his 6lldi@ oft@ditlell music

ton lrchnd .nd sdthnd aransd

lor solo rult.r k the Bult ola 06jonrte study and rdaptation of lhe lbdltion
by th. musiciais t rruEd herc, Th ldea of
amngi.g thir n6L tor elo suhr is srill.el.
atively
the si.el strinsed .coustic sui
tar.ppaare in the ish scortish tEdilion only
in rclatively rccent tlmes. Looking balk le5s
th.. . rdtury yoq muH find dll3 mdi.
petomd on tiddle plp.r, burt@ *.o.dion,
nur.e and whktls, ln $to and ed!mbLe
setlliSs, but never gqilat den li lts basc

n.w

ble otprcvidjtrs dylhm and.hod backup.

Th s!-rtdr, an ils beri. rch ot a@np+
nineni in folkwD musi.. had
is) used as a

h*i

(and 5r l

dordll

instrument, Eut tha

souid of cetic l6dlrional music Gcurfts,

ab*
me.t

all eh, an
r melody

.fior to

j6l lro .l+

rnd rhyrhn. Sla* m.lody,

ofren er.ltrdlng all chodal accomp.niment, is

a si8nat/ft
sh and srottish nusic.

of

templr aE numoG. .ny tldltioal

I'Jrh lnd S.onish liddl.E plom elo ln a
this sryle. The int d.y oftheir pl.ylng.om.s
in the fom of pr.cls. nuance and omamenla
tion. noi chods,

hrhon, orcounteDoinr.A

liniLi d:de'iin. ir dnied mr

ro cehic

phtins

ven slh a g6up of

playets on dlfiE
in3romnis, its typiol
for everyoie io play fi n.lody in uniron,

env 3irli6

Beyond rhe donliait impoftan.e of

nelody. therc is the eLem.ir ot accent d

worked out thngs like !@ngaments ofs.on

loplinl pi.no hgs on lnBe6tyLe guhar were

En*nbb

fiddle

nyln6

cllac

drft. lh!|hhr

ji8s,

lcts!

ld.d rrist3.nd obdllithmqrr of m.lody

rcnder il

lllihe

mo@

pe{omets dodt provide an obvious fiylhm

in lh lntltumentaiion,

pudinS. Bul l.ahing

lo llien ie pln ofth. expenence. And lfrh.

pping

audien.. u3ually will. A m.jor

ftt in lhe

challe

ng. fin.

seElyle Suiradns have undenalen ls to .on

ttrucl lhe whole dance brid 5.enano
mbellish.d helody pkyli! @r a lhrobblng
dan.
at oE on rh pirar

fiiho

Ihe eaniest efiofts ln lhG dirc.lioi oi

solo gull4 w.re pbbably lbm Amen.an bg
time sultaisls such as 0.G Laibmin, aDund
r96d He b4an ro ro'r oll aEngftnrt of

fte

Fajl wrs ore of th. d.list xp'j

m.nr.6, a.d appEi,ted not only the otd
the

xish nddLe and pipe tuns, bur made a Dar

elon ofvisitlng counnles
the MiddLe East
and NofthAiika to ab$rb and rranslare

li

lhm
was

e$erin.nl

in cenali musicaL dnedions.

whd th. fr6t

waw ot A tish lcousrc non

.lasri6l tngryicke6 (.otady .nh ranhn
Dav.y Graham,lohn R.nboum, B.rl

jtB.h,

and Dave Evant begrn rcating rohplr

embeLlkhhents and tmngenenG of EngLish

'I

midr96c. n ms
almon iininctve tor them ro b.3ii wo*lns
tolk

m6i.

in th

d'lv

and

as waLlwhh melodi.s and tunes n6m

ih.

imn.dlare envkois of Bland and 5orland.

pLye6 tr th. v.nghrd ot. pG
gressioi ol sunaists who hM loc6.d bdh
.rcalve t.Lent and su5talned effon ii binglns old nusk ofthe ceLtic lands ro fingeutyle
suit4 Dtvey G6ham who ln 1960 .{ord
.d lh. bllrethq lum 'sh lriorq lroush

