Showing posts with label celtic. Show all posts
Showing posts with label celtic. Show all posts

Sunday, January 1, 2023

What does the term "Celtic" refer to? What are the 7 Celtic nations? What is Celtic music? What is Celtic fiddle music. Who are some famous Celtic music fiddlers?

Celtic Village

The term "Celtic" refers to a culture and language group that includes a number of tribes and nations that lived in western and central Europe in ancient times. The term "Celtic" is also used to refer to the cultures and traditions of the modern-day descendants of these ancient tribes, who include the Irish, Scottish, Welsh, Cornish, Manx, and Breton people.  The term "Celtic" refers to a cultural and linguistic group that includes the ancient and modern cultures of Ireland, Scotland, Wales, Cornwall, the Isle of Man, and Brittany in France. These cultures are connected by a shared history, language, and cultural traditions.

The Celtic Nations Flag

The 7 Celtic nations are:

  1. Ireland
  2. Scotland
  3. Wales
  4. Cornwall
  5. The Isle of Man
  6. Brittany (in France)
  7. Galicia (in Spain)

The seven Celtic nations are the Irish, Scottish, Welsh, Cornish, Manx, Breton, and Galician people. These nations are located in the British Isles, France, and Spain and share a common cultural heritage and language group.

Celtic music is a term used to describe the traditional music of the Celtic nations. It is characterized by the use of traditional instruments, such as the fiddle, bagpipes, and harp, and by the use of traditional musical forms, such as jigs, reels, and airs.  Celtic music is a genre of music that is inspired by the traditional music of the Celtic nations. It is characterized by its use of traditional instruments, such as the fiddle, tin whistle, and harp, and its use of traditional melodies and rhythms. Celtic music is often associated with folk and roots music and is popular in many parts of the world.

Modern Celtic Musical Instruments

Celtic fiddle music is a subgenre of Celtic music that is played on the fiddle. It is characterized by fast, energetic melodies and intricate ornamentation. It is often played in a dance style and is a popular music genre at Celtic festivals and dance events.  Celtic fiddle music focuses on the violin and its role in traditional Celtic music. It is characterized by its use of traditional melodies and rhythms, as well as its use of the bowing and ornamentation techniques used in traditional Celtic music.

Some famous Celtic music fiddlers include Kevin Burke, Martin Hayes, and Natalie MacMaster, Martin Hayes, Caoimhín Ó Raghallaigh, and Kevin Burke. These fiddlers are known for their exceptional playing abilities and contributions to the Celtic fiddle tradition.

What does the term "Celtic" refer to? What are the 7 Celtic nations? What is Celtic music? What is Celtic fiddle music. Who are some famous Celtic music fiddlers?

Celtic Village

The term "Celtic" refers to a culture and language group that includes a number of tribes and nations that lived in western and central Europe in ancient times. The term "Celtic" is also used to refer to the cultures and traditions of the modern-day descendants of these ancient tribes, who include the Irish, Scottish, Welsh, Cornish, Manx, and Breton people.  The term "Celtic" refers to a cultural and linguistic group that includes the ancient and modern cultures of Ireland, Scotland, Wales, Cornwall, the Isle of Man, and Brittany in France. These cultures are connected by a shared history, language, and cultural traditions.

The Celtic Nations Flag

The 7 Celtic nations are:

  1. Ireland
  2. Scotland
  3. Wales
  4. Cornwall
  5. The Isle of Man
  6. Brittany (in France)
  7. Galicia (in Spain)

The seven Celtic nations are the Irish, Scottish, Welsh, Cornish, Manx, Breton, and Galician people. These nations are located in the British Isles, France, and Spain and share a common cultural heritage and language group.

Celtic music is a term used to describe the traditional music of the Celtic nations. It is characterized by the use of traditional instruments, such as the fiddle, bagpipes, and harp, and by the use of traditional musical forms, such as jigs, reels, and airs.  Celtic music is a genre of music that is inspired by the traditional music of the Celtic nations. It is characterized by its use of traditional instruments, such as the fiddle, tin whistle, and harp, and its use of traditional melodies and rhythms. Celtic music is often associated with folk and roots music and is popular in many parts of the world.

Modern Celtic Musical Instruments

Celtic fiddle music is a subgenre of Celtic music that is played on the fiddle. It is characterized by fast, energetic melodies and intricate ornamentation. It is often played in a dance style and is a popular music genre at Celtic festivals and dance events.  Celtic fiddle music focuses on the violin and its role in traditional Celtic music. It is characterized by its use of traditional melodies and rhythms, as well as its use of the bowing and ornamentation techniques used in traditional Celtic music.

Some famous Celtic music fiddlers include Kevin Burke, Martin Hayes, and Natalie MacMaster, Martin Hayes, Caoimhín Ó Raghallaigh, and Kevin Burke. These fiddlers are known for their exceptional playing abilities and contributions to the Celtic fiddle tradition.

Friday, May 20, 2022

Some of my favorite musicians

I play and teach mandolin and fiddle.  The styles I play (and teach) are Celtic and Bluegrass, Classical and Balkan.  

Some of my most favorite musicians per style are:

Celtic

  • Frankie Gavin - fiddler, De Dannan
  • Seán Smyth - fiddler, Lunasa
  • Winifred Horan - fiddler, Solas
  • Claudine Langille - mandolin, tenor banjo
  • Billy Oskay - fiddler, recording engineer, Night NOise
  • Johnny "Ringo" McDonagh - bodhran, De Dannan
  • Tommy Peoples - fiddler
  • Alisdair Frasier - fiddler
Bluegrass
  • Stuart Duncan - Nashville session player
  • Jason Carter - fiddler, Travelin' McCoury's
  • Scotty Stoneman - fiddler, The Kentucky Colonels
  • Vassar Clemens - fiddler, Old and In The Way
  • Richard Greene - fiddler, Mule Skinner
  • Darol Anger - fiddler, the David Grisman Quintet
Classical
  • Isaac Stern - concert violinist
  • Yehudi Menuhin - concert violinist
  • Pablo Casals - cellist and conductor
  • Jacqueline du Pré - concert cellist
  • Isaac Perlman - concert violinist
  • Michael Tree - violist, Guarneri Quartet
Balkan/Klezmer
  • Alicia Svigals - fiddler, Klezmatics
  • Jascha Heifetz - violinist
  • Baron Menuhin
  • Kenny Kosek
  • Daniel Hoffman - fiddler, Klez-X

Some of my favorite musicians

I play and teach mandolin and fiddle.  The styles I play (and teach) are Celtic and Bluegrass, Classical and Balkan.  

