You’ve dedicated years to the hurdy-gurdy, mastered its intricacies, and carved out your own musical voice. Your trompette sings, your melodies flow, and you command the instrument with confidence. But even for the most accomplished musician, the journey of artistic growth is perpetual. Where do you find fresh inspiration, deeper conceptual understanding, or the subtle insights that can elevate your art even further?
For seasoned players seeking to explore the nuanced philosophies and diverse approaches within the global hurdy-gurdy community, “The Secret Life of the Hurdy-Gurdy: Field Notes On Playing” by Quentin Budworth offers a compelling new resource.
Beyond Technique: A Dialogue with Masters
This book transcends basic instruction. It is a collection of “distilled knowledge, reflections and insights from hurdy-gurdy players engaged with diverse traditions and contemporary practices.” For the advanced player, this translates into a unique opportunity to engage with the minds of peers and established masters.
With a different player featured in each chapter, you’ll gain access to high-level discussions and perspectives on:
Artistic Musicality: Exploring the philosophical underpinnings of interpretation, expression, and stylistic innovation.
Refined & Innovative Technique: Delving into the subtleties and perhaps unconventional approaches that define expert playing.
Applied Theory & Composition: Understanding how leading players integrate theoretical knowledge into their unique musical creations and arrangements.
The Art of Practice & Pedagogy: Gaining insights into the practice methodologies of highly skilled musicians and diverse teaching philosophies, invaluable for both personal development and for those who teach.
Performance as Artistry: Perspectives on stagecraft, audience engagement, and the conceptualisation of performance.
The Hurdy-Gurdy in Contemporary Contexts: Exploring the instrument’s evolving role across genres and its place in modern artistic expression.
The book explicitly aims to “delight, enthuse, enlighten and inspire even the most experienced hurdy-gurdy player,” suggesting a depth that will resonate with those already proficient. It’s an invitation to “stand on the shoulders of giants” and engage with the rich tapestry of thought that defines the instrument at its highest levels.
An Unparalleled Gathering of Expertise
This is where “The Secret Life of the Hurdy-Gurdy” truly shines for the advanced player. It’s an opportunity to engage with the minds of your peers and mentors. The book features writing and interviews with over 30 highly respected international players, including names you’ll undoubtedly recognize: Bruno Andersen, Patrick Bouffard, Nicolas Boulerice, Quentin Budworth, Gilles Chabenat, Germán Díaz, Oscar Fernandez, Matthias Loibner, Michalina Malisz, Isabelle Pignol, Benoît Roblin, Steve Tyler, Pablo Caamiña Ursusson, Mary Vanhoozer, and many more. This lineup promises a rich and varied exploration of the instrument.
Insights from Fellow Professionals & Enthusiasts:
Early feedback highlights the book’s depth:
‘Hi, I just wanted to say thank you for the excellent book. It was really interesting to read about the philosophy and approach to playing the gurdy of such a variety of musicians, and it inspired me to play my gurdy, which is never a bad thing!’ – Wolfie Fiddler
‘It’s an excellent book. I learn something new from every chapter!’ – Kevin Holland, multi-instrumentalist. (A sentiment many advanced players will appreciate!)
‘There’s an immense amount of work there and it’s a credit to you. Thanks also for the occasional name check!’ – Neil Brook, Luthier. (Recognition from a respected maker.)
‘A fascinating read. Not only for hurdy-gurdy players and other musicians, but with insights from 32 leading players from around the world, for anyone who likes people’s stories. Recommended! Nice one Q!’ – Lou Dufy-Howard
Acquire This Unique Collection & Support Independent Artistry
“The Secret Life of the Hurdy-Gurdy” (ISBN: 978-1-0684248-0-9) is a substantial 245-page paperback.
Price: UK £24.99 + £5.)) P&P
Official Launch Date: May 1st, 2025
Access it Now: Pre-launch copies are currently available directly from the author, Quentin Budworth.
Why order direct?
Ensure the author receives a fair share of the proceeds (as opposed to Amazon’s significant cut).
Enable Quentin to maintain a direct connection with his readership for future projects.
A small, satisfying act of supporting independent creators (and, as Quentin notes, “give a billionaire, Jeff Bezos, a little kick in the shin!”).
Your preferred payment method (PayPal or Direct Bank Transfer) He will then provide payment details.
For the advanced hurdy-gurdy player seeking not just information, but inspiration, intellectual stimulation, and a deeper connection to the global community of dedicated artists, “The Secret Life of the Hurdy-Gurdy” promises to be an invaluable and thought-provoking addition to your library.