Ih*

bo. oftof

musiel rt!16

new

fa.

fiofr

ously noveLldei ro

you Ealize

that the uide ying pube olrhe music is

entnely imrglned or "feLt," lfthe Listeier ran
not fisuE oul "wherc !h. beat ir" rhe .onvo

ii

lho

At the sane rn., a new sryLGtlc leveL

of glillr phying s6 d*lopins within rh
folk scen. in Enslaid. The ecledi. Gne5 of
iha 196os Bdtish fiiS.rstyLists guded them to

nic fel. ob.eins an uMftompani.d lrlth

pl{*,

ccod.n

gefan 6to$tun,

l@kint iot some mw .halhng6. 'lhet besan

ro ind thal challense li aftnging flddle

fiddld pdoming dan.

and he was
bv

obserues iThasa pLaye6, havine su(essfuLly

aro buiLt opon simple n.t.6 oa

3, 4, dr 6 b.rrs oer measure. bul wnh
a..enrs that give each fom ils unique fiylh

hoinpipa!

t!..r,

it

thismusi(

but ir wa5 a (uri,

ange

lt forsoLo ne.l,

Ih solo pLtdng styL @ated by

musicians did not be.dme popular in a

rh.*

ron.
hercaLsense, bur it dd b.ome an innd.itc
aor guitaiist5 li the pop woid, Paul 9imoi
bing a notable

ernpb. lhe

slyle amnsemnrs,

.omprex fin8.r
ffiny emplorin! ahed.le

have rcmaiied a smalLbut sig.

ilfrcant extenron of guitar rcpenone. in rhc

8uilartuningr

r.discovery ofthG gnre, beautitul. hauilii8

tonalirie and d4hmi. foft had ben
brcu8hl lo liShr.Ihe.onrrlbulions ol rh.

Bdrsh pioneeB hegan lo be studied and

nowv absodd by othe6 li the 6ng.Eryl.
Afollowing geneation of .onrtbuto6,

Pierc Bedsusan, and

[4an]n Simpson (alLofwhom are happilv
notabLy Du.k Baker,

pft*nt

in lnis collection), .o.tinued to

explore thc musi.. ItFy lolnd more run6

lo

Iry. and brcwhl varied baclsounde

influen.es to the

mir Du.k 8ak.(

&d

for

innance, wa5 fii5t plqued ro inv4d8at. sh

musicvia the Appala.hlan iddL tun.s th!t
lradftionaL banjolst An Rdsenbaum w.s play.
ins. Alse an-bdh Pleii. Bensusan, as a
youns sund phdrS! was hs.inaLd wlth

Am

6n

BLu.g6ss musi.. These lmmen5eLy

talenled anists weft ablr to do 50hethlig

wonderful and 6!enii.L: lhey .oold hear the

frusk of1u ough

O carcLan. N.a y ev.ry

pl.c prosentd herc tE.es bark to on of
th.se four Lines. Ofdance husiclherc ac the
fiyrhmic styles chaEde zed as jiss, rceLs.
ho pipes, etc., many ofwhich lalLinto lhe
catesory Loosely known as 'fiddle tunes," The
category of sonss incLudes instrunental
aransements otmusicthal is easlly recosni!
able by lhe esual listenei and would li.lud!

tials - n.lodi6 d thtthG - ad sw

amnsmc rhd md@d beauiitully o. th.

litle5 llke "Danny Boy." "Down by lhe saLly

Gadeis," and'Believe [,le lf Alllhose
tndadng Young Cham!" ,nial m0ir,
son. of it soing b&k io tuudal rilB, muld

.r4kninBed &oEric 8litar

h. dadtnad

b6ir.orc ofth.

ft. *F

music sfiDped to lG e$en.

