certo Ci) E od THE IRISH CELLO BOOK aCONTENTS ‘AUDIO TRACKS PREFACE ACKNOWLEDGMENTS PART LESSONS HAPTER 1 The Tradition The Context ‘The lish Session Intonation and Tene Quay curren? Warm-up Tunes Dai Hoived Lass Cts of Moher Bitches Full of Stes CHAPTER 3 CCharacteristies of ish Tunes Modes “Tune Types Tune Fors Mote Maps| curren 4 Learning by Ear ‘Seven Stops o Learning by Eat Humours of Tula curren s [Adapting idle Tunes for Cello (Changing Octavas ‘Changing the Melody Sporting Ptttork itys Weng Changing Keys Garrett Benys CHAPTER 6 Micro-improvs omeren7 ‘Omamentation “Types of Omaments John Fyan's Poka Madame Bonaparte Fearghail O'Gara Dinny Detaney’s Ur Chnee Chen Mine Canta ‘attr Sammon's Grancther 10 13 1% 18 16 7 18 10 at 2 26 29 at 6 a7‘cHapren a cmerens coHaPren 10 HAPTER 11 HAPTER 12 PARTI, TUNE BOOK ees Bowing Bowing Patomns Sally Gardens ‘Star above the Garter Bow Pressure and Speed Pipe on he Hob | ythmie Accents ‘Na Casnnastain Bhaina Walter Sammon's Grandmother (vst) Variation Supenny Money Bunch of Keys casts Kaly’s Expression ‘Satter the Mas Lament for Limerick style Regonal Styles sly tyons ‘Sligo Maid Paday Faney's Homppe ‘The Care eo! ‘The Dingle Regatta Personal Voice Mala Behind he Bar Outen the Ocean Putting It All Together Teahar’s Favorite oling Waves func of Keye 1 Bunch of Keys 2 cast Kalle Ciian’s Mceight Op cooly Dark Halos Lass Drowsy Maggie arts Chai Farewol to Connaught Fearghall OGare Humours of Tul 0 “0 2 “7 a 6 0 50 59 56 o @ 3 o ea 06 6 o7 ee 7 70 74 n 7 7 #2 Py 26 sseesessHonNPiPes Hiohtaxos sis sony Dang he Weaver Kilamay Boys of Pleasure Maw Behind the Bar My Love is in America Perwig Pigeon on the Gato Sally Gardens ‘igo Maid St Anne's Reo! Star of Munster ‘Swinging onthe Gate ‘The Ciara Res! ‘The Cole's Reel ‘Te Morning Dew The Siber Spear ‘The Tectotler's Reel The Wise Maid Tily Fines Water Saremon's Grandmother Galway Hompipe Harvest Home i Coleman's ity wedding Mulquoeney’s| OF 0 Cattoria Padoy Fahoy's Hompipe Pride of Pevavors Fights of Man casey Pg Gan Alnm Fling 1 (Gan Ain Fling 2 slnmy Lyons Low Highlana Blamey Pirin ‘ols of Moner CGonnachimen's Rambles Garot Bers | Buried ky We and Danced on Her Grave Kesn Jig Larkin the Momning Lat on the Stand Morison ig (Out onthe Ocean Pal Clancy's SREREERE 96 or 98 2 9 100 101 102 102 109 108 108 108 105 108 107 107 108 109 110 110 m7 119 na 118 us 16 16 nTsmNaLE 16s SUP ies sues, PoLKAs SET DANCES, Pat Mekenna’s| Peticoat Loose Pipe on tho Hob 1 Pie on the Hol 2 Fling Waves ‘Satter the Mud ‘Shpenny Money ‘Sporting Piteiork ‘Swalow Tal “Tipping up the Stars Wen the Cock Crows ts Day 4 When the Cock Crows ts Day 2 Bunch of Roses Dinny Detaneys Hag witha Purso Nilor’s Maggot ‘an Phis hich Bamey Brannigans Butea Dusty Mit 1 Dusty Miter 2 Elzbeth Kall Fig tora Kiss Foxhuntrs ig Tre kien Na Ceannabhain Bhaina Dens Murphy's Fad te Lisdoonama, ‘Sar above the Garr Teahan's Favorite ‘The Dingle Regatta Bid Martin's ches Ful of Stitches hare Haris! Paka Ger he Rigger John ya's Polka My Love ls but a Lassie Blac lacthorn Stk ‘ov the Hl Jocky atthe Far Madame Bonaparte ne 119 120 120 wa 22 1 122 13 129 124 4 124 125, 128 7 ww 128 128 128 129 129 130 130 130 131 192 122 133 123 134 135 196 197 198 139 140ans misceLLANEous APPENDIX A Maid That's Deep in Love ‘Aman Leabhaie ise Lamentation Lament for Limerick My Daring | Am Fond of You SiBhosg, Sino South Wind “The Dear lish Boy Urcnoe Chon Mire Cainte Fanny Power Mrs. Hamiton’s Bam Dance O'Coroia’s Draught (OCarlans Wetzome Biobosraphy GUEST MUSICIAN BIOGRAPHIES ‘ABOUT THE AUTHOR Imo zara oh Cary Tica Clare Mat Cranteh ate Heederson Elsen O'een ‘Sean © Fearghal Sicohan Peopies Fk Rago (Leste Anne Harison and Frédéric Poul) 1 142 143 ua 145 46 17 ve 9 150 153 154 154 154 155 158 155, 155, 158 156 156 17 188wu AUDIO TRACKS TRACK TITLE 1 Dark Haired Lass 2 Dark Had Lass ply slong! 