOICE welcomes submissions, news items, and ON THE COVER: photographs. Please send your Derek Midgley captured the joy submissions to the email above. of early St. Patrick’s parades in the northeast with this photo of Rich Visit the EUSPBA online at www.euspba.org Harvey’s pipe at the Belmar NJ event. ©2014 Eastern United States Pipe Band EUSPBA MEMBERS receive a subscription to THE VOICE paid for, in part, Association. All rights reserved. No part of this magazine may be reproduced or transmitted by their dues ($8 per member is designated for THE VOICE). -
Index of John Drewry's Dances
Index of John Drewry's Dances DRAFT: Last Revised on October 30, 2018 © Scottish Country Dance Teachers' Association (Canada) Index of John Drewry's Dances FOREWORD John Drewry was born on the 14th of July 1923 in Melton Mowbray in Leicestershire. Sadly, he died on the 18th of June 2014 in Aberdeen. He was 90 years old. John's legacy includes a collection of dances that number more than 800, which he bequeathed the copyright to Teachers' Association (Canada) (hereafter referred to as TAC). TAC's first action has been to create a comprehensive list of all dances written by John Drewry. Our second action will be to prepare, for sale, all of the dances in digital format. As you can imagine, this is a huge undertaking with more than 800 dances on the list, so it will take some time. Our aim is have each dance available individually, as part of a collection of dances from a particular source, and finally, as the complete collection. A project of this size and scope does not happen at the hands of only one person. The TAC executive would like to thank everyone who has had a hand in organizing, printing, cross checking, providing missing copies of dances, and of course, all of the typing. We would especially like to thank Betsy Brydon, Barbara Johnston, Anne Miller, Fiona Miller, Paul Miller, Mary Murray, Ron Wallace, Stephen Webb and Vicky Zeltins for their work on this project so far. There will be many more opportunities for more people to get involved as time goes by and requests will go out by email or through TACTalk at the appropriate time. -
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 -
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. -
Musical Traditions KS4 Music - Television Teacher's Notes
B B C Northern Ireland Learning musical traditions KS4 music - television teacher's notes Programme 1 The Pipe Band “All for One” Broadcast Dates Programmes are broadcast on BBC 2 in Northern Ireland on Thursday mornings from 10.50 - 11.20am. Programme Title Broadcast Date 1 The Pipe Band 9th November 2 The Harp 16th November 3 The Metrical Psalm 23rd November 4 The Uilleann Pipes 30th November Programme 1 – The Pipe Band By Samuel Baillie Learning Objectives: At the end of the programme pupils will have: • Developed an awareness of the extent of the pipe band tradition in Northern Ireland and its strong community links and social function. • Learned about its separate musical sections and the importance of teamwork. • Become acquainted with Piobaireachd (Pibroch – pronounced “pibrock”), the ancient music of the Scottish Highland Bagpipe. • Gained an understanding of the complexities of the structure and tuning of the instrument. About the Programme This programme provides us with a close and personal view of the complexities and commitment of what it is like to be involved in pipe bands. The main thrust is the competitive edge of playing in bands and the importance of working as a team. The development of pipe bands and their contribution to the social fabric of local communities is illustrated but this is set beside the need for highly developed technical skill and a full understanding of the component parts of the bagpipe as an instrument, which is essential to obtain good sound. People on the programme emphasise this aspect of their enjoyment of pipe bands and appear to relish the challenge of getting it “just right” for the moment of performance. -
Scottish Studies 36
