February Break News

Sandy Bell's music session

A couple of quick news points at the end of this February Break.

Firstly, check out the recent  Fragments Project post to learn more about our composition project inspired by a piece of Medieval music from Hawick.

Secondly, top Scottish flute player Calum Stewart is playing at Smailholm Village Hall on Friday 21st March. If you can go, you won’t forget it as his music is extraordinary. A good excuse for a FluteFling trip!

Next, things are in motion for a FluteFling Scottish Flute Day on Saturday 10th May as part of Tradfest Edinburgh. Tutors Kenny Hadden (Aberdeen) and Sharon Creasey (Glasgow) will be teaching, as well as myself. There will be a new page with updates and information on this site very soon.

Finally, be sure to check the Diary page as classes skip a week due to the February break.

Photo: Sandy Bell’s music session (c) Gordon Turnbull. Flute player is David Begg, Pete McClements plays fiddle, Robert Chalmers concertina.

Brochan Lom: food for the feet

Brochan Lom is a Gaelic song or port a beul (“mouth music”) that is well-known in Scottish music circles. Perhaps almost too well-known because many people have grown up with it, meaning it tends to get overlooked by many musicians. The title translates as Thin Porridge and it is often taught in Scottish schools, including those where Gaelic is not otherwise spoken.

Some background and lyrics can be found on Wikipedia. The ever-helpful Tobar an Dualchais/ Kist o’ Riches web site has many recordings, both vocal and instrumental, including one by Kate Buchanan and Nan Bryan (Mary Anne) Buchanan, collected in 1965 by Thorkild Knudsen.

It is undoubtedly a tune that swings along nicely and has much rhythmic emphasis. In G, it suits the flute and whistle very nicely and allows the D and G notes to punch through, providing lift for dancers. When I play this in celidhs, it’s great for setting up a good rhythm and giving the dancers a boost as they latch onto it.

Resources for the tune are now up, as are those for Katie Bairdie, another school favourite that we will be learning next.

Photo: Record-breaking porridge by chatirygirl, some rights reserved.

 

Another Irish slide: Is it the Priest You Want?

The second of two 12/8 slides the Slow and Steady group are learning, The Priest is in G and sits nicely on flutes and whistles allowing some distinctive punchy phrases to pop through.

For further information on slides, check out the links on The Road to Lisdoonvarna, the slide in E minor that precedes this tune in the set. The tune is primarily constructed around a broken chord of G major and allows a strong rhythm to be developed through the simple repetition of a handful of notes.

Slides can be played quite fast so that the rhythm can be brought out and emphasised, but try playing it as a waltz while learning it in order to get inside it more. This maintains the relationship between the notes, but gives you more time to remember the tune. Decoration tends to be quite simple, just single cuts and strikes, particularly in the first part. The second part can take short rolls that help accent the rhythm, but only attempt these once you have the tune firmly established.

Resources for this tune are on the Resources page for this year.

A search around reveals that this may also be known as Is it the Priest You Want?, (Ne An T-Sagart Ta Uait?) which suggests that there may have been words to go with it at some point. The Fiddler’s Companion gives a version of it and identifies it as having first been published by Edward Bunting in 1796 and suggests it was more recently popularised by Johnny O’Leary, who learned it from Din Tarrant, both from Kerry. You can download a facsimile of Bunting’s The Ancient Music of Ireland from the Petrucci Library.

Like many, I originally learned this from a recording by The Bothy Band, who play this at the start of a set on Out of the Wind, Into the Sun, their third and final studio album. The Bothy Band, along with Planxty, were highly influential in raising the standards of Irish music recordings and arrangements in the 1970s. They influenced Scottish groups like Ossian (dubbed “The Scottish Planxty” maybe in more recent times) and Lúnasa, who have been compared with them for their musicianship and approach.

Photos: (top) The Bothy Band (c) unknown ( from Kölncampus website); below, album cover from Amazon.

Winter at Dalmeny Kirk 2013

Winter at Dalmeny Kirk 2013Back in early December, FluteFling returned to Dalmeny Kirk to play some of our music for our own enjoyment in an amazing setting, with a handful of friends listening in.

This is the fifth time we have had an excursion and the second time we have been to the historic Dalmeny Kirk. Thanks to Ian Slee and Dalmeny Kirk for their kind hospitality. You can find out more about this amazing and  historic church at their website.

These are social and informal occasions and we hope that you enjoy listening to the music too:

More Mouth Music: S’iomadh Rud A Chunnaic Mi

S’iomadh Rud A Chunnaic Mi (Many’s the Thing I Saw) is the latest Slow and Steady tune and is a piece of port a beul (mouth music) that is also a reel. The largely straightforward construction of this tune makes it suitable for getting to grips with the rhythm of the reel.

I was reminded of this tune through two routes, one through the recent Youtube video of Irish fiddler Kevin Burke and guitarist Mícheál Ó Domhnaill, who sang the port. I believe they recorded this on Portland and the Breton Gavotte that we recently covered also appeared on that album. I also found this tune in Davy Garrett’s gem of a book, An Fhideag Airgid (A Whistle Tutor for Highland Music) as I was looking at a version of A’ Cur nan Gobhar às a’ Chreig, itself a version of the Shetland reel Oot Be Est da Vong, that the Improvers class covered last week.

There’s a discussion of the tune over on The Session, where Nigel Gatherer describes the tune as a version of Cenneag Mhor, which he has music up for on his highly recommended web site. You can also find a translation of the lyrics in that discussion.

The class resources for this tune are in place. The Burke/ Ó Domhnaill version is below. I mistakenly used this to illustrate the Gavotte recently, but I have now corrected that. A version of it can also be found on The Tannahill Weaver’s Cullen Bay recording.