nmbd of elo 6.3.r

eryle suitar tudings of lrish .nd s(onbh

and aa6 by rh.
sslla! orhd6, in ih. priod ftom aboul 1973

jj5 fte\

abde.niit.e

ro 1933.Ihe ft.odings oflhk pe od,

eln.e. have prdvlded inspiallon tor tn

gowinS.onting.nt of

TllE MUSIG

pLayets and

orthe

lid
d.r

llst.n.re,

musrc prryed by

guitaisrs such as those rcpresented li thls

coLledion, there arc rour majo' dt.8oi.s:
dance nusi., sonss
madiaL

0... halL.ds and alF),

(.e. narh.s) music, and lhe unlque

sidney

fit,r

pi6

of dE lId
9dtht ad.-

3@,- 'Ma(h

_St

by

lrle _Sodr.d dE
xirEs of
and

ttui*,"

'Dul of

rhkome to Dsida"
rhe nuti( wnrn by th. blind haD.

Tu oush Ocarclan G6Zo{83) i3

not.bLe be(ause it is styLi5nca[y sepabl.
frcm thd other musicwhich sas pedohed
(by mon nu5i.ians in hir homaLand ol
k.Laid) at rhe tjme ir w6 wntFn, vet ls iow
r.cepted by husi.ians as ai e5senllaL.ohpo.
ne oflh. tadilion. Rema bly, the 2oo or
so pieces of mud. he deated, shich werc
presenled as "new musi." in his time, wetr
lhmedlately adoDted bv the lradltionlL murl
pLayer

ciane of xetand, and began to be

pafidh.d

OUITTR APPNOACHES

by iddL.6, haryisls, and ensenbL.s. Evcn

withoul sritten tGnsdplloi ln many cas.s,

Th. chrlL.ig.lor tho5e who artempt to trans

l.r. ish and Scottish taditidnal music for

lhe lolk tradilion adooted aid .aiiled on

o'Ctblan! melodies aLl the way to the prct

llnB.reiyle gultar h lo preserue lhe unique

qu.Litl.s whlch arc the essen.e orthe styLe.

.dt,

n modem times, crcdlt k due to

0'C.rcLan blosmoher DonaloSulLivan, who in
th. 1956 assembLed and do.umented most

Thle hrs beei achieved by taking a mlnimal

let.pprca.h ln aranglng, and by usins alle.

ol the 2m exning ple.es of musi..

.d.ir.d

Wr ter

Aft Edelst.in .ommenc on lhe

coil nuins appealofoGrclan lo modem

d6ida6: 'Carchn mpo*d hk m6ic on
th. t aditiond lnth han at a rim tilen dlal
in3tltmht 6 hqinning ro ddire in popu
l.riry. llle loni qstain ofrh bl.s srdru5 on
rh inslrumer DDd@ a eund wry ditrd.nt tom rhat h@d d ihe modm nvlon or
,ul slrung harp. $9 tusped lhe spaEe hat
moni.s h wrote w.rc a rcsult ol hk ha4t
p.nicuLar sound," ndeed, you will lnd gutar
.raig.ment5 df ocarclan pi.ces played by
noer every gultairt who peddms ldsh tkdi.
tlonal musi..Ihese rmes wo& beautituLlv on
the Ruitai and it couLd be ohsefled that the
toiaLily ollhe b@ss.strung kkh haQ, now
.ssentialLy ldst, is welLrcprcduced by the
lone ofthe steel sldnsed acousrk sdral

tuilngs, The miilnaLGt dne.tion is.ha.

by the thousht that most ofthis
nue. conshts of but tso elements: melody
&d fiylhn, Hahonization, ii the dassicl
en*. tndt to eound out of pla.e and

irtc

rhie rt ndard musi@l

s*6rtu1appGds aE

lndi!6.tdilc mlh

ddi..

unavailalk,

touid

li

fddl+and-pip.lil .mbelishmd or

h.lodt a.d rtirrhni. bas paltems.