So, you’ve just picked up (or are dreaming of picking up) the magical, mysterious hurdy-gurdy. Congratulations! It’s an incredible instrument, but let’s be honest, it can also feel a bit daunting at first. Where do you start? How do you make that beautiful buzzing sound consistently? What are the “secrets” to really making it sing?
If you’re nodding along, then you’ll be excited to hear about a new resource that sounds like it was tailor-made to help you on your journey: “The Secret Life of the Hurdy-Gurdy: Field Notes On Playing” by Quentin Budworth.
Why This Book is a Goldmine for Newbies
Imagine having access to the distilled knowledge, reflections, and insights from a whole host of experienced hurdy-gurdy players – folks who have navigated diverse traditions and modern styles. That’s exactly what this book offers.
Instead of just one person’s perspective, “The Secret Life of the Hurdy-Gurdy” features a different player in each chapter. These musicians share their wisdom on crucial topics for anyone starting out, including:
Musicality: Moving beyond just notes to making real music.
Playing Technique: The nitty-gritty of how to physically play the instrument.
Theory: Understanding the “why” behind the music.
Practice: How to make your practice time effective.
Pedagogy: Insights into how the instrument is taught and learned.
Performance: Tips for when you’re ready to share your music.
Social Context: Understanding the hurdy-gurdy’s place in music and culture.
The book promises to “delight, enthuse, enlighten and inspire,” and importantly, help you “become a much better hurdy-gurdy player and musician.” As the description wisely says, “The wheel is infinite and life is short. Take time to stand on the shoulders of giants and enter the secret world of the hurdy-gurdy.” For a new player, this means potentially skipping years of trial-and-error by learning directly from the pros!
Who Are These “Giants”?
The lineup of contributors is seriously impressive, featuring writing and interviews with over 30 leading players from around the world. This includes names like Bruno Andersen, Patrick Bouffard, Gilles Chabenat, Germán Díaz, Matthias Loibner, Michalina Malisz, Isabelle Pignol, Steve Tyler, and many, many more. You’re getting a panoramic view of hurdy-gurdy wisdom!
What Early Readers Are Saying:
Don’t just take our word for it. Here’s what some early readers have said:
‘Hi, I just wanted to say thank you for the excellent book. It was really interesting to read about the philosophy and approach to playing the gurdy of such a variety of musicians, and it inspired me to play my gurdy, which is never a bad thing!’ – Wolfie Fiddler
‘It’s an excellent book. I learn something new from every chapter!’ – Kevin Holland, multi-instrumentalist.
‘A fascinating read. Not only for hurdy-gurdy players and other musicians, but with insights from 32 leading players from around the world, for anyone who likes people’s stories. Recommended! Nice one Q!’ – Lou Dufy-Howard
Get Your Copy & Support the Author!
“The Secret Life of the Hurdy-Gurdy” (ISBN: 978-1-0684248-0-9) is a paperback with 245 pages of gurdy goodness.
Price: UK £24.99 / US $35.00 / EU €35.00 / AUS $45.00 / CAN $45.00
Official Launch Date: May 1st, 2025
Good News! Pre-launch copies are available RIGHT NOW directly from the author, Quentin Budworth.
Why order direct?
You increase the royalty paid to the author (and reduce Amazon’s cut).
You help Quentin build a database of readers for future publications.
And, as Quentin cheekily puts it, you “give a billionaire, Jeff Bezos, a little kick in the shin!”
Your preferred payment method (PayPal or Direct Bank Transfer) He will then forward you the payment details.
Starting a new instrument is an adventure. “The Secret Life of the Hurdy-Gurdy” sounds like an invaluable map and compass to help you navigate the exciting world of this unique instrument and accelerate your progress. Happy cranking!
New to the Hurdy-Gurdy? This Book Could Be Your Secret Weapon!
Throughout this autumn I have been working on the Disconnect-Reconnect Show developing ideas and researching approaches to the project. From Nov 1st to 7th I was on a residency at Cecil Sharp House on a residency to develop my ideas further.
1. What did you use the bursary funding for?
I used the bursary funding to develop, refine, research and explore ideas for my new solo show Disconnect/Reconnect. I’ve been researching and developing a cross genre show in which story-telling, theatre and music are combined with new writing, digital media to create a unique folk gig that weaves immersive storytelling with live music inspired by music from the pan European and England’s traditional music repertoires using contemporary approaches to create a show that has broad popular appeal. In financial terms I used the bursary to pay my expenses and wages whilst I worked on developing the Disconnect/Reconnect project at home and at Cecil Sharp House in London. I’ve invested some of the money on joining the Monday Singers at EFDSS to develop my singing.
2. Would you have been able to do this work if you did not have the bursary?
There is no way I would have been able to dedicate the concentrated effort, thought and experimentation on this project if the bursary had not been awarded.