Some of my most favorite musicians per style are:

Celtic

  • Frankie Gavin - fiddler, De Dannan
  • Seán Smyth - fiddler, Lunasa
  • Winifred Horan - fiddler, Solas
  • Claudine Langille - mandolin, tenor banjo
  • Billy Oskay - fiddler, recording engineer, Night NOise
  • Johnny "Ringo" McDonagh - bodhran, De Dannan
  • Tommy Peoples - fiddler
  • Alisdair Frasier - fiddler
Bluegrass
  • Stuart Duncan - Nashville session player
  • Jason Carter - fiddler, Travelin' McCoury's
  • Scotty Stoneman - fiddler, The Kentucky Colonels
  • Vassar Clemens - fiddler, Old and In The Way
  • Richard Greene - fiddler, Mule Skinner
  • Darol Anger - fiddler, the David Grisman Quintet
Classical
  • Isaac Stern - concert violinist
  • Yehudi Menuhin - concert violinist
  • Pablo Casals - cellist and conductor
  • Jacqueline du Pré - concert cellist
  • Isaac Perlman - concert violinist
  • Michael Tree - violist, Guarneri Quartet
Balkan/Klezmer
  • Alicia Svigals - fiddler, Klezmatics
  • Jascha Heifetz - violinist
  • Baron Menuhin
  • Kenny Kosek
  • Daniel Hoffman - fiddler, Klez-X

Saturday, April 4, 2020

Mandolin Chord Chart and Suggestions for Learning Chords

mandolin chords
MANDOLIN CHORD SUGGESTIONS FOR LEARNING
Chords are made from arpeggios, which come from scales.  I've talked before about the 7 "Church" modes, or Canonical Modes as they are also called: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian.   Of those modes, the most commonly used are Ionian (Major) and Aeolian (Relative Minor).  The intervals of the Ionian (Major) mode are R,W,W,H,W,W,W,H R=Root, W=Whole, H=Half.  The intervals of the Aeolian (Relative Minor) mode (starting on the 6th note of the Major scale), are R,W,H,W,W,H,WW.  If you assign each interval with a number, then the notes of the scales will be 1,2,3,4,5,6,7,8 with 8 (the octave) being a repeat of 1 (the tonic or first note).  The notes of the arpeggio will always be 1,3,5,8 - regardless of the notes of the scale, or the mode.  

For example:
G Ionian (Major): G,B,D,G
G Aeolian (Relative Minor): E,G,B,E

Using the example above for the key of G, you want to make up your chord with any of the above notes: G,B,D,G for the Major and E,G,B,E for the Relative Minor.

OPEN CHORDS VS CLOSED CHORDS
One of the advantages of the mandolin is that it can be played like a percussion instrument in addition to providing melody and harmony.  The mandolinist has to decide what he/she wants to provide in the way of accompaniment.  If the mandolinist wants a short percussive sound (called a "chop" in bluegrass vernacular), then he/she has to use "closed chords".  Closed chords indicates a finger on each string, "closing" the ringing of the strings.  Every mandolinist has to learn the "Big G", which uses all 4 fingers with fingers on the B (a string), G (e string), G (d string), D (g string).  This is a "closed chord" because all of the strings are "closed" by a finger.  If the mandolinist wants a sound that rings (like a harp, for example), then he/she will play "open chords".  Open chords have one or more string pairs untouched by fingers allowing them to ring when struck by the pick.  Using the G example, a good open G is B (a string), and G (e string), open D and open G.

Typical styles of music that use open or closed chords are:
  • Celtic: open
  • Bluegrass: closed
  • Folk: either
  • Country: closed
  • Klezmer: open
I hope this is helpful, here's the video:


Monday, July 11, 2016

Looking for Bands that want to make money!

I'm on the lookout for awesome bluegrass, celtic/irish, klezmer, folk, blues and psychedelic rock bands.

If you or someone you know plays in a band, put them in touch with me!

Thanks!

Thursday, October 30, 2014

The Celtic Nutcracker 2014



LOCATION: Bowker Auditorium, Stockbridge Hall, UMASS Amherst
DATE: Saturday, Dec 13, 2014
TIMES:2:00 p.m., 7:00 p.m.
Rehearsals: Wednesdays 7-8:30pm

If you are NOT CURRENTLY attending the Wednesday Celtic Group class (aka Celtic Fingers), you will need to join to perform in the Nutcracker!  Group Classes cost $25 per week, meeting 7-8:30 weekly.
   
The Group Rehearsal Dates with dancers will be at the Guiding Star Grange in Greenfield, MA:

    Tuesday, Nov 18 5-6pm
    Saturday, Nov 22 12-1pm
    Saturday, Dec 6 12-3 - full dress w/final bow

Experience the story of the Nutcracker told through Celtic Dance from the perspective of a young girl living in a cottage in Ireland. The journey takes her to Tir Na Nog, the land of eternal youth, where she finds herself transformed into a princess and receives gifts from Scottish Sword Dancers, Cornish Dancers and meets a few leprechauns along the way.
In the second half of the show, instead of gifts from Arabia and China, we have gifts from the Celtic nations, such as Ireland, Scotland, Isle of Man and Cornwall.

While the majority of the show is choreographed with original choreography to the recorded music of Tchaikovsky, there will be live Celtic music in the first act with Celtic Fingers: a student group class from the Celtic Music Academy of Massachusetts!

Wednesday, October 29, 2014

The origin of Halloween lies in Celtic Ireland - Samhain





Halloween in Ireland


To find the origin of Halloween, you have to look to the festival of Samhain in Ireland's Celtic past.

Samhain had three distinct elements. Firstly, it was an important fire festival, celebrated over the evening of 31 October and throughout the following day.

The flames of old fires had to be extinguished and ceremonially re-lit by druids.

It was also a festival not unlike the modern New Year's Day in that it carried the notion of casting out the old and moving into the new.