3 clifeotMoner 4 CitlvoF Moher lay along 5 Brees Full or stctes 5 Brkches allo Sttches ila long 7 Humours ofa 8 Sporting Phone 8 Kinys Wedding 10 Gare ereys 11 Grace Notes and Cuts Exercise 12 on ys ota 18 Patand lop Eerlse MW ollEude 13 Madame Bonapares 18 Fase oll Cran Treble, and Triplet Ete 17 FearghallO“Gara 18 Vitatoand Side Exercise 20 Dinny Delaney 21 —UrChnoe Chen Mic Caine 22 Walter Summons Grandmother 24 SigBowing Pate Exercise 25 silly Gardens 27 Pipe onthe Hob 28 Ghosted Note Eerclse 23 NaCeannabain Haina 30 Sixpenny Money 31 Bunch of Keys 32 Caste Kall’ Lament for Limerick 35 immytyons 38 Sigo.Mald 38 The clare Ret 59 TheDingle Regata 80 Maid Behind the Har $1 Maid Bend the ar $2 Maid Bohn the Bar $8 Outon the Ocean 85 Onton theOoean 96 Teahans Favorteand Rong Waves Guest anrists Leste Anne Harrison, Frédéric Pile esl Ane Harrison, Frédérte Pole “Wiss Car, Laie Anne Harrison, Fede Pole ‘rit Gark. Les Anne Harrison, FrédrePole sein Fearghal Sein 6 Feaghal Li Garo ler Been Siobhan Peoples, Katle Henderson Katie Henderson Sein Feaghal ‘iin ark edn 0 Fearghall “ia Clark carl Jon any ‘ila Chak een Oe Siobhan Peoples Slobhan Peoples rot catty sen OBrien Kate Henderson Matt Crane L Siobhan Peoples Ma Crane Jatin Carty igor Kate HendersonPREFACE After a decade of experimenting with Playing traditional folk ‘music on the cello and year researching Irish ruse at the University of Limerick, I present {his method for playing Irish fiddle musfe on the cell. My approach 's Influenced by: my experience teaching non-classical sls to cellists and informed hy my studies witha large hand of fanasti Irish idler (many of whom are featured in this ext and on the accompanying recording Because the cello has rarely been used in Irish muse 've relied on the trish ling tradition to guide my adaptation of traditional techniques and tunes. While the fiddle {s obviously more closely relate tothe cello than ther Irs instruments dike the Mat, harp, and ules pipes) ve found some techniques tobe transferable fom the other Instruments as wel The included instctional recording wil belp you work through this book and become familar with radiconal rsh tunes and vecniques. Yow can also access vides, reconings, ‘nd additional information on my website, LizDavisMasield com, Ths book s meant to inspite snd enable you to explore Irish muse on the cll, and designed ro be accessible fal cellists, regardless of por experience with folk muse Most fall ts meant to encourage you to have fun with yur lstriment ina new ereative Enjoy! PS, White this book only dlscusses melodletehniques it sao important to note the «all's potential a an accompanying instrument iy rsh muse as demonstrated in tacks 5, 6, and 46 ofthe accompanying recording. If you are interested in accompanying folk ‘music on the cello urge you 1 visi my website LizDavisMaxfield.com far additonalACKNOWLEDGMENTS ‘hanks to Hal Lonard and Berklee Press Thauks to he guest artists on the instretional album Li Carol, John Carty “rica Clark, Mat Crnite, Katie Henderson, Fileen O'Been, Sein © Fearghall Siobhan Peoples, and Folk Rago Lele Anne Haison and Frédéric Pull) ‘Special thanks to Nill Keegan andthe Ish Would Academy for providing the recording space snd to Sean 0 Fearghall for coordinating so much ofthe reconing process in Ireland. Thanks to Steve Goteher at Audio forthe Ars for the expert “engineering Madison, Wisconsin, Thanks fo Gerry O'Connor, Caoimhin O Raghallaigh, Seamus Connolly Frankie Gavin, Nell Mati, and Martin Hayes forthe tunes, insight, and personal Incerviews. Tasks to Paddy Fahey for permission to use one of ls fabulous runes In the book and recording ‘Thanks tothe Fulbright program fr sponsoring my research in tela Thanks to my professors a the University of Limerick: Nill Keogan, Sandra Joye Miche © Sales, ‘Thanks to allo the other tutors I worked with during my program at the University of Limerick Aaron fone, Keren Tweed, Ale Finn, lan Carr, Alan Kelly, Donal Lunn, iy Ivlne, rlan Finnegan, Cris Wood, and Pal Brock Thanks to my mientors at Berklee College of Music and ¢o my colleagues, fans, fiends, and family who have encouraged me throughout this project. And especialy t Andrew. Thanks 1o those who have given feedback on this book, and to the ellsts who have let me tr out my ideas in workshops and lessons. And thanks 19 you for ‘ealng this book and joining me on ths exploration of lsh music on the cele!PART I. LESSONS CHAPTER 4 THE THE The Tradition CONTEXT ‘Traditional rsh muse is derived from dance music and songs that have been Passed dv aural for hundreds of years, ‘The popularity of lesh wadiional music has grown dramatically inthe lst ‘century: In the early 19005 the muse became a source of national identity t0 "he young Irish Republic. Then, with the folk revival in the