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Discography Section 6: E (PDF)
1 NOEL EADIE Noel Eadie, soprano with orchestra Recorded London, ca August 1927 Home sweet home (John H. Payne; Henry Bishop) Broadcast 144; Unison 144(8”) Comin’ thro the rye (Robert Brenner) Broadcast 144; Unison 144(8”) Noel Eadie, soprano vocal with José Brath. piano Recorded Studio C, Small Queen’s Hall, Langham Place, London, Thursday, 22nd. August 1929 Bb-17272-1/2 An Eriskay love lilt (trad. arr. Marjorie Kennedy Fraser) HMV unissued Bb-17273-1/2 Heart of fire, love (trad) HMV unissued Recorded Studio C, Small Queen’s Hall, Langham Place, London, Tuesday, 24th. September 1929 Bb-17272-3/4 An Eriskay love lilt (trad. Marjorie Kennedy Fraser) HMV unissued Bb-17273-3 Heart of fire, love (trad) HMV unissued THE ECLIPSE BAND Recorded London, 1908 – 1914 6191 KV Reminiscences of Scotland – part 1 Eclipse 109 6192 KV Reminiscences of Scotland – part 2 Eclipse 109 NOTE: These German produced records were 10” diameter and fine grooved. They are reputed to play for up to five minutes. JOHN EDINGTON Vocal with Miss McConnell, piano Recorded London, Tuesday, 8th. October 1929 BR-2665-2 Bonnie wee thing (Robert Burns; trad. arr. George Fox) HMV B-3554 BR-2664-2 Mary Morrison (Robert Burns; trad. arr. Alfred Moffat) HMV B-3554 CITY OF EDINBURGH BAND (Known as Grassmarket Band until 1925) John Falds, conductor Recorded Usher Hall, Lothian Road, Edinburgh, Saturday, 14th. October 1950 Othello – tone poem. part 1 (Drake Rimmer) Isis – no number Othello – tone poem. part 2 (Drake Rimmer) Isis – no number Pageantry – suite. part 1 (Herbert Howells) Isis – no number Pageantry – suite. -
A-Cr-Ccp-907/Pf-001 3-1-1 Common Training Pipe Band
A-CR-CCP-907/PF-001 COMMON TRAINING PIPE BAND – BASIC MUSICIAN INSTRUCTIONAL GUIDE SECTION 1 EO S115.01 – IDENTIFY ELEMENTS OF PITCH Total Time: 40 min PREPARATION PRE-LESSON INSTRUCTIONS Resources needed for the delivery of this lesson are listed in the lesson specification located in A-CR-CCP- 907/PG-001, Pipe Band–Basic Musician Qualification Standard and Plan, Chapter 4. Specific uses for said resources are identified throughout the instructional guide within the TP for which they are required. Review the lesson content and become familiar with the material prior to delivering the lesson. PRE-LESSON ASSIGNMENT N/A. APPROACH An interactive lecture was chosen for this lesson to present elements of pitch. INTRODUCTION REVIEW N/A. OBJECTIVES By the end of this lesson the cadet shall have identified the elements of pitch. IMPORTANCE It is important for cadets to know the elements of pitch because it allows the cadets to read music which is the foundation to all practical music training activities. Teaching Point 1 Describe Staves Time: 5 min Method: Interactive Lecture STRUCTURE Staves are a set of parallel lines. Originally staves were many, many lines, and were reduced for ease of reading the music. The system that is used today is a staff made of five lines and four spaces. 3-1-1 A-CR-CCP-907/PF-001 Director Cadets 3, 2008, Ottawa, ON: Department of National Defence Figure 3-1-1 The Staff NUMBERING OF LINES AND SPACES To number the lines, start at the bottom and number them one through five. -
Pipe Band Uniforms, Highland Dress & Accessories
PIPE BAND UNIFORMS, HIGHLAND DRESS & ACCESSORIES KILTS Made in Scotland by Leading Kiltmaker - 100% Worsted Cloth Gent’s Full Kilts Medium Worsted Cloth .............................8 yard Kilt .......$ 720.00 ..................................................................9 yard Kilt .......$ 750.00 Old & Rare Range - Medium Worsted .......8 yard Kilt .......$ 795.00 ..................................................................9 yard Kilt .......$ 825.00 Heavy Weight Stock Cloth .........................8 yard Kilt .......$ 765.00 ..................................................................9 yard Kilt .......$ 795.00 Special Weave - 16oz Cloth .......................8 yard Kilt .......$ 925.00 ..................................................................9 yard Kilt .......$ 990.00 Dancer’s Full Kilts ............................................................................. From $ 475.00 Ladies Semi-Kilt LTWT Wstd Cloth, up to 100 cm hips Machine Sewn ........................ From $ 350.00 Ladies Hostess Kilt Ankle Length 100% Worsted, up to 100cm hips. Machined ....................... $ 590.00 Straight Skirt - Reever cloth ........................................................................ $ 240.00 All of the above to measure - Delivery 8-10 weeks JACKETS Made to measure from Scotland - Delivery 8-10 weeks Several styles including Argyll, Crail, Montrose, Prince Charlie and Band Tunics to detail Plain Barathea Cloth, Crail & Argyll Style .................. $ 490.00 Tweed Crail & Argyll Style ....................................... -