To our pagan ancestors it marked the end of the pastoral cycle – a time when all the crops would have been gathered and placed in storage for the long winter ahead and when livestock would be brought in from the fields and selected for slaughter or breeding.

But it was also, as the last day of the year, the time when the souls of the departed would return to their former homes and when potentially malevolent spirits were released from the Otherworld and were visible to mankind.

Samhain: its place in the Celtic calendar

The Celts celebrated four major festivals each year. None of them was connected in anyway to the sun's cycle. The origin of Halloween lies in the Celt's Autumn festival which was held on the first day of the 11th month, the month known as November in English but as Samhain in Irish.

The original Celtic year
  •     Imbolc: 1st February
  •     Beltaine: 1st May
  •     Lughnasa: 1st August
  •     Samhain: 1st November

The festivals are known by other names in other Celtic countries but there is usually some similarity, if only in the translation.

In Scottish Gaelic, the autumn festival is called Samhuinn. In Manx it is Sauin.

The root of the word – sam – means summer, while 'fuin' means end. And this signals the idea of a seasonal change rather than a notion of worship or ritual.

The other group of Celtic languages (known as Q-Celtic) have very different words but a similar intention. In Welsh, the day is Calan Gaeaf, which means the first day of winter. In Brittany, the day is Kala Goanv, which means the beginning of November.

The Celts believed that the passage of a day began with darkness and progressed into the light. The same notion explains why Winter – the season of long, dark nights – marked the beginning of the year and progressed into the lighter days of spring, summer and autumn. So the 1st of November, Samhain, was the Celtic New Year, and the celebrations began at sunset of the day before ie its Eve.


The Roman Autumn festival

Harvest was celebrated by the Romans with a festival dedicated to Pomona, the goddess of the fruits of the tree, especially apples. The origin of Halloween's special menus, which usually involve apples (as do many party games), probably dates from this period.

Pomona continued to be celebrated long after the arrival of Christianity in Roman Europe. So, too, did Samhain in Ireland and it was inevitable that an alternative would be found to push pagan culture and lore into a more 'acceptable' Christian event.

Sure enough, the 7th century Pope Boniface, attempting to lead his flock away from pagan celebrations and rituals, declared 1st November to be All Saints Day, also known as All Hallows Day.

The evening before became known as Hallows' Eve, and from there the origin of Halloween, as a word, is clear.

The origin of Halloween's spookiness

For Celts, Samhain was a spiritual time, but with a lot of confusion thrown into the mix. Being 'between years' or 'in transition', the usually fairly stable boundaries between the Otherworld and the human world became less secure so that puka, banshees, fairies and other spirits could come and go quite freely. There were also 'shape shifters' at large. This is where the dark side of Halloween originated.

Samhain marked the end of the final harvest of the summer, and all apples had to have been picked by the time the day's feasting began.

It was believed that on Samhain, the puca – Irish evil fairies – spat on any unharvested apples to make them inedible.

Celtic tales are full of heroic warriors and mystical gods. They are also the origin of Halloween's (and Ireland's) preoccupation with the 'little people'.

Academics have concluded that the little people were, originally, the pagan gods of Ireland who lost their significance and, metaphorically, their stature, when Christianity arrived.

Despite their reduced state and retirement to the Underworld as fairies, a memory of their magical powers held fast in the imagination of the people. Here lies the origin of Halloween's dark side.

There are two main groups of fairy: the trooping fairies who are, for the most part, friendly and have healing powers, and the solitary fairy who causes mischief and is quick to anger.

Among the specific terrors of Halloween were the Fomorians who believed they had a right to take back to the Otherworld their share of fresh milk, grains and live children.
The fairy most connected with the origin of Halloween is the Puca (pronounced Pooka) who is decidedly malevolent and capable of assuming any shape. The puca is particularly adept at taking animal shapes, especially horses, so riders beware on Halloween – your 'steed' may not be under your control!

    The Banshee is another fairy, always female, who warns of approaching death by letting loose a terrible, eerie wail (the Banshee scream) that is guaranteed to send a shiver down the spine of those that hear it. If you hear the cry of the Banshee of Ireland, you should look out for a funeral carriage pulled by a headless horse.

To ward off the evil let loose at Samhain, huge bonfires were lit and people wore ugly masks and disguises to confuse the spirits and stop the dead identifying individuals who they disliked during their own lifetime.

They also deliberately made a lot of noise to unsettle the spirits and drive them away from their homes. The timid, however, would leave out food in their homes, or at the nearest hawthorn or whitethorn bush (where fairies were known to live), hoping that their generosity would appease the spirits.

For some, the tradition of leaving food (and a spoon to eat it!) in the home – usually a plate of champ or colcannon – was more about offering hospitality to their own ancestors.

Just as spells and incantations of witches were especially powerful at Samhain, so the night was believed to be full of portents of the future.

The origin of Halloween games

Celts looked to the future at Samhain and could see 'clues' to the year ahead in the simplest things. Even peeling an apple could provide a clue to the name of a future wife or husband; if the peel was allowed to drop to the floor as it was peeled, it would form the initial letter of the lucky spouse.

Apples also featured in the 'ducking for apples' game where the object is to retrieve an apple from a barrel or large bowl of water without using hands or feet. There was nothing particularly symbolic about the origin of Halloween games such as these. They are fun games in which all ages can participate, and apples were plentiful at this time of the year.

Most other games and 'rituals' played out at Halloween were to do with courtship. Among them was the fortune-telling bowl of Colcannon.

A ring (and sometimes a thimble, too) were mixed into a large bowl of this warming, simple dish which was placed in the middle of the table. Each person sitting around the table took a spoonful of the potato and cabbage mixture, dipping it into the well of melted butter at its centre. The person who found the ring was sure to be married within the year. The thimble denoted life without love and marriage.

The origin of Halloween 'trick or treating' seems to have been a Druid ritual of collecting eggs, nuts and apples from the individual homes of the community. These offerings were meant to bring some protection from bad luck such as damage to crops or livestock in the next year. Those that were miserly in their offerings were likely to have a trick played on them. These pranks were harmless enough. They were intended to cause confusion ie changing the direction a gate opened.


The origin of the Halloween lantern


In order to prevent unwelcome spirits entering their homes, the Celts created menacing faces out of turnips and left them on their doorsteps. Adding a lit candle to the hollowed out face gave added protection.