mld-1900s, fish bands started couring internationally like rock tars. With the Nlood of rossover lish sic and showy dance performance i the 1980s, rsh music and dance ‘became imbedded in pop culture both in Ireland and abroad, Now this music canbe heard in concerts, competitions fr lls, sta dances (or ceils and Ish “sessions” across the globe While the instrumentation of Irish music evolves overtime, the current Stiey-raitonal lineup includes the idle, voeeilleanm pipes, harp, wooden Hue, and whistle, Ocher instruments are generally accepted ss traditional, although they are relatively newerto the gene, such as the accord, melodeon, ‘concertina, banjo, piano, gular bouzouki and badhran (lish dew Maybe someday soon, with your help the cello wll be on tht st! IRISH SESSION ‘An Irish session isan informal gathering (usualy fa pub) of musicians who share «common repertoiee of tational Irish (or Celi) tunes, Reause ths ‘vere unique and centrel the Irish muse tradition, is helpful o kaw at least a tle about what to expect from sessions as yoru become more famiiar ‘wih the mse Typically session leader plays tune, and everyone else join in as they recognize it. Aer few “spins” or repetitions, the session leader"ips" or signals 4nd tansiions into another cane wihout skipping beat. Everyone else drops ‘ou unt they recognize dhe tun, and join in again. n between these medleys (or set) of tes, the musicians socialize and occasionally feature a singer or dancer:Overtime, session culture has dictated ist of unspoken eles and session stiquette, sometimes nique tothe specifi musicians, pub, oF location. If you ‘want to play in session, golsten tot st Observe the tunes they play and how ‘welcoming they seem 19 new people and non-traditional instruments. Some Sessions are indy to “beginners” while hers are by invitation only, Some sessions have a speci leader, while others expect each musician to lead a Set Aer scoping out a session that matches your interest and experience introduce youre and ask the musicians if you can jin. Remember thr before ‘you join any session, you should hve a handful of standaed session tunes in your finger, and understand the basis of ornamentation, bowing, variations and expression as explained in his book). You can also ask or alist of tunes that they commonly ply, so that you can prepare afew tunes in advance. FIG. 1.1. ish Session INTONATION AND TONE QUALITY It you've listened to fish music live or on albums (including the instructional bum fortis book, you may have noticed that the tone quality and intonation of many sh musilanscan sound "unconventional from a classical musicians perspective, This comes as «surprise to some musicians, who equate “good” intonation and one quality with sh standaris typical of Wester European classical music But the fat i, "good" intonation and tone quality are subjective and other standards are widely practiced beyond thecassical ‘aly tained or wnliseplined, They merely haw approach to these elements of sound, beyond equally tempered sa erain types of toneMany classically rained musielans are turned offby genres with hese standards because ofthe diferent approaches to intonation and cone quay lw the classical music tration, tempered scales are sed to “even out the Bitches on a keyboard, so that pianists an ply in every key, Since Irish music has along eatin aay rom pianos, many Irish musilans prefer untempered ‘scales that feature slightly diffrent spacing between the notes. In addition, {ntonaton vatiances are deliberately used 9 ben or ad dep @ note. Even ‘9etave or unison double stops are often intentionally played “out of tune” farder to create & pulsing sound. There are musicians wino are intentionally Imlerotona i ther use of “in between notes” toad tension and release. These ‘areal emblematic qualities of good! leh usc expressive practices, The ideal tone quality ofan Irish Nddler ie much differen than that of ‘ons. Vibrato rare used the seat how sound int considered sig at bad training and “accidents” double stops ate commonplace. Like intonation, ‘ome quality is also used as shaping too in Ish music. A elassically trained "musician aims 10 use consistent tone throughout bow, phase, ora melody An rsh musician, however uses the natutal valance intone quality ta cteate undulating phrases, dams, and direction This doesnt