As a full-time musician and artist my income is really quite low compared to the average wage so opportunities to travel and spend time in London researching ideas, new musical and performance concepts are relatively rare as the cost of accommodation, travel to from and around London are prohibitive.
Being on residency gave me a strong credible platform to conduct crowd-based research via social media. The ability to ask pertinent and impertinent questions yielded some great new ideas whilst confirming and challenging some deeply held personal beliefs.
The residency enabled me to broker relationships with potential participants for the project both in the UK, Europe and America.
Being able to discuss the ideas in the project with Nick and Malcolm in the library and their miraculous ability to pull out fascinating resources that moved my thinking along was a joy.
I think one of the reasons I wanted to come to London was to meet and have conversations with staff at Cecil Sharp House to develop the ideas in the show. However remote working due to the coronavirus made this impossible. It would have been inspiring to have heard some stories about previous residencies and work developed as a result of them.
I used some of the money to pay for the EFDSS Monday Singers sessions with Emily Portman. This has been great fun and a tremendous learning experience, challenging me consistently to develop my skills as a singer and develop and learn new repertory. Work I will continue to focus on over the next year as the show develops.
One of the intangible but valuable benefits of the residency is that I feel much more confident about the project and my own abilities as an artist and validated by the Alan James Creative Bursary Award as a musician. I know previous awardees have gone on to create wonderful things based on their research and I hope Disconnect-Reconnect will have a similar impact.
3. What future plans do you have to use and/or develop the work created?
I’ll be developing the work into a show and album that I hope to tour in autumn 2022
I’ll be working with my musical collaborators closely to develop and refine their musical contributions to the show.
I’ll be writing more new tunes that respond to and develop the tunes shared with me.
I’ll be looking for additional funding to produce, rehearse and tour the show using Arts Council Project Funding Awards.
Using the insights, I gained on residency I will be developing the show further and challenging myself in new ways as a performer. By developing singing skills, mouth music skills and foot percussion skills.
I’ll be actively seeking out and developing my skills as a story-teller and raconteur. I’m hoping to spend some time with Taffy Thomas.
4. Any other things you would like to say or like us to know?
The show I’ve been working on whilst I’ve been here at Cecil sharp house is a solo show called ‘Disconnect-Reconnect’. It’s about how music allows us to cross borders without inhibition and connect people even when we’re really isolated. Underlying that it’s about creating and listening to music as a shared social experience.
The show involves storytelling digital media and of course tunes on the hurdy gurdy. It’s designed to be a lot of fun with plenty of laughs and heart. There will be guest appearance by a number of musicians via video so that I can take all my friends on tour with me and navigate and share my musical world in an augmented concert experience using projections.
One thing that’s been particularly interesting while I’ve been here on residency, and caused me a lot of fascination is the archive resources and the library, which are just tremendous. I’d like to say a big thank you to Nick and Malcolm for finding and searching out some really great materials. Of particular interest are the photos from the pre-war international folk dance and song festival held in 1935 a few years before the start of the second world war which give us an extraordinary glimpse into another world whilst provoking deeper questions around national Identity and state.
The images from the 1935 Festival are a delight and I’m sure I will find a way of incorporating them into the final show.
Special thanks to Nick for introducing me to some new ways of thinking and understandings in this area.
I’ve also been using my time during the residency to engage in discussions with other musicians and artists around the country and indeed across Europe to find out what their feelings are on things like Brexit, the impact of COVID and the social nature and intangible benefits of playing music together and for audiences that go beyond the simple metric of ticket sales. I’ve been looking at like the spiritual emotional, and social dimension of making music together. So that’s been really interesting.
Here are some of the questions I asked on social media: 1.
It’s day one of my Alan James Creative Artist residency at Cecil Sharp House and I’m starting with a question to musicians in the UK. In one word (or more) describe your feelings about Brexit.
2.
It’s day two of my Alan James Creative Artist residency at Cecil Sharp House and I have another question to musicians in the UK.
‘Brexit has proved to be hugely divisive. What can we as musicians do to build bridges with Europe and re-establish cohesion within our own society?’
3.
It’s day three of my Alan James Creative Artist residency at Cecil Sharp House and I have another question to musicians in the UK.
‘The impact of the Covid pandemic and Brexit has been tremendously isolating for us all, what stories do you have of overcoming isolation and creating connection with other musicians and audiences during these challenging times?’
4.
It’s day four of my Alan James Creative Artist residency at Cecil Sharp House and I have another question to musicians in the UK.
‘What does the new normal look and sound like for you as a musician? What has changed, what has stayed the same, what is better, what is worse?’
5.
It’s day five of my Alan James Creative Artist residency at Cecil Sharp House and I have another question to musicians in the UK.