In modern times, pumpkins are used. They're considerably easier to carve, and a lot bigger, too, but they are not native to Ireland.

According to legend, the origin of the Halloween lantern can be found in the tale of a young smith called Jack O'Lantern who made a pact with the Devil during a gambling session. He managed to thwart the Devil and extracted a promise from him that he would never take his soul.

When he eventually died, Jack was refused entry to heaven on account of his drunken, lewd and miserly ways. The Devil, remembering his earlier promise, also refused to allow him into hell. So Jack was condemned to roam the dark hills and lanes of Ireland for eternity.

His only possessions were a turnip with a gouged out centre and a burning coal, thrown to him by the Devil. He put the coal inside the turnip to light his way through the dark countryside where he still wanders......

Ireland's best Halloween party is in Derry

While the origin of Halloween doesn't lie specifically in Derry, the world's biggest Halloween party is held there every year. More than 30,000 people take to the streets, most of them dressed as witches, ghouls, vampires and monsters from the Otherworld.

It's a time when you're almost certain to hear the Banshees screaming – assuming you can hear anything much above the marching bands, ceilidh music, hard rock and calypso as the carnival proceeds through the town.

Waterloo Place plays host to a free concert, and many events, including Ghost Walks, are held throughout the city before a spectacular fireworks display brings celebrations to a close.


Saturday, October 18, 2014

The Irish Session (Seisun)



Get a list of area Irish Sessions here: http://thesession.org/sessions

The general session scheme is that someone starts a tune, and those who know it join in. Good session etiquette requires not playing if one does not know the tune, and waiting until a tune one knows comes along. In an "open" session, anyone who is able to play Irish music is welcome.

Most often there are more-or-less recognized session leaders; sometimes there are no leaders. At times a song will be sung or a slow air played by a single musician between sets.

The objective in a session is not to provide music for an audience of passive listeners; although the punters (non-playing attendees) often come for the express purpose of listening, the music is most of all for the musicians themselves. The session is an experience that is shared, not a performance that is bought and sold.

Learn how to play in an Irish session here: http://celticmusicacademy.com

The sessions are a key aspect of traditional music; some say it is the main sphere in which the music is formulated and innovated. Further, the sessions enable less advanced musicians to practice in a group.

Socially, sessions have often been compared to an evening of playing card games, where the conversation and camaraderie are an essential component. In many rural communities in Ireland, sessions are an integral part of community life.

Typically, the first tune is followed by another two or three tunes in a set. The art of putting together a set is hard to put into words, but the tunes must flow from one to another in terms of key and melodic structure, without being so similar as to all sound the same. The tunes of a set will usually all be of the same sort, i.e. all jigs or all reels, although on rare occasions and amongst a more skilled group of players a complementary tune of a different sort will be included, such as a slip jig amongst the jigs. Although bands sometimes arrange sets of reels and jigs together, this is uncommon in an Irish session context.

Some sets are specific to a locale, or even to a single session, whilst others, like the "Coleman set" of reels ("The Tarbolton"/"The Longford Collector"/The Sailor's Bonnet"), represent longstanding combinations that have been played together for decades. Sets are sometimes thrown together ad hoc, which sometimes works brilliantly and sometimes fails on the spot.

After the set ends, someone will usually start another.

Sessions are usually held in public houses. A pub owner might have one or two musicians paid to come regularly in order for the session to have a base. Sunday afternoons and weekday nights (especially Tuesday and Wednesday) are common times for sessions to be scheduled, on the theory that these are the least likely times for dances and concerts to be held, and therefore the times that professional musicians will be most able to show.

Sessions can be held in homes or at various public places in addition to pubs; often at a festival sessions will be got together in the beer tent or in the vendor's booth of a music-loving craftsman or dealer. When a particularly large musical event "takes over" an entire village, spontaneous sessions may erupt on the street corners. Sessions may also take place occasionally at wakes. House sessions are not as common now as they were in the past. This can be seen in the book Peig by Peig Sayers. In the early stages of the book when Peig was young they often went to sessions at peoples houses in a practice called 'bothántiocht'.

The Irish Session (Seisun)



Get a list of area Irish Sessions here: http://thesession.org/sessions

The general session scheme is that someone starts a tune, and those who know it join in. Good session etiquette requires not playing if one does not know the tune, and waiting until a tune one knows comes along. In an "open" session, anyone who is able to play Irish music is welcome.

Most often there are more-or-less recognized session leaders; sometimes there are no leaders. At times a song will be sung or a slow air played by a single musician between sets.

The objective in a session is not to provide music for an audience of passive listeners; although the punters (non-playing attendees) often come for the express purpose of listening, the music is most of all for the musicians themselves. The session is an experience that is shared, not a performance that is bought and sold.

Learn how to play in an Irish session here: http://celticmusicacademy.com

The sessions are a key aspect of traditional music; some say it is the main sphere in which the music is formulated and innovated. Further, the sessions enable less advanced musicians to practice in a group.

Socially, sessions have often been compared to an evening of playing card games, where the conversation and camaraderie are an essential component. In many rural communities in Ireland, sessions are an integral part of community life.

Typically, the first tune is followed by another two or three tunes in a set. The art of putting together a set is hard to put into words, but the tunes must flow from one to another in terms of key and melodic structure, without being so similar as to all sound the same. The tunes of a set will usually all be of the same sort, i.e. all jigs or all reels, although on rare occasions and amongst a more skilled group of players a complementary tune of a different sort will be included, such as a slip jig amongst the jigs. Although bands sometimes arrange sets of reels and jigs together, this is uncommon in an Irish session context.

Some sets are specific to a locale, or even to a single session, whilst others, like the "Coleman set" of reels ("The Tarbolton"/"The Longford Collector"/The Sailor's Bonnet"), represent longstanding combinations that have been played together for decades. Sets are sometimes thrown together ad hoc, which sometimes works brilliantly and sometimes fails on the spot.

After the set ends, someone will usually start another.

Sessions are usually held in public houses. A pub owner might have one or two musicians paid to come regularly in order for the session to have a base. Sunday afternoons and weekday nights (especially Tuesday and Wednesday) are common times for sessions to be scheduled, on the theory that these are the least likely times for dances and concerts to be held, and therefore the times that professional musicians will be most able to show.