SCOTTISH STUDIES 36 Scottish Studies The Journal of the School of Scottish Studies University of Edinburgh Vol. 36 2011-2013 EDITED BY JOHN SHAW Published by The School of Scottish Studies University of Edinburgh 2013 Articles are invited and should be sent to: Dr John Shaw The Editor, Scottish Studies The School of Scottish Studies The University of Edinburgh 27 George Square Edinburgh EH8 9LD All articles submitted are sent out to readers for peer review. Enquiries may be made by email to: [email protected] The journal is published annually and costs £12. Subscriptions should be sent to The Subscription Secretary, Scottish Studies, at the address above. This volume of Scottish Studies is also available online: http://journals.ed.ac.uk/scottishstudies The School of Scottish Studies, University of Edinburgh Printed in Great Britain by Airdrie Press Services ISBN 978-0-900949-03-6 Contents Contributors vii Editorial ix Per G.L. Ahlander 1 Richard Wagner’s Der fliegende Holländer – A Flying Hebridean in Disguise? V.S. Blankenhorn 15 The Rev. William Matheson and the Performance of Scottish Gaelic ‘Strophic’ Verse. Joshua Dickson 45 Piping Sung: Women, Canntaireachd and the Role of the Tradition-Bearer William Lamb 66 Reeling in the Strathspey: The Origins of Scotland’s National Music Emily Lyle 103 The Good Man’s Croft Carol Zall 125 Learning and Remembering Gaelic Stories: Brian Stewart ‘ Book Reviews 140 Contributors Per G.L. Ahlander, School of Scottish Studies, University of Edinburgh V. S. Blankenhorn, School of Scottish Studies, University of Edinburgh Joshua Dickson, Royal Conservatoire of Scotland William Lamb, School of Scottish Studies Emily Lyle, University of Edinburgh Carol Zall, Cambridge, MA, USA vii Editorial Applications of digital technology have figured large in recent research and publications in Scottish ethnology. -
Princess Margaret of the Isles Memorial Prize for Senior Clàrsach, 16 June 2018 Finallist Biographies and Programme Notes
Princess Margaret of the Isles Memorial Prize for Senior Clàrsach, 16 June 2018 Finallist biographies and programme notes Màiri Chaimbeul is a Boston, Massachusetts-based harp player and composer from the Isle of Skye. Described by Folk Radio UK as "astonishing", she is known for her versatile sound, which combines deep roots in Gaelic tradition with a distinctive improvising voice and honed classical technique. Màiri tours regularly throughout the UK, Europe and in North America. Recent highlights include performances at major festivals and events including the Cambridge Folk Festival, Fairport's Cropredy Convention, Hillside Festival (Canada), WGBH's St Patrick's Day Celtic Sojourn, Celtic Connections, and Encuentro Internacional Maestros del Arpa, Bogota, Colombia. Màiri can currently be heard regularly in duo with US fiddler Jenna Moynihan, progressive-folk Toronto group Aerialists, with her sister Brìghde Chaimbeul, and with legendary violinist Darol Anger & the Furies. She is featured in series 2 of Julie Fowlis and Muireann NicAmhlaoibh's BBC Alba/TG4 television show, Port. Màiri was twice- nominated for the BBC Radio 2 Young Folk Award, finalist in the BBC Young Traditional & Jazz Musicians of the year and twice participated in Savannah Music Festival's prestigious Acoustic Music Seminar. She is a graduate of the Berklee College of Music, where she attended with full scholarship, and was awarded the prestigious American Roots Award. Màiri joins the faculty at Berklee College of Music this year as their lever harp instructor. Riko Matsuoka was born in the Osaka prefecture of Japan and began playing the piano at the age of three. She started playing the harp at the age of fourteen. -
Canntaireachd: Articulate Music
H.M. U X. EX-UBRIS uHEW- MORRISON QI CANNTAIREACHD: ARTICULATE MUSIC /. F. CAMPBELL, — — CANNTAIREACHD: Articulate Music ]ji;un.'ATi;u TO tiik ISLAY ^SSOCI^TIOK, 0". IF. C J^ IVC IP B IE Hj !_,, T A T X T I . K A C I r . 