mesnthatyou have to throw your “perfec” intonation and tone ‘ou entire Just be open-minded as you listen to and explore Irish musieCHAPTER 2 Warm-up Tunes Listen to and play ‘hem, we wll analyze them and add echniques, but for now. jus enjoy playing long with the recording You can also use the ply: along tacks fr practice oF performance ‘These tunes aswell shan of other tracks on the velerence recording, feature accompaniments (played on bouzouki, guitar, or ello) and short Sntsotions. Note that basic versions of the tunes ate notated here, while the ing with these three tunes, Once you're familiar with performances on the recording include nuances and variation characteristic flesh musi. Throughout this book, we will identify and explore these Lnnerpeetive performance practices and learn how to adapt them othe ello, Q Dark Haired Lass IG, 24. "Dark Haired Lae”Wamp Tunes 5 Cliffs of Moher SSeS Se eee FG. 22.-Cuts of Moher Britches Full of Stitches mss SSS SSS SSeS = SSS] a Ste FG, 2.3. "BrtcnesFullo Stches? aCHAPTER 3 Characteristics of Irish Tunes Insh tunes ate patterned after specific dances and are identified by mode, ype, nd frm, In aton it can be hep o identify the movie map. The mode refers ta he key signature and tonal center. The peters tote ime signature and speed. The form refers fo the numberof sections and repeats. The motive mayprefers(o pattems in the melody. MODES Irish moses based on modal scales The most common modes used are Tonian Ithe same asa major scale, Misolydian (a major scalewith alowered degre) -Acolian the same as 9 natural minor seale), and Dorian (a minor seal wi a raised 6 degre). In order tot comfortably on tadtional instruments, Irish tunes ae usually played in certain keys. The most popular major-based keys ate G fonian, D Jonlan, A fonian, D Misolydian, an A Mixolyian, The most poplar minor based keys are A Dorian E Doran, E Aeolian, and B Aeolian. Here are the four most common modal scales ofA: A onian, A Mixoldian, A Aeolian, and & Doren: 10,24. Gammon Medes of &You can find the mode by ideniying the typeof sale used and tha scales Sting pitch (or tonic not) If you have a tune’ sheet music, look a the key signature forthe scale and the resolution ofthe last measure (usualy for che ‘oni not. I'you don’t have the sheet muse, you can listen toa recording and Arone along to find the tone pte, and then use the notes fromthe melody to Alin the modal scale ‘Whether youeam a tune by ero rom sheet music, it’s important wo notice that some tunes stato end on surprising inon-tone) notes, and others change ‘modes temporal in the mide ofthe tne, lets take look at our three warm-up tunes and seus their modes, Fest, we have “Dark Hatred Las. "(Se gute 2.1 for de complete tune) This "une as 90 sharps but centers Firmly onan A, so we can observe that sin A Minolyan, 32. "Dark Haied Lae” “Clif of Moher has one sharp, andthe melody ceuers onan A. (See ute 22 forthe complete tune.) A minor has no sharps, but fos add one (on the degree yout hear that his fees like the tonal center or “home base: i becomes A Doran. Ifyou done along with the recording on an FIG, 3.3. "Cis of Maher “Britches FullofSdtches" (see igure 2 fr the complete tune) has one sharp and stats on G, While ends om aD, the entre tune f centered around G. 1s safe sy his G Ionian, SSS FG, 3.4. "Britenes Full tienes” TUNE TYPES ‘The Irish eatin features several ypes of tanes that generally correspond to dance forms. When plying for dancers, tunes ofthe same type een usually be played inerchangably Here are afew ofthe most common types of lsh dleGETTING UP TO SPEED ven plying ah muse for dancers, her is 8 specie range o temps that work foreach ine type, These ranges are nuded inte ne ype Aescrptions below na perlerance wihout dancers, te amg can ary ‘ach mote, depending onthe personal style ofthe indica! and the Specie aangemant ofthe tune. The relernce record often fates ‘Smor tons nord tobe mare accessible oss. txt you can Tel treo pck up the pace once you tel comfortable win th tunes! reels af ne in 44, with emphasis on beats one a thee, Reels ae primarily made up of groups of four eighth notes. Reel tempos generally ange {eo 200 10240 bpm or half note equals 100 ¢o 120 bpm, aE eet te “Foarghail O'Gara Seepage $0 forthe complet une FG. 25, Ras A homie spayed more slowly than a