Sessions can be held in homes or at various public places in addition to pubs; often at a festival sessions will be got together in the beer tent or in the vendor's booth of a music-loving craftsman or dealer. When a particularly large musical event "takes over" an entire village, spontaneous sessions may erupt on the street corners. Sessions may also take place occasionally at wakes. House sessions are not as common now as they were in the past. This can be seen in the book Peig by Peig Sayers. In the early stages of the book when Peig was young they often went to sessions at peoples houses in a practice called 'bothántiocht'.

Saturday, October 4, 2014

Wednesday, March 12, 2014

What music would Saint Patrick have listened to?

Saint Patrick
From Wikipedia: "The dates of Patrick’s life cannot be fixed with certainty but, on a widespread interpretation, he was active as a missionary in Ireland during the second half of the fifth century (450-500 AD). He is generally credited with being the first bishop of Armagh, Primate of Ireland.

When he was about 16, he was captured from his home in Great Britain, and taken as a slave to Ireland, where he lived for six years before escaping and returning to his family. After becoming a cleric, he returned to northern and western Ireland. In later life, he served as an ordained bishop, but little is known about the places where he worked. By the seventh century, he had already come to be revered as the patron saint of Ireland."

Music of the Gauls

Roman writers give us some account of the character of the music of the Gauls, which differed much from the Greco-Latin songs. Roman historians make mention of the songs of the Gallic bards, who were poets and musicians as well, composing both religious hymns and songs in honor of their heroes. According to Diodorus of Sicily, the Gauls practiced the musical art long before the Christian Era, having regular schools for the instruction of the younger bards. The instrument used in accompanying their songs was a sort of lyre, judging from representations on some gold medals made in the time of Julius Caesar. Charlemagne ordered a collection of the early Gallic songs to be made, but the work has not survived.

The Celtic Bards

Breton Crouth
The Breton bards made use of an instrument the name of which is variously spelled Crouth, Crowd, Chrotta, Crwth, played with a bow, with an opening in the upper part through which the performer placed the left hand in order to press the strings, the number of which varied from three to six. The crouth of the Welsh bards differed in some respects from those that were made use of by the Breton bards. With them, however, a form of the harp became the national instrument. The early history of Celtic music in Wales in particular, is mingled with myth. We have only the names of bards, Fingal, Fergus and Ossian, no authentic music. What is of importance to us is the secular organization of the bards. One class included poets, historians and those skilled in the science of heraldry; another class comprehended musical bards, harp players bearing the title of doctors of music, players of the six stringed crouth and singers, who must have been skilled men, since nine years study was exacted of them.

Irish Harp
The traditionary bard of Ireland is Fergus, whose songs were of war and heroes. When St. Patrick introduced Christianity into Ireland in the 5th century, learning and skill in the arts of poetry and music grew to be cultivated as extensively as in more favored lands. In the Loth century, the famous musician was the King O’Brien Boru, whose harp is still shown in the Dublin Museum. This has twenty-eight strings, and the sounding board, in which there are four holes, is very large at the base. After Ireland was conquered by the English its culture declined, owing to continuous wars and internal strife.





Thursday, February 13, 2014

The Difference between Bluegrass, Old Time and Celtic bands, now finally explained! (humor)

Old Time and Celtic songs are about whiskey, food and struggle. Bluegrass songs are about God, mother and the girl who did me wrong. If the girl isn’t dead by the third verse, it ain’t Bluegrass. If everyone dies, it’s Celtic. The Bluegrass fiddler paid $10,000 for his fiddle at the Violin Shop in Nashville. The Celtic fiddler inherited his from his mothers 2nd cousin in County Clare. The Old Time fiddler got theirs for $15 at a yard sale.” ~ The National Folk Festival of Australia

The Music

Old Time and Celtic songs are about whiskey, food and struggle. Bluegrass songs are about God, mother and the girl who did me wrong. If the girl isn’t dead by the third verse, it ain’t Bluegrass. If everyone dies, it’s Celtic.

Old Time and Celtic bands have nonsense names like “Flogging Molly’, “Fruit Jar Drinkers’ and “Skillet Lickers” while Bluegrass bands have serious gender-specific name like “Bluegrass Boys,’ “Clinch Mountain Boys’ and ”Backwoods Babes.”

The most common Old Time keys are major and minor with only 5 notes (modal). Bluegrass uses these, plus Mixolydian and Dorian modes, and a Celtic band adds Lydian and Phrygian modes.
A Bluegrass band has between 1 and 3 singers who are all singing about an octave above their natural vocal range. Some Old Time and Celtic bands have no singers at all. If a Celtic band has a singer, it is usually either a bewhiskered ex-sailor, or a petite soprano. A Bluegrass band has a vocal arranger who arranges three-part harmonies. In an Old Time band, anyone who feels like it can sing or make comments during the performance.

In a Celtic band, anyone who speaks during a performance gets “the look’, and songs are preceded by a call for silence and a detailed explanation of their cultural significance. Bluegrass tunes & songs last 3 minutes. Old Time and Celtic tunes & songs can be any length, and sometimes last all night.

The Instruments

Banjo
A Celtic banjo is small and quiet. An Old Time banjo is open-backed, with an old towel (probably never washed) stuffed in the back to dampen sound. A Bluegrass banjo has bell bronze mastertone tone ring and a resonator to make it louder.

A Celtic banjo weighs 4 pounds, an Old Time banjo weighs 5 pounds, towel included and a Bluegrass banjo weighs 40 pounds. A Celtic banjo has only 4 strings. A Bluegrass banjo has five strings and needs 24 frets. An Old Time banjo needs no more than 5 frets, and some don’t need any. A Bluegrass banjo player has had spinal fusion surgery on all his vertebrae, and therefore stands very straight. If an Old Time banjo player stands, he slouches. A Celtic banjo player has a brace to relieve his carpal tunnel syndrome and remains seated to maintain stability while cross-picking as fast as possible after several pints. An Old Time banjo player can lose 3 right-hand fingers and 2 left-hand fingers in an industrial accident without affecting his performance. A Celtic banjo player flat picks everything. A Bluegrass banjo player puts jewelry on his fingertips to play. An Old Time banjo player puts super glue on his fingernails to strengthen them. Never shake hands with an Old Time banjo player while he’s fussing with his nails.

