I’m a big fan of Laurel Swift here are some videos explaining accompaniment and variation in folk music and a link to her website HOME – Laurel Swift I don’t play fiddle but the interesting thing is that the ideas and techniques she uses are transferable to almost any instrument.

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Follow the link Without Limits or Lyrics: The Human Voice as Instrument | Bandcamp Daily

Terje Isungset is one of Europe’s most accomplished and innovative percussionists. With over two decades experience in jazz and Scandinavian music he is taking these types of music far beyond their traditional boundaries, becoming more like a cross between a sound artist and a shaman. Crafting his own instruments from Norwegian natural elements such as arctic birch, granite, slate, sheep bells and even ice, he is highly recommended to those sensible to the poetry and simplicity of sounds. “Timbres” and “colours” are central in Terje Isungsets music and compositions. In the press, his work has often been described as innovative, visual, energetic, and different from any previously known concepts. Isungset has also been commissioned to compose music for Jazz Festivals, Dance Performances, Theatre, Film, etc. (40 commissed concerts) His composition efforts have also brought nine critically acclaimed solo CD`s.

Find out more here Terje Isungset | Musician & composer

To see what is possible and the fluidity of incredible trompette work watch from 2.45 rotary play of the hand combined with a long crank … very interesting!

Genevieve Murphy

Written specifically for The Old Fruitmarket, Genevieve Murphy’s new work is inspired by how fear can materialise through not understanding someone or something. Fellow Scot and 2016 BBC Radio 2 Young Folk Award-Winner Brighde Chaimbeul features in this World Premiere on pipes and is joined by brass, woodwind and percussion from the BBC Scottish Symphony Orchestra.

Premiered on 4th May 2019 at Old Fruitmarket, Glasgow, during Tectonics Festival.

Commissioned by the BBC, performed by BBC Symphony Orchestra, Brighde Chaimbeul and Genevieve Murphy.

Using colour to convey musical pitches – Part 1 – APC – Learning Living Pibroch (altpibroch.com)

Canntaireachd (pronounced [ˈkʰãũn̪ˠt̪ɛɾʲəxk]; Scottish Gaelic for ‘chanting’) is the ancient Scottish Highland method of notating Piobaireachd, also spelt Pibroch, referred to more generally as Ceòl Mòr (literally the “big music”), an art music genre primarily played on the Great Highland bagpipe. These long and complex theme and variation tunes were traditionally transmitted orally by a combination of definite vocable syllables. In general, the vowels represent the notes, and consonants the grace notes, but this is not always the case, as the system has inconsistencies and was not fully standardized.

Pipers have used musical staff notation to read and write pibroch tunes since the early nineteenth century. Many of the early staff notated scores for modern pibroch published by Angus MacKay and authorised by the Piobaireachd Society are now considered by scholars to have been oversimplified, with standardisations of time signatures and editing out of ornamental complexities, when tunes are compared with versions in earlier manuscripts such as the Campbell Canntaireachd. The practice of canntaireachd singing remains the preferred means for many pipers to convey the musicality and pacing of pibroch performance when teaching or rehearsing a tune.

Canntaireachd was first written down at the end of the 18th century in the Campbell Canntaireachd by Colin Campbell of Nether Lorn, Argyll. While his vocable system had its origins in chanted notation, the Campbell Canntaireachd is now considered to have been intended as a written documentation of the music, to be read rather than sung. Nevertheless, Cambell’s Nether Lorn Canntaireachd was adopted by the Piobaireachd Society in their publications and has become the most commonly used vocable system. Another related system of Canntaireachd was published by Niel McLeod of Gesto, reputedly taken down from the chanted singing of John MacCrimmon, one of the last practicing members of that esteemed piping family. The MacArthur family of pipers are reported to have had their own oral form of Canntaireachd system that was not documented. A further variety of Canntaireachd and distinct collection of pibroch tunes was sourced from Simon Fraser, whose family emigrated to Melbourne in the 19th century. It is assumed that different lineages of pipers developed distinct forms of Canntaireachd that were variations on a broadly similar system of sung vocable notation. This informal oral variation continues today in the practices of experienced piping musicians and teachers.

William Donaldson, in The Highland Pipe and Scottish Society 1750-1950 states:

In its written form, canntaireachd provided the basis of the indigenous notational system and it was brought to its most developed form by Colin Mòr Campbell of Nether Lorn in Argyll, at the end of the 18th and the beginning of the 19th Century. Although Campbell’s work was almost immediately superseded by a form of staff notation adapted specifically for the pipe, and remained unpublished and unrecognised until well into the 20th Century, it remains an important achievement and gives valuable insight into the musical organisation of Ceòl Mòr

Cantarrach – Gaelic tradition – Bing video

Old school prep for tomorrow’s session with Ruben – seriously though this is old but brilliant!