Th. poplhfiy ot.h.mat tuninss

in

nusi.l.nd5 lo con. tom lm diffrcnl

ditrcrlois, Oie G in rh. d8n lol prcducllon
rhrs

olroi.Lh.r

oidroninS rnsttumenB, a

La

the

aid runins! su.h a3 0AD6A0 and

mrle lhh efe.t rcLativalv easy. on

brSplpes,
EAoEAA

th.

orher hand, there are gultar tunnss whkh

L.nd ihemselver easr(yro the melodic steps

,nd

fuLlnees tolnd in the diatonic Celli( haro.

such Bnd DGoGBD (oDen G tunind and th.
CGDGAo hvodd by Dave Evans and El
[i.]V..i, P.ftaps one ofthe rea$ns for the

app!rcnr popuLa[ty ofrhe 0A0GAD tunliS ln

celtk music is that lt 0tu6 a .omp@ml! td
the utiLlzation ofboth approaches. pEvidlng

Snpson eFph$lz.s that hh approa.h

asily

a.hi*Ed dronl{ tonalitig. wiil. mr

5o.3s rhan lron

beai!

d all hnrindtv

olhd Nds, nost ol th.e pk6 he

anaige5 for sullar iorhally have wod5, Ne
teLl5 the story of th. n.dley herc ollune5

t]lE

ro

mdorlq n.todi*.

M.rrii Simpson was bon li Nonheri

tugland, play.i hi5 n6t 0aid 8ie :l touften,

94tun,

pmfessional at
and 3inc
lhen has be.om. kiowi ae on. ollhe fion
widely admlred acourllc gult playeE
the
wo d, He has played wllh Rl.hard lhompeon,

sl.el.ye Sran and trl.pon conv.nUoi

Ell 6 m*ing h th Albion Band

and
ye.re as.ollaboElor wirh June Tabor

uis

soLo

a5

flr D

guitar perlomanrer showcase

otthe gut& a5 welLai hls 6r

6i8ii3 tspenoG. M.nin arhi.v.r a hry
cGat bllit toe h.p ridl his Sobll lrrlod.l
hle h.stery

One gunar

G'aiad by Nonhumbe and lurhid

StefBn SobeLl) on whkh he k using m.dium
g.uge etings.

He adds

ltutrumental fadltlon.

ri

And.6on' k a chssk .bi! ba llad.'The etory conc.ns a tagk divorce $hi.h

look pLace li the ..rLy rgth cenlury li
Srotland. fs very nu.h the slory olth
upp.. d:$6. Ih thid pa.1y in lh divoft
r.t tod Ebin do b histori@lly 6nous tor
naLin3 nalble tion the Panhenoi io iak.
b..k to EigLand. but rtso sloLe peopLet
wlves. The Sheaintg Not For You lnd
'Boale\ aoinie Bell. !rc both b.lt*s rhar
aE ruEl in on8in .id borh @n@m !l'le *ho
h!v. gottn prc3n.it ouGide oa harlag.
wonS-

MARTIITI SIMPSON
b.om.

tli.

irom the ionheart i4lon ofS.othndr "Thrs

tdo of tun6 ir:bout rhe idd of love alne

PENFORUENS

thal it5 hr! favorite

a.oustl. vislonary who combine5 3.isl.

bilry whh shadinss or elhercaljazz, pop,.rh.
iic and d.!3lal meLodlet, irce and fusloi
as an

lo a tnglng liadlllon.LCeLtk tun.s i flnger

stvl. iom .omes hoe frcm lhe Ealm of

style.. Ao.n ln 1957 in

Bss6.n

I
J

nosie

PENNE EEIISUSI
Pie e sensusan

.ar.e,
and srrins ofrc.odlirs, contimed hb DLa.
has, thbughout hG

Fe(h

AkErla, Plr

hk debut 6['!m P,fr d.

Po,3 in 1975, which included biLllant lnr.r

peutlo olrrish iiss and eel5 at the d8.
of17
tid won Le GEnd Pdr du Dlsque at
th r&ntl.u rixtival in Sdtredand G976),

sitionl'sheebgAn Sheemoi

EL lctlE-En e

.Med h.san !r.v.

ins the.co!3tic guilar whlLe anending

Haruard ColLege and nole5 that one of hG
gieate3t

At dlat

iillu.n.es was blk5lnger PhiLO.hs,

tin.i rilc['led diddt.poedr

the gui.