Fiddle
The Bluegrass fiddler paid $10,000 for his fiddle at the Violin Shop in Nashville. The Celtic fiddler inherited his fiddle from his mothers 2nd cousin in County Clare. The Old Time fiddler got theirs for $15 at a yard sale. Celtic and Bluegrass fiddles are tuned GDAE. An Old Time fiddle can be in a hundred different tunings. Old Time fiddlers seldom use more than two fingers of their left hand, and use tunings that maximize the number of open strings played. Celtic and Bluegrass fiddlers study 7th position fingering patterns with Isaac Stern, and take pride in never playing an open string. An Old Time fiddle player can make dogs howl & incapacitate people suffering from sciatic nerve damage. An Old Time fiddle player only uses 1/8 of his bow. The rest is just there for show.

Guitar
An Old Time guitarist knows the major chords in G and C, and owns a capo for A and D. A Bluegrass guitarist can play in E-flat without a capo. The fanciest chord an Old Time guitarist needs is an A to insert between the G and the D7 chord. A Bluegrass or Celtic guitarist needs to know C#aug+7-4. A Celtic guitarist keeps his picks in his pocket. Old Time guitarists stash extra picks under a rubber band around the top of the peg head. Bluegrass guitarists would never cover any part of the peg head that might obscure the gilded label of their $3,000 guitar.

Mandolin
It’s possible to have an Old Time or Celtic band without a mandolin. However, it is impossible to have a true Bluegrass band without one. Mandolin players spend half their time tuning their mandolin and the other half of their time playing their mandolin out of tune. Old Time and Celtic mandolin players use ”A’ model instruments (pear-shaped) by obscure makers. Bluegrass mandolin players use “F’ model Gibsons that cost $100 per decibel.

Bass
A Celtic band never has a bass, while a Bluegrass band always has a bass. An old, Old Time band doesn’t have a bass, but new time Old Time bands seem to need one for reasons that are unclear. A Bluegrass bass starts playing with the band on the first note. An Old Time bass, if present, starts sometime after the rest of the band has run through the tune once depending on the player’s blood alcohol content. A Bluegrass bass is polished and shiny. An Old Time bass is often used as yard furniture.

Other Instruments
It is not possible to have a Celtic band without a tin whistle or Bodhran(hand drum) if not several, usually too many of each. Old Time and Bluegrass bands never have either. A Bluegrass band might have a Dobro. An Old Time band might have anything that makes noise including: a tambourine, jaw harp, didgeridoo, harmonica, conga, wash tub bass, miscellaneous rattles &shakers, a 1-gallon jug (empty), or a lap (mountain) dulcimer or a hammered dulcimer. In a Celtic band, it’s the musicians that are hammered.

Instrumentation
Except for the guitar, all the instruments in a Celtic band play the melody all the time. In an Old Time band, anyone can play either melody or accompaniment at any time. In Bluegrass bands, one instrument at a time solos, and every else plays accompaniment. Bluegrass bands have carefully mapped-out choreography due to the need for solo breaks. If Old Time and Celtic band members move around, they tend to run into each other. Because of this problem (and whiskey) Old Time and Celtic often sit down when performing, while a Bluegrass band always stands. Because they’re sitting, Old Time and Celtic bands have the stamina to play the same tune for 20 minutes for a square or contra dance. The audience claps after each Bluegrass solo break. If anyone talks or claps near an Old Time or Celtic band, it confuses them, even after the tune is over.
Personalities and Stage Presence

Bluegrass band members wear uniforms, such as blue polyester suits with gray Stetson hats. Old Time bands wear jeans, sandals, work shirts and caps from seed companies. Celtic bands wear tour tee-shirts with plaid touring caps. All this head wear covers bald spots. Women in Bluegrass bands have big hair and Kevlar undergarments. Women in Old Time bands jiggle nicely under their overalls. There are no Women in Celtic bands, only Lassies with long skirts and lacy, high collars and Wenches in apple-dumplings-on-a-shelf bodices and leather mini-skirts. A Bluegrass band tells terrible jokes while tuning. An Old Time band tells terrible jokes without bothering to tune. Bluegrass band members never smile. Old Time band members will smile if you give them a drink. A Celtic band is too busy drinking to smile, tune or tell jokes. Celtic musicians eat fish and chips, Bluegrass musicians eat barbecue ribs, and Old Time musicians eat tofu and miso soup. Bluegrass musicians have mild high frequency hearing loss from standing near the banjo player. Old Time musicians have moderate high frequency hearing loss from sitting near the fiddler. Celtic musicians have advanced hearing loss from playing in small pubs with all those fiddles, banjos, tin whistles and bodhrans.

Festivals and Transportation
A Celtic band travels in an actual Greyhound bus with marginal air conditioning and then catches a ride from the bus stop to the festival any way they can. A Bluegrass band travels in an old converted Greyhound bus that idles in the parking lot all weekend with the air conditioner running full blast, fumigating the county with diesel exhaust. An Old Time band travels in a rusted-out 1965 VW microbus that blows an engine in North Nowhere, Nebraska. They don’t have an Easy-Up, and it’s pretty evident that their vehicles don’t have air conditioning. Bluegrass players stay on the bus and Celtic musicians stay at the nearest Motel 6, while Old Time musicians camp in the parking lot. The Celtic Band has their name on their instrument cases and a banner for their Easy- Up. The bluegrass band’s name and Inspirational Statement are painted on both the side and front of the bus in script lettering. Bluegrass bumper stickers are in red, white and blue and have stars and/or stripes on them. Celtic bumper stickers display fancy knotwork borders, banners, and slogans from the old country. Old Time bumper stickers don’t make any sense (e.g. “Gid is My Co-Pilot’ )

SOURCES
The National Folk Festival of Australia
www.education.folkfestival.org.au

Hudson Valley Bluegrass Association
www.hvbluegrass.org

Pete’s Place
www.bluegrasswest.com

Peter Feldmann
www.bluegrasswest.com/author

Friday, February 7, 2014

The Return of Clannad


By Lahri Bond

Clannad - Nádúr - Arc Music Productions (2013)