14th AUGUST, 188 O. Like a herald of old, or a bard, or a piper, I can staud here on a green knoll, in a yellow fog, out of the field of the fray, and incite jjeople to battle, -with the mustering of the clans in the old forgotten language of MacCrimmen, piper to MacLeod of Dunvegan; of MacAi thur, piper to the Lord of the Isles; of " The Piper o' Dundee; " and of John CanipLell, the Lorn piper, who taught uic fifty years ago how to rouse men with strange words out in the Isles: CuGADH NA SiTH. Battle or Peace. The True Gathering of the Clans. I Hodroho, hodroho, haninin, hiechin, Hodroho, hodroho, hodroho, hachin, Hiodroho, hodroho, haninin, hiechin, Hodroha, hodroha, hodroha, hodroha, Hodroha, hodroho, hodroho, hachm, Hiodroho, hodroho, haninin, hiechin, Hodroha, hodroho, hodroho, hodroha, Haninun, hanimui, haninun, haninun, Finishing measure in eight syllables Hiundratatateriri, hiendatatateriri, Hiuudratatateriri, hiundratatateriri. All of which means music; which meant "Almost alike for us battle or peace." GLASGOW: Printed by ARCHIBALD SINCLAIR, 62 Argyle Street. MDCCCLXXX. PIPER'S LA.NaU^aE, 1880. January. —Heard of Ge.sto'» book for the first time. February 5. —Book got. March 20. —Finished a paper rouglily. ,, ^6.—Copied it. May 21. —Got together two pipers and a skilled Uiusitian ,, 22. -
Thesis&Preparation&Appr
THESIS&PREPARATION&APPROVAL&FORM& & Title&of&Thesis:& Scottish&Fiddling&in&the&United&States:&Reviving&a&Tradition&and&Maintaining&a&Community& & & I. To&be&completed&by&the&Student:& & I&certify&that&this&document&meets&the&preparation&guidelines&as&presented&in&the& Style&Guide&and&Instructions&for&Preparing&Theses&and&Dissertations.&& & & _________________________________& &_______________& (Signature&of&Student)&& & (Date)& & & II. To&be&completed&by&thesis&advisor:& & I&certify&that&this&document&is&suitable&for&submission.& & & _________________________________&& _______________& (Signature&of&Advisor)&& & (Date)& & III. To&be&completed&by&School&Director:& & I&certify,&to&the&best&of&my&knowledge,&that&the&required&procedures&have&been& followed&and&the&preparation&criteria&have&been&met&for&this&thesis/dissertation.&& & & _________________________________& &_______________& (Signature&of&Director)&& & (Date)& & & xc:&Graduate&Coordinator& SCOTTISH FIDDLING IN THE UNITED STATES: REVIVING A TRADITION AND MAINTAINING A COMMUNITY A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Deanna T. Nebel May, 2015 Thesis written by Deanna T. Nebel B.M., Westminster College, 2013 M.A., Kent State University, 2015 Approved by ____________________________________________________ Jennifer Johnstone, Ph.D., Advisor ____________________________________________________ Ralph Lorenz, Ph.D., Acting Director, School of Music ____________________________________________________ -
Book 2 of the Structured Learning Guide of the Royal Scottish Pipe Band Association
SECOND EDITION 1993 PREFACE It is with very real pleasure that I introduce Book 2 of the Structured learning Guide of The Royal Scottish Pipe Band Association. The growing international popularity of Book 1 in the series is positive proof of the acceptance of the clear concise teaching methods being used in the education programme now introduced. Pipe band enthusiasts all over the world are due a debt of gratitude to the members of the team of diligent, talented personnel who have created and presented this comprehensive and imaginative learning aid. This debt will be amply repaid by the conscientious use of Books 1 and 2 and by the subsequent attainment of a higher standard of performance of Pipe Band Music. E. Sturgeon PRESIDENT - 1 INTRODUCTION The Music Board of the Royal Scottish Pipe Band Association is delighted to present Book 2 in the Structured Learning series which covers the revised curriculum of the Intermediate Certificate course. We believe that this second publication provides a well balanced and coherent framework of learning material against which students can further develop their musical competence in piping and drumming. The successful presentation format which was established in Book 1 has been continued and built upon to ensure continuity of the learning process. It also maintains the capability of the material for use in a distance learning mode where the student has limited or perhaps no access to formal instruction. A key objective of the Music Board is to offer musical education of the highest quality and to support this by the provision of appropriate learning resource material which will be available to the membership of the Association and to the many Affiliated Associations throughout the World.