@s .!o a AtuesEs nqrrian and stan.d

hi5 @r* phyiig gultar and nandolin with

rlr a t elo insrummr.

the

(and lnlielvely studvng nuherous cassette

lessoi3 lioh Stefan Grc3!h.n. whi.h he
stronrly .ndo6es) h en.ounreftn what he
5d a inddibl bcadh of mw muslc l.
studyii, th. Suitar now ae a 50lo inslrumefti
he moved tway from rclylig soLeLy on aLten
natinr bse le.hnoue and th. slandad
Ameiar ep.none. 8e f.und himsefan6ded ro ti3h music, altermte Unin3a ad dlt
iarcnt lpprca.hes ro aGngln&
Whhld rhis muskal rtyLe, he ndr.s
some
lng innuencesr 'l!!y favorites !rc
the Bolhy Band albums froh the 97os
ihe
sr6t6l ot hsh b4de an fry opinion; i.t
caml and Manin Hay! on fiddl.j a.d mD
Rob.rtson on harp." Prlfrr Ly he plays in Low
c tun ns (CG0GAD) whi.h he discoveed rft.r

He

BiLl

K.lrh Bluegmss Band in Fran.a,

Belglun.nd Switze and.

lMore aLbums and

qtendv. tou ng fouored.

.r

reU

@din,6dEct rith

Columbia in rh U.S.
Seyond hi3 npulation as a hun.al.ololi3t

Lr hls adoptlon
and coiprehensive knowLed3e dfthe guit

and cohpost he is knowi

Ihourn BNuen .&loits

ror.lLy on th-. oppdlt. end ol the qLag! 5pec.

ttum
the woftli8 dass.

El?ased

ntion olthai mosl popular 0Carolan dnpo

ied palell.

rid.ly v&

otm6id nyl* aid colo6,

rctuns 1lm. and asain lo.rplohtidns otlhe

musi. ofltland. On lhe.oLledion herc. h.

giw!

us w.Lrome new

r..ordings ofa cel

that is a sl natlre rune non rhe daF of

d. P46 "Ir'e PUF DDp," an old lrkh

rr5

meLody lleman Dubh (origlnalLy

oi

rc.oded

his aLbum lrus,qres), and hls ecLecli( expLo.

Upon

EDpMn3

him5llin lh. eady rgsos lo th inrtrumeni

.i

ftu

lktening to oave Evans on tn, /l9t neels,

Hampipes, and Ai6 (19/9, Ki.k^g Mlle, El'.

970!).

sued on Shana.hie

He says he wa5

attracled to the ichness ofrhe ruilng and

romd it a..essibLe. evd.ativ. and ve6dtle.
0(asionaLU he plays ln DADGAD tunlig aLso.

lndudiis "Tho Blamey

Magan"

aid

Duke of

PiLgrlm," "lvoGan

rifel

Welcome

lo

oeside." Though that album s long out of

prnr, nany of the landma* atrangements

found there hav. been rcksued on various
on voLume lwo

ofor

Du.k Bake, ha' been

iiflu.ire

in ihe brngng
musi. to the guilar B!ker

a semlnal fisurc and

of rsh lcditioirL
th@ Grc nlsi.ians rho do?snl
d6s upon the rcpndry of hi. do*n instru.
md ror nusiGl d tuienal bur rarh?.
finds idas in the brdder n6nd 3h.m.
is on or

and shap6 them to rh s.nsibililir ol lh

suital Frcn lhe appliGtion of lh:l l.lnl
comes his a*nowLed3.d

su..e$ at tEnsLai,

pip., aid hatp

ing rsh

fiddLe.