Nádúr (pronounced Ned-dur) is the Gaelic word for nature. It is also the name of the new Clannad CD, their first studio recording in fifteen years, and the first album with their full original line-up since 1989. So what does it sound like? Well, Clannad, really, but which Clannad­? They started out in 1970 as a folk band, with slight jazz inclinations, sort of an Irish Pentangle, if you will. Clannad have always been a family band composed of siblings Moya Brennan (Máire Ní Bhraonáin), Ciarán Brennan (Ciarán Ó Braonáin), Pól Brennan (Pól Ó Braonáin), and their twin uncles Noel Duggan (Noel Ó Dúgáin) and Pádraig Duggan (Pádraig Ó Dúgáin). With this line-up they produced a smattering of excellent albums, including the superb Dúlamán (1976). They toured extensively, while establishing themselves as one of the core bands of the 70s Irish music revival, along with The Bothy Band, Planxty, and DeDannan. In 1980 they added their younger sister Eithne Ní Bhraonáin and recorded two fine albums, Crann Úll, and Fuaim (1982), which embraced the addition of electronics, before Eithne shortened her name to the singular and iconic Enya, and took the world by storm with several albums of lovely but light ambient mood music. Magical Ring was released in 1983 and contained a major hit single (in Britain and Europe) in the moody “Theme from Harry’s Game.” It also signaled the first use of excessive reverb on Moya Brennan’s naturally enchanting voice, giving it a breathy, otherworldly feel, and establishing what was to become their trademark “sound.”

In 1984 they reached an even wider audience with Legend, their soundtrack to the BBC series Robin of Sherwood. By the time they released Macalla in 1985, they had morphed into a major pop band with guests like Mel Collins (King Crimson) and Bono (U2) clamoring to play with them.  Several more albums, compilations, and soundtracks followed, and guests as diverse (or perhaps as divergent) as Bruce Hornsby, Steve Perry and J.D. Souther took them farther away from their folk roots. In 1990 Pól Brennan left the band to pursue a solo career, as well as be part of the international trio Trísan. They continued in the 90’s with a handful of nice, but predictable CDs, while Moya Brennan began making solo albums, which echoed Clannad’s lush approach. In 1997 the band decided to officially “take a break,” while Moya continued her solo career. Projects such as her collaboration with Irish singing legends Mairéad Ní Mhaonaigh (Altan), Tríona Ní Dhomhnaill (The Bothy Band/Relativity), and Maighread Ní Dhomhnaill (Coolfin/Donal Lunny) in the super-group T with the Maggies, and her two CDs of Irish harp music with Cormac de Barra has brought her back to her roots.

Some fifteen (and counting), compilation and “best of” Clannad albums attempted to fill  the void in the new millennium, until the five original members appeared on stage together at the Celtic Connections Festival in Glasgow in January 2007. Since then, two live albums have been released, and the band has toured (mostly Europe) intermittently. This brings us to Nádúr, released in Britain in 2013, and America in early 2014. The opening strains of the Gaelic sung “Vellum,” a song about The Book of Kells, demonstrates that Clannad is, indeed, back in fine form. The track sounds like something that could have been on the Magical Ring album, but thankfully with more focus on vocal harmonies rather than studio gimmickry. “Rhapsody na gCrann,” is more aligned with the breezy folk sound of Clannad 2, while “TransAtlantic” the English language song of immigration includes lyrics by noted Irish author Colum McCann based on his Booker Prize nominated novel of the same name. “Turas Dhomsa Chon na Galldachd is a traditional Irish song, sung chant-style, like on their earlier albums, and “Brave Enough” is a powerful duet with the quirky Northern Irish musician Duke Special, and has been released as a single. “Fishing Blues” is perhaps the most surprising song for modern Clannad fans. It is an 60s-style protest song, complete with acoustic guitars, upright bass, wailing harmonica and Moya’s impassioned vocals. A companion song “A Quiet Town” also laments the demise of the fishing trade and it’s affect on Ireland’s economy, people and culture.

Best of all is the welcomed return of Moya’s subtle harp playing  and Pol’s lovely whistle on the instrumental “Lámh ar Lámh,” while the Gaelic-sung “Tobair an tSaoil”  shows that the band can still rock. “A Song In Your Heart” is one of  several songs Moya has penned with her daughter Aisling Jarvis, who is also an accomplished singer and songwriter. “Hymn (To Her Love)” is a heartbreakingly beautiful lament for the earth, penned by Ciarán Brennan, while Pádraig Duggan wrote the atmospheric “Setanta”. The album closes with the incandescent “Citi na gCumann,” where Moya’s voice is particularly expressive and bewitching.

Nádúr is not only the welcomed return of the band Clannad, but the return to the more traditional sound, which has always served them best. You can purchase the album, watch videos and find out more about their North American tour, at www.clannad.ie.

Wednesday, February 5, 2014

Celtic Immigrants in the US Civil War


by Jed Marum

In my music travels I often arrange visits with Celtic/Folk radio shows, typically in support of new albums or music projects. I enjoy visiting with the radio hosts around the country and talking about the music on-air, playing new or unreleased songs and promoting events that I am playing in the area. Frankly the visits help sell my recordings – and I love it when that happens!

It was on one such visit to a popular NPR program when the host welcomed me to her audience saying, “Today’s guest is Jed Marum who specializes in those stories of the Irish and Scottish immigrants who fought in the American Civil War.” I was a bit surprised by her characterization of my music and I started framing an objection, along the lines of “Oh, it’s just a passing interest …” when I realized that interest had been passing for over a decade! I had always thought of myself as a lover of the Celtic ballads, tunes, pub and folk songs – and as a performer of the music I loved, but I did have to recognize that I had begun to develop a specialty into the subject of the Irish who fought the Civil War – and the musical expression of that subject, through the songs THEY sang and the stories ABOUT them, that I chose to write.

Well all of this is by way of long introduction to an update on my most recent film project, THE ROAD TO VALHALLA. I am so proud to be a part of this wonderful documentary film, and you won’t be surprised to hear it’s about the American Civil War. I produced the soundtrack for the film and wrote a number of songs for it as well. Working with some wonderful musical guests on the recordings, the core of the soundtrack is quite Celtic in style. Cowboy/Country music legend, Michael Martin Murphey worked with us on two tracks. Murph has a similar interest to mine, in his Irish heritage and the impact of Irish songs on American music and indeed he has produced a well researched show and album on the Irish Cowboys.

