Concert: Newcastleton Folk Festival

I decided to have a theme for this year’s concert at Newcastle Folk Festival. Last year at the Friday night concert, I played a random set of tunes from the Peacock Manuscript. But this year I wanted to select different “variation” pieces of Northumbrian music played on the Northumbrian Small pipes.

These variation sets, are long pieces of music; similar to having 5 or 6 melodies added after each other. They are very characteristic of old Border Northumbrian melodies. There are suggestions why these variations came to be added after the main piece of music (the A and B sections of a melody). Some say they are for dancing, for the musician not to be bored; some say they are for listening, as in a concert environment and the player can express their virtuosity and skill.

Whatever the reason these variations can be simple or complex, often long in length sometimes having 25 sections; or as little as 2.

The old manuscripts have variation pieces in them: Dixon, Peacock, and Bewick are the manuscripts I chose to play from.

I started the concert with a reason why I chose to do the variation pieces. This was because 2 years ago I was sitting in a session listening to a friend of mine playing a variation piece on the Scottish Small pipes. As I was listening a man learned across to me and whispered in my ear “it goes on a bit”. He clearly did not like these long pieces of music. It is an expression I have heard before, especially from non-musicians. They do not understand why it is so long, or what the tune is trying to convey to the listener.

People have a short concentration span, 3 minutes on average, as long as a pop song; after that their mind goes onto other things. The variation piece needs concentration to listen and understand it properly; or the audience needs activity as in dancing. These melodies more makes sense when one is playing for a dance; it can get very boring to play the same melody over again, often 15 times while the dance is going on. It makes more sense to keep adding parts so the musician can keep an interest and therefore put some life into the playing.

The comment, made by the man in the session, kept in my mind for a while and I mused upon its reason and solution. “How could I make these traditional pieces of music more understandable and digestible for the listener?”.

In the concert at Newcastleton, I began with a very simple variation piece, Peacock’s “Highland Laddie”; mentioning that the 2nd part of the tune, is another melody called “Butter’d Peas” also from Peacock with the parts changed around. Instead of parts C and D, as in the Highland Laddie, they become parts A and B in Butter’d Peas.

With this example I began to mention my method for other variation pieces. I said “I began to chop up the variations into A and B parts, to make them more easily remembered, as well as giving them a life of their own, then when I had mastered the 2 parts, I joined them onto the variation piece once more”.

To demonstrate this I played Dixon’s “Highland Laddie” mentioning that I missed out the last 2 parts as I found it was “enough for me to play”. I wanted to say that musicians should play what feels comfortable to them, what they like and what they consider appropriate. There is no law that you must play all of the variations. Pick out the best parts and play those.

My next example was Bewick’s “Blackett O’Wylam” where I played all of the parts; followed by Peacock’s “Newmarket Races” where I only played the first 4 parts.
The next melody was Bewick’s “Sir John Fenwick’s” where I played all of the parts, and lastly I played Dixon’s “New Way to Bowden” where I played all the parts.

The concert was recorded and I will upload the recording at a later date.

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The Millers (Galician) Daughter!

Here is a recording of a Northumbrian Small Pipe melody called “The Millers Daughter” from the Peacock manuscript from 1800. It is a melody I have played a lot on Small Pipes and Border Pipes over the years.

I am experimenting a lot these days, by playing various Small Pipe melodies on the Galician chanter. The reason why I am playing these tunes on a Spanish bagpipe is not for this blog right now, but there are certain Northumbrian tunes that go well with the Gaita (bagpipe) and certain tunes that do not feel ‘right’.

I bought this chanter, which is in the key of D. A high pitch sounding instrument, that is not that common in Spanish music. Normally you would hear a chanter in C or Bb. I chose D as I wanted it compatible with a lot of Northumbrian/Irish session instruments.

The pitch is a little high, so I made a bass drone in D and a tenor drone in A, but this did not sound right either, it did not suit the melodies too well, so I made another bass drone in D. 2 bass drones in D, give a deeper harmonic in relationship to the high-pitched D chanter (although this recording does not show it too well, this was only a demo).

 

Bandcamp: CDs

I have been re-looking at my Bandcamp site. It takes a lot of time to edit it.

I have re-mastered (as they say) the Border pipes CD “O’er the Dyke” and in doing so, it was like finding a lost manuscript, hidden in my archives. I had to re-understand what I was doing all those years ago while recording that CD, using the equipment I had back then. No such thing as DAWs as today, I used to record using a normal computer and its own sound programme. 2 computers to create 1 CD.

Technology moves so fast and now it is easier to record, edit and publish a CD using 1 computer and 1 programme. It takes a lot of time of course, days, weeks and months… but the actual recording can be done a lot quicker.

I have been working on 2 new CDs.

The 1st CD is of the Northumbrian Smallpipes: looking more closely at the Dixon manuscript, with their complex variations. And also I have been looking at various non-British melodies from Sweden, Spain, Belgium and France.

The reason for the mix of styles is a reflection of the countries that have influenced my music of the past 20 years. A CD has to be representative of what I am playing now, and what I am playing are melodies that are directly part of my life. Since I spend a lot of my time in Spain researching the bagpipe, I play a lot of Spanish bagpipe melodies, and since I visit Sweden I have collected 1 or 2 tunes from there… and so it goes on.

The 2nd CD is a concertina CD, with a doubling up of a mandolin on various tracks. The mandolin I started to play again after 30 years break. These tracks are a reflection of my busking activities in the UK and various duets I have been involved with in Spain. The style also covers a range of UK and Spanish melodies that work on the concertina (not all of them do work!). I had to learn a new repertoire on the concertina recently as one of the notes stopped working, so instead of transferring the existing melodies onto a new pitch, I learned a new repertoire in a different key.

These CDs I hope to have finished in December and January.

Melody: Si Vas A La Romeria

This is a recording of a melody I did in 2015, in the UK. I was practicing an Asturian melody on the Galician chanter. The melody is called “Si Vas A La Romeria”; I learned it at Casa de Asturias, in Alcala de Henares, Spain. It is my own interpretation of the tune, and I guess I am putting a British “accent” on it… but I hope it is recognizable to the original!

Jinn & Tonik / The Flying Cats

I have been playing with Alba, a fiddle player from Madrid over the past few years. I put to gether a few mp3s connected with our rehearsals. We are called “Jinn & Tonik” and we are trying to mix Spanish and UK music with musical “accents”, how each of us look at each other’s music.
Jinn & Tonik

Another musical project was with a Alba and a singer called Isabel, we concentrated mainly on Scottish Songs, but with the phrasing and “accents” of Spain. We called ourselves “The Flying Cats” (the name was taken from Isabel’s cats who decided to jump from one side of the room to the other and land on our heads while we were reheasing).

The Flying Cats