‘Playing together has a spiritual, social and emotional value beyond the economic drivers of ticket and album sales. How do you use music connect to others and what are the ‘intangible’ benefits you find in the act of making and sharing music?’
Participants took part in the discussions in quite large numbers and the answers given were thoughtful, funny and had heart-warming qualities I’d like to bring to the show. The answers to question five were particular insightful moving beyond anger to hope a central theme of the Disconnect-Reconnect show.
Here are some of them:
Music played with others, is a form of Esperanto; a second language, whereby you might communicate with others, where you may not have a common tongue. Chris Tandy
It’s non-verbal communication. That’s a pretty amazing thing. I can’t put a specific value on it, but I know my live would be very dull without it. Jane Bird
I met a very high proportion of my friends through music, some of which I’ve never physically met, but music provides a real connection between us. Making music with others ranks as one of the greatest pleasures in my life, it’s been like that since I started making music 58 years ago.
Plus, another of life’s greatest pleasures is seeing the emotions that you can bring out in the audience – happy, sad, remembering. Music has the power to make connections in so many ways.
For example, years ago I was busking in York City Centre. I was playing Whistling Rufus on my melodeon, when an elderly lady stopped, listened, and started crying. When I finished the tune, she came over, grasped my hands, and thanked me. It had been her late husband’s favorite tune. Remembering that musical moment still moves me Kevin Holland
I am just heading out for a week-long Pagan retreat where we will connect with each other through instrumental music, chant, song, mantras, drumming etc. I could go on for pages and pages as music is integral to our Ritual and social interaction and is and social interaction and is also woven through our everyday interactions. It encompasses both solitary and group spiritual practices. And is used in many other ways that I am not sure I should share here. Blessings. David Manley
The above, yes, especially Chris Tandy’s comment at the top. Playing for people to dance, whether or not we have many words in common, can be a deep, almost spiritual experience. Playing in public when a tiny toddler starts dancing along, and watchers share the joy is pretty good, too. Richard York
Where playing with others becomes a communication of harmony, counter melody it’s an amazing level of communication. To know where they might go with the impro. It forms a relationship. Watching dancers physically respond to that key or tempo change is pretty amazing too. Janet Worrell
Worked abroad for four years and could settle, make friends and absorb local culture because I found local musicians playing local music, who shared music with me. Also met other folk musicians who were travelling and shared music. Wouldn’t have been happy without music then – might not have been able to cope. Jo Drew
Part of my work has involved liaising, gathering in and playing along to the videos from my fellow musicians and projecting them and then working out and researching the logistics for how to back project and projection map elements of the show. As this will make for a much more interesting live experience for the audience.
One of the unexpected consequences of the residency is that something of the spirit of Cecil Sharp house has influenced my thinking and allowed me to take my ideas forward and provide really stimulating areas for further research. Being able to embark on one line of inquiry in the library, and then come across something else that’s really quite fascinating and takes you off on another tangent has been excellent.
So, it is the library I have to thank for developing my interest and being able to satisfy my curiosity about Puirt-a-Beul music, and mouth music making in England for dancing. Listening to the wax cylinder and field recordings at the listening post in the library was a direct window onto another world and something I will treasure for a very long time.
There is an element of my research that is definitely going into the show, which is the seated step dancing whilst doing mouth music whilst playing the rhythm with your feet. Having read the description in one of the journals about this it’s just I have to do this this is really good useful inspiring knowledge.
One of the joys of being at Cecil sharp house on residency has been have access to these wonderful rehearsal rooms, and to just be able to sit in them and play and to think and to reflect and to develop ideas, having the space and the time set aside to just do this one thing without the distractions of normal life has been lovely. One of the unexpected outcomes of this is that I’ve written a couple of tunes for the project. I really wouldn’t have gotten around to doing had it not being a residency so that half hour 45 minutes in the morning, just practising warming up and playing around with ideas, has had some really lovely outcomes.
As an artist, it’s a rare privilege to be given the opportunity to have a residency to develop new creative ideas and I’d like to say a really big thank you to Cecil Sharp House the EFDSS and to the Alan James Creative Bursary fund for allowing me the opportunity to explore and develop new ideas and create new work. It’s been fantastic.
Sitting and writing the evaluation and having a chance to reflect on the residency has been a particularly useful exercise as it has allowed me to draw together many of the learnings, reflections and most importantly the key next steps for the project.
It’s a big heartfelt thank you from me.
Quentin Budworth Musician and Artist.
Meet Quentin Budworth, a musician living on Skye He is a multi-instrumentalist, a highly skilled performer and composer, specialising in the hurdy-gurdy.
Quentin Budworth Musician 