quital

s memorable btrt not w deLy

ored 1930 album

mus

lh.
dBtb.
for

Md.n rl, Mdlrldt ool

Lined a styListic apprda.h rhar eschews any

cosmel

o@ttiness

ofton., and to(u5e,

cther upon th possibiLiles olsta*, opei

hamonies and .dmpLex inleMoven bass
lrnes. Thar album l6t inlrcduced ro m.iy
guilarkts inAmei@ viable arBnS.m.nts of
some essenlaL rGh runes, a tuw oa whkh arc

romd in rh vdlumes ofthis vd.o.olLecloi,

"[ldn! Retun" and

'The soulh wind." aLLtaken
and al6

video.olLedon,

Saker rcoises his arafqement or"SLamev

IIUCX BAI{ER

Min" 0n DAoEAD imind, rhe

3et danca "Rodney! clory,"

Pllg m, among othe6, and one orhis own

rer.nt .omoositions. a modem ils.aLled "Ihe

TOM L0NG

cuLiro'nru

about hs eady exposurc to

the speciaLized n dre which

PtrT lllf,TLEY rx"m"*v-t

. c,i

ra.ist who ldmed the insrrument.t an .a/y

ag. via th. Atint / T@is / Da w*on har
irag., Kjnl.r admiis Io havins bE.n had-bilr.n b' rh. rtrh nusir bus in rh. latc 1936

h.ait

guila st iohn M.tomick playiig

..kk iui.s in DADGAD luninS. H. b.gai
xpLo ng thar tuning, and .haiieLinB signil.
cant o.ative eneqy into arcnging kish liddLe
ruies and aiB '1am as hs.nated by lhe
hbuLous weaLth ofnusicality ieprcsented in
rhe fth folk.rhdirlon as am by lhe h.r rhat
afrr

wenl lhrcuah most of mv mu5i.aLLife be ns

totalLy gnomnt of its ernen.e, rcma.ks
Kiftley.Ihe rcsllts ofthat wolk arc herc rcp.
rcsented by his aransenenB

or"Planxt

nd p0id6

todder for his

guitn reprtojre: "ln th hte

96os

r definitly

hod

vtt

an

lneh

Um.ln nayb

oNrtuned

5tutr on FM hdio rhar

su-'tar doinq a tadirional

1915 I

w6lrying ro plry

lhind and lherc M3,

gi , 3.1h, at schooLwho was a fiddld I only
an

rtu hv.so undins

ii a bluesiass.onlext. She pLayed ma

some i5h lunes a .ouple oltimes. what
kn?w

have, vla rc.ordings,lo a Living musi.al.ul.

turc. n

take anv one ofthese traditional

iuies and try to make it my own thing.

'I radt put my finger on any sinste

erpeienre thar got me intercsted in r sh
iuias. h euru rhai it was a common p,oress

ot b.in! a'.8 of orhe6 doing n and sayins

'r .o!ld do lhat. rdid h@r steFdn G'6mn

pLy a ru.e ar a.on.t in t98o at rcl.At

RoyG Hall. whe'e he playd with John
R.ibolrn, aid Rateh lkTetL. I dont know
what tune h $5 bur it was obviously (to m

lnIvay) a fiddLe6 tune that he wo(ed

up

for 5oLo guitar, and that nisht was a trcns.en

Loig'5 iwo rune5ln

thk .oLle.tion.

"lenny Pkklng Cockle5 and 'The 8rcken

Pldg," both ehow.ase his bare bone5

ylhh .nd heLody approach to arangns

lish mudc for guirar uis intense use ofgui
tarn ( ebmenc su(h as hammerons,

pull.oft, aid

gllde!

.onveys the ankula.

tion olplpe5.nd reLtic fddlins

SIIUD

very.ft.tlv.

a v deo is avaita'le lfhe Blamey Ptlsnn

vestapol 1306, thd tuatucs alllhe pa6om.
anc5 on this cD lhved bv the o&lnal
a 72 pag. iab/nlrl. booldd admpa'
ni6 this vido. iris b@ll.t h6 tr.n{ip-

a ier'

llllGH l

er mc'ion

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