I recorded some of the movie’s spiritual and brass band pieces with faculty and students from Northfield School of the Liberal Arts (Wichita KS) and I worked with two very fine, seasoned pros from Kansas named, Rob Loren (fiddle) and Ranger Stan Greer (mandolin). In Dallas I worked with David Lovrien and Linda Relph on whistle and fiddle respectively – and they made a significant contribution to the soundtrack. And finally, I worked closely for months with my friend and audio engineer Travis Ener on the project at his studio, Rockin’ T Audio Ranch in Princeton TX.

THE ROAD TO VALHALLA is making a series of showings around the country right now, and will play on PBS later in 2014. I’ve attached below a press-release from the folks at Lone Chimney Films about THE ROAD TO VALHALLA and one of its showings. If you’re in or near Wichita KS – please make the effort to be there! But more importantly, the press-release says more about the film than I can say as eloquently – and I want my Celtic Music Magazine readers know all about this film – and its Celtic music!!

Let me know if ya have questions and watch Youtube, FaceBook or this blog for more updates. There are discussions about a movie soundtrack album – and I’ll come back here with news about that when details are sorted out – but a good deal of the film’s music is included in my most recent album THE SOUTH WIND.

PS: You’ll recognize The Minstrel Boy, Tramps and Hawkers, Amazing Grace and other Celtic melodies that feature prominently in the sound track. More importantly, you’ll hear the Celtic melodic and rhythmic styles throughout on traditional instruments – especially fiddle and whistle.

View the Movie Trailer at Youtube – THE ROAD TO VALHALLA

FOR IMMEDIATE RELEASE
December 10, 2013
The Road to Valhalla premieres at the Wichita Orpheum Theater, Wichita, KS
Saturday, January 11 at 7 pm, doors open at 6 pm.

Lone Chimney Films’ third full length documentary is scheduled to premiere on Saturday, January 11 at 7 pm at the historic Wichita Orpheum Theater, Wichita, KS.

The 90 minute documentary tells the story of the Kansas-Missouri border during the American Civil War. The film uses historic photographs, interviews and reenactment footage to tell the tale that covers everything from large battles to guerilla actions and the effect that the war had on the civilian population.

The film is narrated by the legendary character actor Buck Taylor, who starred in Gunsmoke, Tombstone, Gettysburg and more recently Cowboys and Aliens. Various members of the cast and crew will be at the premiere.

The film is directed by Ken Spurgeon and utilizes the talents of nearly 200 volunteers, reenactors and educators.

The Road to Valhalla is the third documentary by Lone Chimney Films, following Touched by Fire: Bleeding Kansas and Bloody Dawn: The Lawrence Massacre.

The Road to Valhalla was made possible by the donations and support of the Kansas Humanities Council, the Prairie Rose Chuckwagon, Northfield School of Liberal Arts, Hephner TV, Strategic Financial Concepts, Inc., Old Cowtown Museum, Phil and Becky Elder, Jim and Bev Mershon, Jim Graf and Greg and J.W. Johnston

Lone Chimney Films, Inc. is a 501c3 not for profit educational documentary company based out of Kansas.

For more information, please contact Ke

Tuesday, February 4, 2014

Irish "Warpipes" - Bagpipes

Irish Tunes for the Warpipes, 1911
by William Walsh

The mouth-blown bagpipes, commonly called the ‘warpipes’ in Ireland, have been played here since medieval times, and were the instrument which often led Irish forces into battle.

With the introduction of more modern methods of warfare in the seventeenth century, they lost their military function, and were played only to accompany such recreational activities as dancing, parading, and leading sports teams onto the field of play. By the eighteenth century, their position had largely been usurped by the quieter bellows-blown uilleann pipes, which were usually played indoors. But there was still a social need for a loud outdoor bagpipe for certain public occasions, and the Irish warpipes never quite disappeared. They enjoyed a revival in Ireland in the later nineteenth century, under the influence of the bands of Scottish regiments of the British Army stationed in Ireland. The warpipes continue to be played in Ireland as a solo and as a band instrument, and most commonly in the context of competitions.

Nationally minded Irish warpipers incorporated native tunes in their repertories from the time of the revival, often adapting them from other instruments and existing publications. After 1900, as the revival progressed, printed collections of these warpipe melodies began to be published. Among the earliest and most influential was the 1911 collection Irish Tunes for the Scottish and Irish War-Pipes, compiled by William Walsh and arranged and published in Edinburgh by David Glen, the original printing of which is presented below.

William Walsh, a flute player and dancer as well as a warpiper, and an Irish speaker, was born in 1859 in Oughterard, Co Galway, and was brought to America as a child. Settled in Chicago, he was attracted to the sound of the warpipes, and sought out the company of Scottish players there. He joined the police force in the city in 1891, and was a friend of the music collector Francis O’Neill who was prominent in the force. Walsh was self-taught in music and learned from notation in preference to ear, and his collection of Irish and Scottish tunes for the instrument was in manuscript by 1909. David Glen (b. 1850), one of a prominent family of musical instrument makers and music publishers which had been in business in Edinburgh since the 1820s, added characteristic grace notes to Walsh’s notations. The collection was later reprinted by Glen in a 2/6 edition, and reprinted by Mozart Allan in Glasgow in 1951.

http://www.itma.ie/digitallibrary/book/irish-tunes-for-the-scottish-and-irish-war-pipes-compiled-by-william-walsh

Monday, November 12, 2012

Tenor Banjo: A Little History

Banjo: from the Portugese "bandore", and Spanish "bandurria"

Since they were part of slave trade, musicologists see early banjo-like instruments made of gourds primarily as early as the 17th century.

The first white man to popularize the banjo was "Sweeney" in 1830.

Tenor banjos became popular in Irish music in 1962 with the Dubliners re-tuning the instrument in from a C,G,D,A tuning (like a viola, cello), to a G,D,A,E tuning (like a violin) for ease of playing by fiddlers.

Tenor banjos were also used in the early 1900s in New Orleans Jazz Bands and later Dixieland bands for their volume and chordal capabilities.

Today, tenor banjos are still quite popular in Irish music and you won't see a seisun without one!

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