Capercaillie 'Skye Waulking Song'

‘Skye Waulking Song’ This song is an example of a traditional work song from Scotland Waulking is an ancient process used for making cloth that whilst no longer used today, still forms an important part of Scottish Cultural heritage. Waulking Waulking is a process used to make tweed fabric, a thick windproof fabric made in Scotland. It refers to a technique where the material is repeatedly stretched to ensure that it becomes fully windproof. It is performed by a group of people (usually women) who would work around the same table, repeatedly stretching the cloth for up to 16 hours a day. The process of walking died out when the invention of machinery meant that it was to costly to make it by hand. Musical Features of a Waulking Song A steady beat – helps to keep the musicians in time Call and response – allows all the members of the group to join in on the response sections, in order to relieve boredom. Use of nonsense syllables -means that people can join in even if they don’t know the words. Time signature of 6/8 or 12/8 – helps keep all the women moving the tweed Musical Structure This piece does not have choruses, but does include elements such as a bridge, an introduction and an instrumental. The full structure is written out on your sheet. Listen to the song and note where the diﬀerent sections start. For each section write down one musical feature you notice – this could be an new instrument, a particular playing style, a change of chord pattern – something you notice that is diﬀerent from the previous sections Capercaillie ‘Skye Waulking’ song from the album ‘Nadurra’ ,2000 S Fusion is…. the mingling of two or more styles, traditions and genres. For example: Bhangra is a mixture of Indian Classical and Western Pop. Capercaillie are a band who fuse Celtic folk music with the instruments and production values of Western popular/rock music. Folk Music Music of the people Performed and owned by the lower classes of society, to express the way they live, used to live or local mythology. An oral tradition Played at informal occasions Not important to be a trained musician to enjoy it Children are encouraged to participate in ensembles Everyone is encouraged to sing along Scottish folk band founded in the 1980s by Donald Shaw and fronted by Karen Matheson.. The group originates from Oban, Argyll, a region of Western Scotland and is named after the Western Capercaillie, a bird native to Scotland. Karen Matheson – Vocals Charlie McKerron – Fiddle Manus Lunny – Guitar and Irish Bouzouki Donald Shaw – Accordian, Piano, Synth Michael Mcgoldrick - Flute, Whistle, Uilleann Pipes Ewan Vernal – Acoustic and Electric Bass James MacKintosh – Drums and Percussion Each virtuosic on their own instrument and gel well as an ensemble. Traditional folk instruments Modern pop/rock instruments Accordion Uilleann pipes Synth Drum kit Bouzouki Fiddle Bass guitar Wurlitzer piano Accordion Synth Uilleann pipes Bouzouki Drum kit Wurlitzer piano Fiddle Bass guitar The Skye Waulking song is a Gaelic folksong arranged by a current folk group Capercaillie. ‘Chuir m’athair mise dha’n taigh charraideach’ (My father sent me to the house of sorrow) is part of a lament ‘Seathan, Son of the King of Ireland’ Traditionally the lament would had been sung unaccompanied by a solo female (with a group of women singing a refrain) and would of taken over an hour to perform The song is the lament of a women for her dead husband, son of Irish Chieftan with whom she had been forced to wander the world. 200 years old approx Oral tradition Tells the take of Seathan, son of the King of Ireland Taken from a collection of Gaelic folk songs by Alexander Carmichael. Original song was over 200 lines. Capercaillie only use an extract from the Alexander Carmichael collection. Original song is a lament sung by Seathan’s wife, telling of his deeds, character, time spent with him and his demise. Harmony is less important than the melody and rhythm (4 chords in Intro the whole song) Verse 1 Break Changes in chord sequence, though Verse 2 infrequent, are noticeable, Verse 3 highlighting a change of section or Verse 4 mood. Verse 5 Melodic lines are played in a folk Verse 6 style – Players improvise around the Instrumental melody simultaneously, creating a Verse 7 heterophonic texture Verse 8 Outro Sustained cluster chord on synth chord. Hinting at E minor. Fiddle joins in, for effect, with a tremolo note Drum entry with Keyboard 2 (Tremolo effect) – Working in counterpoint with the Bouzouki to give a sense of movement. Bass plays staccato notes, working with the bass drum so almost imperceptable. Chord sequence eventually established as Em – G Time signature is ambiguous, possible 6/8 or 12/8 but hi-hat and shaker every 2 beats gives the impression of triple time. Instruments play the same as the introduction Voice enters with first line of the verse. Uses E minor pentatonic or G major pentatonic scale throughout Voice has a characteristic lilting rhythm, working against what the other instruments are playing, making the time signature ambiguous. Uilleann Pipes and fiddle in heterophonic texture Accordion provides accompaniment and occasional melodic doubling. Instruments (especially the accordion) emphasise beats 2 and 5, adding rhythmic interest. Chords change to Am7-Em-Em-G for Chord sequence one verse only. returns to C-G-Em-G Dynamics drop considerably, leaving Full band plays room for lead vocals and backing vocals All instruments drop out for the last line, adding to contrast as drums build up to last verse. Vocals improvise on nonsense syllables Instruments weave a counterpoint Chord sequence alternates between C and G Long fade out to end. .

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