April update: a celebration of community

With events cancelled and many of us in lockdown, a look ahead to what this means for FluteFling.

The Magic Flute! FluteFling Edinburgh Weekend 2019 (c) Gordon Turnbull

It’s a sunny Wednesday in Edinburgh, the windows are open and birds are busy outside. Spring is upon us and all would seem well if it wasn’t for the fact that we are in the middle of a pandemic and most people are in some form of lockdown or restricted movement. It is an uncertain and worrying time for everyone, with various concerns for health, loved ones, neighbours and colleagues, physical and mental well-being, work and finances.

It has been heartening to witness many examples of people supporting each other in the community, both locally and across the world. And there has also been much celebrating and sharing of music and song to help unite people and raise spirits in these strange and difficult times.

Traditional music connects people, places and histories and celebrates what is common to us all and the festival season would be fast approaching, when musicians, dancers and lovers of music reunite, share tunes, stories and good times together.

Traditional flute workshop with Sharon Creasey at FluteFling Edinburgh Weekend 2018 (c) Gordon Turnbull

We would have seen some of that last weekend too, with what was promising to be an amazing FluteFling Edinburgh Weekend, our seventh no less. In previous years, people have travelled far for the events in Edinburgh and Aberdeen to meet, play and learn more about traditional flute playing in Scotland and to be part of a revival. As an organiser and sometimes tutor, it is both humbling and inspiring to be part of this and to witness it take on a life of its own, fuelled by the energy, enthusiasm and support of the community that has grown up around FluteFling.

It is a particularly difficult time for those freelance musicians and performers who rely on performances and audiences for an income. Please do what you can to support them — if you buy their music, follow them on social media, share their work or reach out to them, it all helps. And look out for performances from home via various streaming apps. Facebook seems to be popular for this, but there will be other outlets too, such as Youtube.

For some of us in lockdown and not key workers on the front line, events force us to slow down, restrict our movements and reflect. For me, this slower pace and gifted time has allowed me to get the flute out more, to begin thinking about ideas for future FluteFling activities, to begin tweaking and tidying up the website. The various people who are involved in running FluteFling events will also be exploring ideas together.

On a personal note, I have found it difficult in recent months, maybe years if truth be told, to focus on some parts of my own music-making. It is true I am sure for many of us with busy lives and commitments and so maybe this is an opportunity for us all to reconnect with our own music, be in less of a hurry to learn that tune for this session, to maybe explore existing repertoire. Time to to reexamine tone and tuning, revisit ornaments and articulation, to slow down and rediscover the joys and consider what our music means to us.

I have begun to take inspiration from something Paul McGrattan shared at Cruinniú na bhFliúit -The Flute Meeting in Ballyvourney a couple of years ago. Alongside many other ideas, he suggested recording yourself once a week to monitor progress and focus your practice. So my underused YouTube channel is now going to have a new tune or set of tunes posted every Friday during the lockdown period.

To begin with at least, this will focus on tunes that I have taught or might otherwise already be found in the Resources section or on my Soundcloud account, where they are slowed down for playing. I expect other tunes, recalled, revived, relearned or newly discovered for me, will also feature on that YouTube channel.

A flute session in Sandy Bell's Bar, Edinburgh (c) Gordon Turnbull

A flute session in Sandy Bell’s Bar, Edinburgh (c) Gordon Turnbull

There will be some other posts on this website, certainly more regularly than in recent months. But in the meantime, thank you everyone, for being involved, for playing and sharing your music and for being part of the traditional flute and whistle community in Scotland.

Stay safe and stay well and we will see each other on the other side when this is all over. The next FluteFling Weekend, whenever that may happen, will be quite some celebration, for sure.

Fermanagh Reels and pulse: November workshop

November’s workshop in The Wash House in Portobello, Edinburgh saw us look at a couple of reels from County Fermanagh that are popular in the north of Ireland. The Three Scones of Boxtie (also spelled Boxty) and Jig Away the Donkey (one of two tunes with that name) come from Hidden Fermanagh, a book of interviews and accounts exploring the lesser-known music and song from County Fermanagh, with accompanying CDs. The music was transcribed by fellow FluteFling tutor Sharon Creasey from original recordings.

Eddie Duffy (flute) and Mick Hoy (fiddle)

Eddie Duffy (flute) and Mick Hoy (fiddle)

It will come as no surprise to many that Cathal McConnell was very central to the project and helped introduce the music and musicians to a wider audience, Eddie Duffy (flute) and Mick Hoy (fiddle) in particular. They hailed from Derrygonnelly, which now hosts an annual  festival. Altan recorded The Three Scones, but these unusual tunes were recorded together by Desi Wilkinson on his Shady Woods album and are often played by Rebecca Knorr in Edinburgh sessions. Rebecca is no stranger to Northern Irish sessions herself and taught at FluteFling’s Edinburgh Weekend earlier this year.

We focused on The Three Scones, which we learned by first singing them to Desi Wilkinson’s recording, which is in a different key to the manuscript version. This can often happen in traditional music and having an existing internal sense of a tune can help to create a shortcut when then referring to the manuscript. By retaining a strong sense of the reference performance, we can fast-track the melody, breathing and phrasing of the tune and get it “under the fingers”.

We then looked at creating rhythm and swing through breath, emphasising Beats 1 (more) and 3 (less) and also how this happens against a backdrop of the flow and phrasing of the tune. Different styles do this differently, but in Ireland it is better established on the flute than in Scotland. It so happened that the class was all flute players, so we listened to and compared Matt Molloy (Ireland) and Calum Stewart (Scotland), who have very different approaches to very different repertoires, both with inspiring results.