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). -
Traditional Music of Scotland
Traditional Music of Scotland A Journey to the Musical World of Today Abstract Immigrants from Scotland have been arriving in the States since the early 1600s, bringing with them various aspects of their culture, including music. As different cultures from around Europe and the world mixed with the settled Scots, the music that they played evolved. For my research project, I will investigate the progression of “traditional” Scottish music in the United States, and how it deviates from the progression of the same style of music in Scotland itself, specifically stylistic changes, notational changes, and changes in popular repertoire. I will focus on the relationship of this progression to the interactions of the two countries throughout history. To conduct my research, I will use non-fiction sources on the history of Scottish music, Scottish culture and music in the United States, and Scottish immigration to and interaction with the United States. Beyond material sources, I will contact my former Scottish fiddle teacher, Elke Baker, who conducts extensive study of ethnomusicology relating to Scottish music. In addition, I will gather audio recordings of both Scots and Americans playing “traditional” Scottish music throughout recent history to compare and contrast according to their dates. My background in Scottish music, as well as in other American traditional music styles, will be an aid as well. I will be able to supplement my research with my own collection of music by close examination. To culminate my project, I plan to compose my own piece of Scottish music that incorporates and illustrates the progression of the music from its first landing to the present. -
Medley Construction
CONSTRUCTING A PIPE BAND MEDLEY FOR COMPETITION By P/M Brett Tidswell, National Piping and Ensemble Adjudicator HISTORY Pipe Bands used to perform March, Strathspey and Reel sets only in competition. In the 1950’s the Edinburgh Police under PM Donald Shaw Ramsay started to incorporate hornpipes and jigs into their repertoire and shortly after, the medley was introduced into competition to allow bands a wider variety of music and to give play to some of the smaller tunes that bands seemed to be overlooking. The medley has now developed into a complex structure rather than a few nice tunes thrown together. The intention of this article is to highlight some of the methods used to construct an entertaining and musical medley. The guidelines in no way are meant to inhibit the compiler/composer, however, good musical taste and some adherence to tradition are still called for when compiling a medley for competition. Scottish Power LENGTH There are obviously constraints when compiling a competition medley as distinct from a concert medley. The first of these is the length. Generally in higher grades the rules require a 5 – 7 minute medley and a lesser time in the lower grades. Ensure that you check the rules and test the length of the medley from the first roll until the end of the performance, at tempo. ©schoolofpiping.com Page 1 INTRODUCTION Again there is often a rule constraint here. Most call for two three pace rolls with the band stepping off on the first beat of the roll. If you are trying to be inventive and vary from this, it is best to check the rules of the Associations who have jurisdiction in the places you intend to compete. -
2014 (Mise À Jour 8 Janvier 2014)
Championnat des Bagadoù ‐ Saison 2014 (mise à jour 8 janvier 2014) 1e Ordre de Passage Concours de Brest Ordre de passage Concours de Lorient catégorie Bagad Roñsed Mor ‐ Locoal Mendon 1 Bagad Ar Meilhoù Glaz ‐ Quimper Kerlenn Pondi ‐ Pontivy 2 Bagad Cap Caval ‐ Plomeur Bagad Kemper ‐ Quimper 3 Kerlenn Pondi ‐ Pontivy Bagad Brieg ‐ Briec 4 Bagad Sant Nazer ‐ Saint Nazaire Bagad Melinerion ‐ Vannes 5 Bagad Brieg ‐ Briec Bagad Pañvrid ar Beskont ‐ Pommerit le Vicomte 6 Bagad Elven ‐ Elven Bagad Penhars ‐ Quimper 7 Bagad Melinerion ‐ Vannes Bagad Bro Kemperle ‐ Quimperlé (pays de) 8 Bagad Penhars ‐ Quimper Bagad Sant Nazer ‐ Saint Nazaire 9 Bagad Pañvrid ar Beskont ‐ Pommerit le Vicomte Bagad Sonerien An Oriant ‐ Lorient 10 Bagad Kemper ‐ Quimper Kevrenn