reel, and its eighth-note pais are sung, Hosnpipes ate notated in 4/4 with eighth-nove tplts fr occasionally rotated in 12/8, and they usually feature three dtnet quarter notes atthe end ‘ofeach phrase. Homppes range in tempo fom 150 to 190 bmp. seer FG, 2.8, Homie: "Pad Fahey's Hompipa’ See page 107 forth complet une A highand is most popular in the nonthern parts of Ireland and features sharp, dotted rhythms. cis sila the Seotsh Stashspey in its se of the ‘Seots Soap (sateen and dotted elghh-note patterns). Tempos range fom 10 210 bpm ouch tilt == ty FG, 2.7, Highlanainmy Lyons” See page 111 forthe complete tae,A figor doubt jigisn 618 time. and each bar generally features two groupsof three eighth notes. A common mnemonle help you remember ajig thy is “rashers and sausages. (Rasher the Ish tem for bacon.) Fempos range rom 1000130 open, SSS FIG. 2.8, Jig “Pipe on the Hob See page 119 forthe complete tune A single gin 68, but instead of Ferurng gsoupings of tree eighth noes, fc primarily features wo groups of a quarter notefeighth note pattern. The ‘nemonie could be “Humpry Dump.” Tempos ange from 120 140 pm. FIG, 2.8. Single Ji “Dinny Delaney’ See page 124 or the complete tune. Asp fg a jigin 9, soe eatures thee groups of hae eighth notes. The ‘mnemoni fora sip jig could be “cooking my rashers and sausages.” A slip ig Is sometimes referred 1938 hop tha uses pearly “quarter note-eighth not i Tempos rage fom 1101 140 bpm, FIG, 2.10. Sip Jig:"Na Ceannabhain Bnaina” See page 129 forthe comple Aside sin 12/8, and there are four groupings feither the doublejigshythm (or the singe hythm, but they are played ata faster pace in a slide. Sides {are most common in southwestern Ireland A mnemonic could be“ would tke ‘some raster and sausages.” Tempos ange fot 150 to 180 bpm, FI. 3.11, Sie: The Dingle Regata” See page 121 fe the complete tune ‘A polka isn 214 witha straight tempo and the emphasis on te of heats Polkas ate most common in southwestern Ireland, but there are also polkas from Stig tha are recognizable by thele distinctive ssceeth-note groupings “empos range from 130 150 bpm. FIG, 3.12, PotaJohn Ryans Poa” Seepage 134 forth compet une.10 2 ftiptiteet + ‘ser dances longer form or asymmetical plece that corresponds to specific step dance. I often uses a low hornpipe or reel rhythm, and can even change time signature midway trough, to accommodate the steps of the dance. The ‘tempos vary signifeany depending onthe dance steps i urea Een tee) SS = FIG. 3.13. Set Dance:"Madame Bonaparte” See page 140 fer the compte tne, An airs she only rune ype that isnt related to a dance form. Instead ais are Instrumental renditions of traditional songs with res) They areusualy played om aso instrament, al hey ate characterized by very flexible rhythm and ots ofexpresion FIG, 3.14 Air"Ur Chnoe Chein Mi Cainle” See page 147 fr he complat une. “IT AIN'T GOT NO SWING!" ‘Tete isa commen misconception that in ish muse al eighth-note pas shoud ening, se Jazz. While te est of the ihn par ‘s oflen emphaszed, n most tune types his eps crested by akg te et napa cuder than he second but not longer. Let's take a lok atthe rune types of our three warm-up tunes. Dark Halted Lass rack 1) iin 4¢4, featuring mostly eighth notes anda fay straight toythm (no trplets) so itis clearly ae “Cif of Moher" (track 3) sin 6/8, and primarily features the pattern of wo g70ups of thre eighth notes So, itisa double “Britches Full of Stitches” (ack 5) sa straight tune in 274, which means i's apotka, TUNE FORMS: Like the tune pe the form orstracture of tune is used to pair it witha dance, es also help to know the form when learning a tune bye. When discussing tne forms, i's common to assign each section capital letter Aste ist section, Bis the second, snd soon. Generally speaking. ech section of traditional fish tune Is eight measures long and made up of two sal phrases, section is tepeated with Just a few nots altered, lke a frstand second ending, we can call one Aand the other’ fr A prime"). When the form includes two ofeach par (with o without aslightchange the second time), it's referred to 28 “doubled.” When each pat is jus played once, it's singled.” ‘The most common Irish forms are AABB and AB, but youl also see tunes with three mote setions (AABRCC or ABC} as well. ‘Dark Haired Lass" has two sections of eight