Trad music is very difficult, if not impossible to notate as played. For example, changes in bow pressure, subtleties of phrasing, ornaments, etc. There is standard notation for bow direction, but it’s rarely used for folk music. As with any style of contemporary folk music, and with early classical music, the written sources are nothing more than a rough indication of what actually gets played.

Ear LEARNING makes you a better player. Every player approaches a tune differently, and each repetition of the tune should aim to be unique. Learning by ear helps you become more attuned to these differences, and makes your own playing more varied and interesting. When you learn a tune by ear, the tune seems to enter a different part of your brain―the part that’s directly connected to sound and music.  Though reading music is a very useful skill, when you stare at a piece of paper while you play you’re taxing your brain, making it do visual processing, instead of aural processing. For some people the visual processing makes it almost impossible for them to do some or all of the following: listen to what you are playing, to listen to what others are playing,  pay attention to how you are handling your instrument, be cognizant of your body, draw the rhythm into your body.  When you play your eyes should be used to make contact other musicians or the audience. Staring at the dots on the page makes you oblivious to what is going on around you — just like walking and texting, or worse driving  and texting.

Source: Learning by Ear | Slowplayers.org

Slowplayers.org: A Brief HistoryHello slowplayers past and present!  The original and continuing goal of slowplayers.org is to help you learn to play Irish Traditional Music — which includes traditional music with roots in Ireland, Scotland, Wales, the Isle of Skye, the Inner and Outer Hebrides, Orkney, the Shetland Islands, Wales, Cornwall, Northumberland, the Isle of Man, Brittany, Galicia and Asturias, as well as music of the diasporas: Canada (Cape Breton, Newfoundland, Vancouver Island), Australia (including Tasmania), and New Zealand.

Source: About this website | Slowplayers.org

Whistle Fingering Chart

Red = Key of whistle being played (for example, the first line shows the D major scale played on a „D” whistle)
Blue = Note that is not actually a part of the Major scale for that whistle, but is used quite often
Grey = „Secondary key” (for example, a „D” whistle will also play easily in the key of „G major”)
Purple = „Minor Key” (for example a „D” whistle will also play easily in the key of „E minor”)

The upper octave of each whistle is fingered the same as the lower octave
An alternate fingering may be needed for the note shown in Blue when playing it in the upper octave (try oxo xxx, or something similar)

©www.thewhistleshop.com

Source: Whistle Fingering Chart

Puby w Szkocji są jak domy kultury do których nie wpuszcza się nieletnich. Część pubów to miejsca celebrowania rozgrywek piłkarskich a część, to miejsca spotkań, śpiewu i muzykowania na nie tylko tradycyjnych instrumentach ale zawsze tradycyjnej muzyki.

Moje wizyty w Szkocji to w ciągu dnia podziwiane materialne dziedzictwo kulturowe a wieczory to socjalizacja w pubach.

Polecam tę stronę by poznać kulturę od strony baru:

Glasgow pubs are more than just drinking establishments. They are historic landmarks, the focal points for special occasions and, in the past, the meeting places for the city’s merchants, tobacco lords and many Glasgow societies. They are one of the oldest established businesses in Glasgow, occupying prominent sites throughout the city. In short, Glasgow’s pubs are an important part of the city’s rich cultural and architectural heritage.Hundreds of historic pubs have been lost following the City Council’s extensive redevelopment programmes from the 1950s, this is why it is important that a web site has been brought together to record all those lost and forgotten pubs.

Source: Home Page

Source: MacGregor’s Bar Inverness | Music Sessions