Traditional Song and Tunes Session, Canons’ Gait

Na sesjach, na których się śpiewa także warto oczywiście znać „repertuar”.  Co prawda na szkockich sesjach improwizacja w tle ballad jest OK, ale trzeba znać i te ballady i zasady etyki :), inne niż tradycyjne szkockie też są 🙂  

Traditional Song and Tunes Session, Canons’ Gait, 14 July 2019

Singer; Song (Writer)

  • Bob Murray; Fiddler’s Green (John Conolly)
  • Fiona Harrison; Time Wears Awa (Trad.)
  • Nick Kelly; Jacky (Jacques Brel and Gérard Jouannest)
  • Duncan Sutherland; Winter Sun (Gill Bowman/Ivan Drever)
  • Russ Clare; Ratcliffe Highway (Trad.) [unusually, all of us were playing accompanying instruments – often we’re about half “a capella”]
  • Bob Murray; Thomas Muir of Huntershill (Adam McNaughtan) [this because there had been suggestions in advance that we might somehow mark Bastille Day – this is loosely linked !]
  • Fiona Harrison; Van Diemen’s Land (U2)
  • Nick Kelly; Rocky Road to Dublin [an impressive rendering of a difficult song !]
  • Duncan Sutherland; Whaur dae ye Lie (Karine Polwart)
  • Russ Clare; Tomorrow is a Long Time (Bob Dylan)
  • Bob Murray; Scots, Wha Hae [second nod to Bastille Day, even more tenuous]
  • Fiona Harrison; Barrack Street (Trad.)
  • Nick Kelly; It Was a Very Good Year (Ervin Drake)
  • Duncan Sutherland; Dear Green Place (Alan Reid)
  • Russ Clare; Jim Jones (Trad.) [Russ by this point is certainly helping to maintain the “traditional” element]
  • Bob Murray; Let the Mystery Be (Iris De Ment)
  • Fiona Harrison; Waking Hour (David Francey) 
  • Duncan Sutherland; Bright Blue Rose (Jimmy McCarthy)
  • Russ Clare; Green Man (Maria Cunningham)
  • Bob Murray; WE All Said Stop The War (Robb Johnson)
  • Fiona Harrison; Westlin Winds (Robert Burns)
  • Duncan Sutherland; Green and the Blue (Alan Reid)
  • Russ Clare; Do Something Different (Russ Clare) [Russ explained that he’d written this on the train to Edinburgh on his way to the session. A Climate Emergency song, it was by far the shortest song of the day.]
  • Bob Murray; No Regrets (Tom Rush)
  • Fiona Harrison; Four Strong Winds (Ian Tyson)
  • Duncan Sutherland; Song for Mira (Al McGilvaray)
  • Russ Clare; Adieu, Adieu (Trad.)
  • Bob Murray; Parcel of Rogues (Robert Burns) [It was now down to the inner hard core….]
  • Fiona Harrison; Loch Tay Boat Song (Trad. ?)
  • Bob Murray; Freedom Come All Ye (Hamish Henderson)
  • Fiona Harrison; The Poorest Company (John McCusker)
  • Bob Murray; Virginia (Trad.) [and it then descended into some kind of unrecorded song-based anarchy for the last few minutes]

Source: Gait

What is a session?

There is no strict definition of a „session”. They are essentially dynamic and organic informal music and social events. They provide an opportunity for traditional musicians and singers to swap ideas, to learn new tunes and songs, to blether, to play and sing together, and to welcome other musicians, singers and all into the fold.

Sessions are inclusive they do not have „artists and audience”, everyone is a participant. Sessions are not concerts or „gigs” (which are usually formal and amplified performances). A session is not a performance; it is a social event with music and song in which everyone can participate. Sessions give visitors to Scotland an authentic experience of Scotlands indigenous musical culture.

Source: Folk music sessions | Bankfoot Inn, Perthshire Hotel

Whistle Key Chart

Na sesjach można usłyszeć nie raz usłyszeć, że można nie znać tytułu granego utwory, ale tonację trzeba ;). Whistle (diatoniczny sześcio-otworowy flażolet) to prosty instrument, jednak na każdym można zagrać w kilku tonacjach. Standardowo na D, bez półdziurek,  można grać także  w G, Em, Bm. Pozostałe tonacje (patrz tablica poniżej) wymagają nieco wprawy ale nie jest to niemożliwe.

Jako osoba grywająca regularnie z wokalistami, muszę być przygotowany na każda ewentualność dlatego z poniższej tablicy mam prawie pełny zestaw (nie mam F# i G#) ale jak widać z tej tablicy dysponuję możliwością zagrania praktycznie w każdej tonacji. Standardowe moje wyposażenie na sesje to komplecik whistle’s oraz aplikacja na telefon: Song Key Finder :).

Erik the Flutemaker – Selling Flutes, Bamboo Flutes, Pennywhistles, Bamboo Saxes and Side-Blown Flutes

FlutesFlutes go way back. You can find in Genisis 4:21 that Jubal was the father of the harp and the pipe (`uwgab) translated at times as a flute, reed-pipe, or panpipes.Starting out? The secret to flute playing is not to try hard. But to relax into it. When we try too hard we can become a master of repeated mistakes. On the side-blown flute, forget the fingers for a bit and start holding the flute around the mouthpiece. Press the flute against your lower relaxed grin, roll the flute a bit and spit watermelon seeds across the hole to get sound. Press and roll to find the sweet spot for best sound. Blow across the mouthpiece not into it. Don’t pucker, it will make you dizzy. You can look in mirror to make sure you have a grin-line not a hole from a pucker.

Źródło: Erik the Flutemaker – Selling Flutes, Bamboo Flutes, Pennywhistles, Bamboo Saxes and Side-Blown Flutes