Alre ‐ Auray 11 Bagad Roñsed Mor ‐ Locoal Mendon Bagad Elven ‐ Elven 12 Bagad Bro Kemperle ‐ Quimperlé (pays de) Bagad Cap Caval ‐ Plomeur 13 Bagad Sonerien An Oriant ‐ Lorient Bagad Ar Meilhoù Glaz ‐ Quimper 14 Bagad Quic en Groigne ‐ Saint Malo Bagad Quic en Groigne ‐ Saint Malo 15 Kevrenn Alre ‐ Auray 2e Ordre de Passage Concours de Vannes Ordre de passage Concours de Lorient catégorie Bagad Glaziked Pouldregad ‐ Pouldergat 1 Bagad Sonerien Bro Dreger ‐ Perros Guirec Bagad Sant Ewan Bubri ‐ Saint Yves Bubry 2 Bagad Glaziked Pouldregad ‐ Pouldergat Bagad Konk Kerne ‐ Concarneau 3 Bagad Plougastell ‐ Plougastel Daoulas Bagad Bro Felger ‐ Fougères (pays de) 4 Bagad Kadoudal ‐ Vern sur Seiche Bagad Saozon‐Sevigneg ‐ Cesson Sevigné 5 Bagad Saozon‐Sevigneg ‐ Cesson Sevigné Bagad Sonerien Bro -
Les Nouvelles N° 35
LE MAGAZINE D’INFORMATION DE LORIENT AGGLOMÉRATION JUILLET-AOÛT 2017 N°35 SUPPLÉMENT BIENVENUE à la NOUVELLE GARE Le sens de l'accueil P.18 Aux petits soins du littoral P.26 Les bagadoù, c'est tendance ! DANS VOTRE MAGAZINE Pratique JUILLET-AOÛT 2017 Maison de l’Agglomération, 02 I SOMMAIRE / ÉDITO Esplanade du Péristyle à Lorient. 04 I ARRÊT SUR IMAGE Tél. 02 90 74 71 00 Accueil et standard ouverts du lundi au vendredi 06 I OBJECTIF AGGLO de 8h30 à 17h30. www.lorient-agglo.bzh TERRE Collecte et tri des déchets 10 I TOURISME 0 800 100 601 > LE TOURISME 2.0 Du lundi au vendredi de 8h30 à 12h et de 13h30 à 17h. 16 I AÉROPORT > APRÈS PORO, CAP SUR LONDRES Eau potable, assainissement 17 I PORTRAIT 0 800 100 601 > UN HOMME DU RAIL Lundi de 8h30 à 17h15, du mardi au jeudi de 8h30 à 12h15 et de 13h30 à 17h15, vendredi de 8h30 à 16h30. MER Espace info habitat 18 I LITTORAL 0 800 100 601 > UNE CÔTE SOUS HAUTE SURVEILLANCE Service public gratuit proposé par Lorient Agglomération 24 I ENVIRONNEMENT et regroupant le service Habitat, l’ADIL (information > L’EAU, À CONSOMMER AVEC MODÉRATION logement) et l’Espace Info Energie d’ALOEN. 25 I PORTRAIT > PLANCHE À VOILE : GRAINE DE CHAMPION L’EIH accompagne les nouveaux arrivants et les habitants souhaitant louer, rénover, acheter ou construire un logement. HOMMES Espace Info Habitat, esplanade du Péristyle, quartier de l’Enclos du port à Lorient, à côté de la Maison de l’Agglo- 26 I CULTURE mération. -
Gordon Jelly
Drum Major Gordon Jelly by Allan Cha5o, 1994 Gordon Jelly in 1929, his first year with the Dalzell Highland Pipe Band, age fourteen. In 1915, Alexander Gordon Hamilton Jelly was born in the town of Motherwell, Lanarkshire, Scotland. In his early years he developed a keen interest in music, and at the age of twelve, while aFending the local 5th Company of The Boys Brigade, it was only natural that he was aFracted to their pipe band, and in parHcular, to the snare drummers. LiFle did the pipe band world know that this was the start of a foundaHon that was to become part of the history and the development of pipe band drumming. So it was in 1927 that Gordon decided he wanted to learn to play the snare drum. What beFer start could a keen young lad have? The BaFalion pipe band drummers were being tutored by the famous Jimmy Catherwood, who at the Hme was the Drum Corporal of the Dalzell Highland Pipe Band. This band, under Pipe Major William Jack and Leading Drummer Willie Craig, was making a name for itself in ScoSsh Open Grade CompeHHons. Dalzell Highland was formed when a group of piping enthusiasts met in 1910 on the "Old Calder Brig" in the steel town of Motherwell. Each member agreed to contribute five shillings a week - a considerable sum in those days - towards the band for the purchase of uniforms and instruments. The first pracHces were held outdoors on the banks of the River Calder. The band eventually gained the support of several generous "honorary members," one of whom was David Colville of the Dalzell Steel and Iron Works. -
Issue 333 Fall 2004
B.C. PIPERS’ ASSOCIATION NewsletterNewsletter Simon Fraser University Pipe Band 2004 World Drum Corps Champions FALL 2004 ISSUE NO. 333 BC Pipers’ Association Newsletter • Fall 2004 1 B.C. PIPERS’ ASSOCIATION B.C. Pipers’ Association Newsletter FALL 2004 Newsletter ISSUE NO. 333 Robert MacNeil Editor • Bonnie Ridout Design Editor • An Affiliated Association of the Jan Mattock Royal Scottish Pipe Band Association Contributing Editor and Member of the • Alliance of North American Pipe Band Associations Sharon Hampson Advertising • FALL 2004 Melissa Maxwell Cover Design • FEATURES Bob Dunsire World Pipe Band Championships Results ....................................................................... 