bars, and each section isplayed ‘once. Therefor, i'n Alta “fs of Moher" also has two setions of eight bars, but each section is epeated, and the B part has fist and second ending. Ths i's an AABB'tune “Britches Ful of Sitches” has two sections of eight bars, al each setion i repeated. This san example of an AABB tune. MOTIVIC MAPS Within these anger forms, motives (short melodic ideas) recur as well While the "motive form is not used to identify a tune or prt with a dance dentying ‘these motives and melodie pater makes it uch ease to lestn a tune by eat and choose variations that keep the basic tune intact. By assigning a lowercase leer to each motive (a,b, ed ete), we can discus the relationships between ‘hem. We can alo usea primo identify variants ofthese motives aa a,b, b’sete). As aruleof thumb, a measure can be called variant (or prime) f more than half ofthe nows in the bar are he sn, or ial the intervals between the Pitches are dhe same, bu the measure has ifferet string pitch commonly called a sequence) Often in Ish tunes, the st phrase and second phase stare with the same ‘motive, but the second half ofeach phrase Is unique (eq. bac) t's also fay ‘common fora varlnt ofthe ast measure ofthe fist phrase toe used asthe lst measure ofthe second phrase eg aba dea’). Let's analyze the motive structure of "Dark Haired Lass.” tn the A part, ‘measures 1, 3, and 5 are identical, and measure 7s variation on that mess. Measure fsa variantof2, and measured isavasantof 4, Inthe Bar, measuces 9.1, and 19 are the sume, Measure 14 variant of 10. Measure 16s the same a5 measure (nthe A par), wile measure 12s yet another variation on that measure. And measure 15s unique‘2 evens ‘Therefore, the movie form of “Dark Hare Lass” sas follows: FIG, 3.18. “Dark Hated Lass” Motvic Anais ‘Now that you understand how the letters correspond te dhe measure, these ‘motive maps should make sense without the measure-by-measur explanation, Hee's the motive map fo “Cli of Moher: Ahabed abedal Bkeett meet el rege fa And finaly, for “Britches Fl of Sitches” Ahabadl a bra’ eat Bhdede de aed GRAPHING MOTIVIC MAPS ‘mile you don need to graph out he mote map of every tune you eam, Understanding conrren melodie pts and teng abe to Wen hem ie extamaly hap wnan leang tes by ear See you can spot me mote maps fhe tes you eam i this bankCHAPTER 4 Learning by Ear |n practice, Irish music fan aural dition, and this Book snot intended to ‘lscourage or replace the aural tradition. tstend, this book sa companion stad guide to the tel textbook: your eas ‘Traditional players Tear many tunes by Ustening other mses playin ‘concerts, sessions oF lessons. 1's also common to lean tunes fom recordings and videos. The bes Irish players have feared anid memorized thousands of ‘umes that they can recall fo session, performance, or dance! As you know, this book includes a recording ta help you use your eas to ‘explore rsh muse on the cello. In addition ta this resource, you can also find ecommendatons fr further listening, and videos of many ofthese tunes on my website I's important chat you use these aural resources, You'll be suprised how much more you can absorb that way? SEVEN STEPS TO LEARNING BY EAR "you are nev to learning by ear from a recording, here are some steps tha will help you through she proces: 1. Listen toa recording ofa tune on “epeat” uni you can confidently hum along with she melody. Try to iden the mode, tune type, and oem (eg. D major double iin AABE form you want eo go te extra mile deni the ‘motive map ofeach section ae wll fe, abae abe, 2, Usten with your eello in hand, and pluck out the frst phase, It may be helpful o sing along, 3. Pause the coring. al play the fist phrase afew times 44 Listen again to the recording to check your accuracy ey to get atleast afew more notes each ime yo listen 5 Repeat steps though again with each phrase of the tne. As you go. sting the phrases together, so that you get use to playing the phases ina ow {5 After completing al the phrases inthe rane play the entre tne along with the recording repeating unl You fel comfortable wit LUsten co the recording again or other recordings ofthe same tne. Kent ifeences inthe melody in ebch repetition, and ty out new yariations and InterpretationsSome audio computer programs, such as QuickTime allow you to slow down reconding, Tiss