The resources for the workshop can be found on the Resources page.

The next workshop will take place on Saturday December 14th and will continue the themes. The workshop is filling up but there are still some places available.

February Workshop: Calum Sgàire, voice, breath and bow

The beach at Bosta, Great Bernera, Western Isles, Scotland

Calum Sgàire (Òran Chaluim Sgàire) is a Gaelic love song from Bernera that was the focus of the February workshop in Edinburgh. We also looked at a Swedish tune (Engelska frå Småland) and had fun with Laridé de Portobello.

The story behind the song can be found here. Here’s the rich Bothy Band arrangement of the song, which is the one I am most familiar with, having first heard it in 1982:

Other versions can be readily found too. However, the instrumental version that we focused upon was that by fiddler Alisdair Fraser with Tony McManus on guitar:

Convention holds that the best way to learn a song air is directly from a sung version. This provides an understanding of the lyrics and phrasing that underpins the delivery of a fine narrative. This is important when playing flute or whistle as the breathing and dynamics are able to closely match that of the singer. (The best performances of song airs on flute or whistle are often singers).

The next best way is to learn from a musician who knows the song, but also to have an existing understanding or performance of the song in mind. This provides an anchor to reference. In Alisdair Fraser’s playing, the bow performs the role of the breath and it swells, rises, falls, stops, pulls and pushes the timing to bring out a sense of the story.

Additionally, certain grace notes and articulations lend themselves to the fiddle, much as they do with other instruments, including the voice. We sang along with the song to get a strong sense of the phrasing and inflections and then also to the fiddle version, which was simpler to focus upon due to the simple and sparse arrangement.

I have put a bare bones written version of this in the resources section. The arrangement does attempt to show how to negotiate the phrases that go below the flute range and it should help when referring back to the original.

The question of fingered vibrato (ghost trill, or flattement in Baroque flute parlance) arose and we tried a few ideas out for this. Each flute and whistle will be different and various combinations of fingers will suit different situations. It is worth taking the time to try these out and they aren’t confined to slow airs, but may also appear where notes are held in other tunes too.

The Engelska (a Swedish interpretation of an English dance) I learned from Fun Fiddle in Portobello. We tried out some harmonies and Malcolm Reavell contributed a third one on the spot for his sonorous A flute. Here’s an authentic Swedish version, that shows we were in the ballpark. Note the bowing emphasis, which squeezes and stretches the melody:

The next workshop takes place on Saturday 23 March and will focus on a set of Irish jigs. A recording for this will be sent out in advance.

Look out for the Annual flute and whistle weekend on 26-28 April. Lots of things happening that weekend: workshops, performances and sessions featuring flutes and whistles.

Flutes and whistles in the Autumn

Autumn dates and plans for FluteFling to be announced

The rain may have returned, but it’s still the Summer and the Edinburgh Festival is about to kick off. However, it is a timely nudge for organising Autumn events and I am pleased to say that there will be a few FluteFling things happening. Dates and tickets are still being finalised, but here’s a quick look at what is coming up.

New monthly workshops in Partick

Sharon Creasey begins FluteFling West, a monthly trad flute and whistle workshops in Partick Burgh Hall Lesser Hall on Saturday afternoons 2-4pm. Sharon is still putting together ticketing details but her dates are:

  • 15 September
  • 20 October
  • 10 November

This looks to be is the first workshop of its kind in the Glasgow area and is a great opportunity for anyone in the west looking to work on their music. Sharon’s dates won’t clash with the Edinburgh ones either, so it would be possible to maximise your flute and whistle time and attend both or pick and choose. As soon tickets etc are set up, we will let you know.

Monthly FluteFling workshops in Edinburgh from September

Gordon Turnbull’s monthly Saturday afternoon workshops resume in Portobello, Edinburgh on 22 September, remaining dates tbc at this stage but they will not be the same dates as Sharon’s. These will take place once more on Saturday afternoons 1-4pm at Tribe Porty. Dates so far:

  • 22 September
  • October date tbc
  • November date tbc
  • December date tbc

Tickets to be arranged very soon, once the Aberdeen weekend is finalised. Talking of which…

FluteFling Aberdeen weekend 2018

Aberdeen FluteFling weekend will return for second year, with added whistles. Details to be confirmed at this stage but hopefully early November. Again, an announcement will be made as soon as we have things in place.

Watch out for updates on these events and also more going into 2019. If you haven’t already, sign up for the newsletter to hear the announcements directly. There’s a lot to look forward to. Until then, enjoy your music and the rest of the Summer.

FluteFling Summer news roundup

Thanks to everyone who contributed to the 4th FluteFling weekend in June. An amazing weekend of traditional music on the flute, topped by workshops and performances from Órlaith McAuliffe, Niall Kenny and Elizabeth Ford in addition to those of regulars Sharon Creasey and Kenny Hadden.

With people traveling from Tain, Oban, Newcastle, Lancashire, Aberdeen, Moffat, Galloway and Minnesota USA, we all continue to be impressed with how committed people are to coming to the weekend and being part of things.

I have been without my laptop since then and am only now beginning to catch up, but I will be adding some photos and videos as I get a chance to sort through them.

Aberdeen FluteFling weekend November

While the dust is still settling, a special FluteFling weekend is being planned for Aberdeen so please pencil in 3-5th November in your diaries as we go on the road. More details to follow, but this is an exciting trip back to where it all began in 2001.

Quite a few flute players in Aberdeen regularly travel to Edinburgh for events and this is not only a chance to visit them on their home turf, but also to meet up with the many others who play in the area.

Edinburgh monthly workshops

Monthly workshops will resume in Edinburgh in September, with dates to be confirmed very soon.