4 Webmaster BCPA Developmental Grants .......................................................................................... 7 • BCPA 2004 Grand Aggregate Standings ....................................................................... 10 Summer Journal - Piping Hot Summer Drummer ........................................................ .13 International Solo Results ............................................................................................. 15 Newsletter Distribution Promotions List ............................................................................................................. 16 Bill and Sharyn Elder Keith Highlanders Trip to Scotland ............................................................................... 18 • CD Review - 90 Years on the Beat - Vancouver Police Pipe Band ............................. -
[Bombarde How To] Downloading
Gerdran Modut Bombarde, How to Lots of useful tips for learning to play the Breton Bombarde by teaching yourself ... ... then moving smoothly to the Biniou, the Veuze... or the Oboe! Version 6.0 Cover Photography: the monument dedicated to the “Sonneurs bigoudens”(traditional bombarde and biniou players from the Bigouden region in SW Brittany), bronze made by René Quillivic (1879 - 1969). This sculpture was at fist made in plaster in 1907, then in bronze in 1908 or 1909, then erected as a public monument in Plozévet (29) in 1937. About this English version The original document was written in French and entitled “Bombarde, mode d’emploi” then I translated and adapted it myself from French to my broken English. Many thanks to David Bateman, a Scottish musician, who polished my poor English translation and corrected my numerous mistakes (vocabulary, grammar, syntax, ambiguous wordings…). This correction was made while keeping in mind that this English text is not literature and must be easy to understand by all of its readers – the native as well as the non-native speakers of English. It’s not so easy. Do, please, get in touch if some parts remain unclear for you. Bombarde, How to. Version 6.0 – 2019-08-27. First edition (1.0) published 2014-07-09. Check the availability of a new version at http://biniou-bombarde.stalikez.info This free document is published only on the Internet. Contact the author: [email protected] You don’t agree: say so! You think of useful stuff to add to future versions: tell them! You just want to say hello: don’t hesitate! Document distributed under licence Creative Commons BY-NC-ND 3.0 http://creativecommons.org/licenses/by-nc-nd/3.0/fr/ Under this license, you are allowed to freely redistribute this document, but you are not allowed to alter it (neither its contents nor its file name) or to split it or to make commercial use of it or to omit to mention its original source. -
Practices and Perceptions Around Breton As a Regional Language Of
New speaker language and identity: Practices and perceptions around Breton as a regional language of France Submitted for the degree of Doctor of Philosophy by Merryn Davies-Deacon B.A., M.A. February, 2020 School of Arts, English, and Languages Abstract This thesis focuses on the lexicon of Breton, a minoritised Celtic language traditionally spoken in western Brittany, in north-west France. For the past thirty years, much work on Breton has highlighted various apparent differences between two groups of speak- ers, roughly equivalent to the categories of new speakers and traditional speakers that have emerged more universally in more recent work. In the case of Breton, the concep- tualisation of these two categories entails a number of linguistic and non-linguistic ste- reotypes; one of the most salient concerns the lexicon, specifically issues around newer and more technical vocabulary. Traditional speakers are said to use French borrowings in such cases, influenced by the dominance of French in the wider environment, while new speakers are portrayed as eschewing these in favour of a “purer” form of Breton, which instead more closely reflects the language’s membership of the Celtic family, in- volving in particular the use of neologisms based on existing Breton roots. This thesis interrogates this stereotypical divide by focusing on the language of new speakers in particular, examining language used in the media, a context where new speakers are likely to be highly represented. The bulk of the analysis presented in this work refers to a corpus of Breton gathered from media sources, comprising radio broadcasts, social media and print publications.