espectallyhelpl when ‘The more you practice learning by ear, the easier the process will become. (Once you've tained your eas, youl be abe to lear the whole tune within a few stops, Vile chats the goa, be patent with yourself ancl just keep your ears pent ets give it a ry: Listen to “Humes of Tull,” and follow the steps above ‘Asyou listen, deny the mode, ene type, and form. Here eae nts o get you started. (The bsie tune s written out on page 90, you gt realy stuck, but tay not o cheat! ning fst dale runes! Humours of Tulla FIG, 4.1."Humours of Tula? TEACHING BY EAR \ether yu ae a eschar or you jst want to swap tes wih Wend. you ‘can seth mpl procas teach a tune ty ear Fest. ply the ace hie ‘one. Then lay ust he est pase, back aa for wih the stent wi he or she is conden. Conte wih each suaequent pate, pod Joring the phrases together for conta. Final, play the ere tune ogpher ‘ver a over agin unl he stents comforats plying aloe.CHAPTER 5 Adapting Fiddle Tunes for Cello The cell's range and finger spacing make some fiddle techniques and melodie lines dificult to ply. We cellists have strike a compromise benween imitating the ide’ approach, staying true to dhe tune’ melody, and playing the ella hea eet \ file's open strings ate GD AE, while a cel's open strings are CG DA, ‘an octave and it lowe. This means that among other things, we have a shift "upon the string fo ply any Riddle tunes tha se the File’ sting Another obvious diference between the fiddle andthe cellos fngeing. On the cello, our fourth geri placed fount above the open sting eg. D ot the A string, white on the fide, i's plaed a ith above fe, Eon the A sting, This means that Nddlers ean double of fnger the note of an open string ‘hile in fst positon. They have access co mere double stops (a second and an ‘ctae). And they can play fifth above ther highes sting a above te high sing) without shifting In essence, ders have a extra finger! i. 2 ay eee FG. 5.1. Fars Have an Eracrrens While these diferences make some runes more awkwa for us cellists ro play |we ean compensate by shifting more often and by slighty adapting the tune ‘when necessary. There are some tunes that are just awkward on the cello, no matter how hard we ey to adap the octave, the melody, oF even the Key. And thats okay | generally ehoose to sit out, Fo play accompaniment insted of meloly on these tes. However in my experience, che vast majority of ih fide anes ‘an comfortably on the cel, if we make the effort to adapt the tunes octave, melody, orkey (ON THE LOOKOUT FOR ADAPTATION NOTES ‘Tha adaptation notes throughout the book supoest how to make tunes more él andy. Also expanmant wih your own changas to make the melodies ‘tcomoray onthe el CHANGING OCTAVES Fiddle tunes are to high t playa pitch an thecal, so by default we play the tmslody dawn one octave. If the tne (or section) stl doesn't it right at one ‘octave, we can transpose down (wo octaves. While experienced cellists often play in the same “fiddle” range on the instrament itis my opinion that does not sound righ for any elst no mater hve virtuosic) 0 play dhe melody of an rsh tune in thumb postion, our goal sto mateh the tone ofthe fd, we should be careful about the positions and igerings that we use, Most ebh fiddle tunes are executed. entry in first position. On the cello, we should aim to play in fist postion nen we can so tha we can access the stme tone, sting crossings open strings ‘omamentetlon, and double-tops |As fo the low range of the cel, its best 10 avoid playing more than afew tes on he C stringin one phrase Ihe melody sits too fow onthe instrument, ‘ewon'tspeak ou, particulary when playingina group sting You can make an exception fyou're playing unaceompanled, especialy on slow ais oF when you tse ange as an arrangement technique to creat a specifi texture, Let's take “Humours of Tl” (ack 7) as an example Figure 5.2 shows the le lef asa dlr would pla it(a: second, n bass cla pte (third down one octave (sand four, fire four meases of the tune four times: fs, in lon 30 octaves (dhaaping Fl Tne Col " FG. 5.2, Humours of Tl’ Adapting Measures 1-8 As you can se, ifwe play it at pte (gure 526), we have to playin thumb nd we lose acceso sting crossings. we ply town Psion and shit fo, ‘wo octaves igure 5.24), the rune sounds grumbly, becanse i's mostly played ‘5m the C string You'll notice that we learned this tune transposed down one octave (figure 5.2, ani its jus igh. CHANGING THE MELODY Ha tane requires any notes higher than A440 ori there ian impractical shi consider the folowing questions 1. Can you change she pitch ofthe problem note (or noes) without changing the "meaning" of the melody? an you play that problem note (or notes) dow an atave without changing the“meaning” of te melody? 3. Are there enough vita high notes or awhward shits o Justi playing the etre phrase, tion, or ne down a octane? {In general, these three questions wil lead to workable soltion, However, In the rare case chat you've tried dhem and they a all more awkward than the ‘original melody, you can consider shifting up t play the orginal notes ofthe “Sporting Pitchfork (rack) ‘eahing to sound right onthe cello. Here ts in i most common for foe fale sn example ofa double jig that needs a ice” carters Sporting Pitchfork FIG. 8.3. "Sporting Pchiork? Common Version This sa elly fun tune to play onthe colo, but there's an annoying high B In dhe secon half, Since ifs above AMO and it's prety aoekward shit ost for fone not, let's eer othe three questions above 1 By changing the high B wo an ‘ve lose the highest point inthe melody, ‘which tums out toe pretty important tothe tne contour, Not «good atin, Aft Cee FIG. 5.4. Sporting Ptcfork” Changing to Ft 2. By dropping the problem notes down an octave, i becomes disjointed or equlesus to change the notes leading in and ou oft Ie works, but its no sgteat solution, FG, 5.8. "Sporting Pictork Dropping the Octave ofthe Problem Notes 3. By bringing the first phrase ofthe section down an octave the melodic Contour ofthe B part remains, and we ean jump back up the octave inthe last beat of measire 4 (byway of an aetave double stop) ppc Cet ph Bcesteceseash Sereretrerg FI, $6. Sportng Pitchfork” Dropping the Octave for Phrase 1 After experimenting with the three options, decide what you ike best. pessonall lke the option in igure 56 inthis case. Play this version along with the cording and listen to the eiferences between the fiddle and cello versions on the recording.aang Fa Tues Ct @ Sporting Pitchfork ‘SERIES pacer erecprert Serene tterpeteett Steerer sree y FIG, 6.7. "Sporting Pachiok” Adapted or Colo ‘iey’s Wedding” (rack) isa horappe that als features fee pesky notes snd shifts inthe section. Kitty's Wedding FG, 8.8. Kat's Weesing? Common Version Let's uy out our tree options 1. By changing the high B toa, we ose the sequence repeated motive) that ‘essential tothe melody bu theshiing ea litle easter, FI. 5.8.Kity’s Wedsing” Changing the 8 to G2. By dropping the problem nates in the first measure of she B part dwn an ‘nin, we ea eal kee the med intact and we ean connect back the ‘next mene just by changing the last wo notes of measure I, and the fist rote of measite 2 eee eee FG. 6.10. "Ky Weeksng” Dropping the Octave of Probiom Notes 3, By bringing the whol part down a octave. the melody fits naturally, but itl tose some eat in that range Ife bring down the ene cune. the A pants melody goes too tw to play FAG, 6.11. "ty Wodking” Cropping the Octave forthe Entre 8 Past In this case, would choose option 2, o that don't have to wory about the shitting anlso tha he melody stays mostly intact in nice range. Compare tis adapted ello version to the base fidle version inthe recording Q Kitty's Wedding fe ss ogy tht =e gee eee FG, 6.12. "Kits Weeking Adapted fo Colo.CHANGING KEYS ‘When you encounter a tune that just does’ stright, you can sometimes ‘anspose the tune down a ih. This sa falty simple transposition, since you se exactly the sme lngering on one string lower. (On the upside, by changing the key of a tune, you can avold a lot of the swhvard shifting, Gingering, and bow crossings that come with playing idle "nes vthout the henefic of having nF sting. On the downside, you won't be able co ply along spontaneously in groups or in sessions, since everyone else willbe playing in the origina key, After learning the tune in the perfect “cello key." try to also become familiar enough with iin the oviginal key, so that you ean play along with ther musetans. Or, yu playin a group that rehearses is anrangemens ot ‘enjoys experimentation, you might suggest that everyone play the tune in a «ellostiondly key. Make sure that your proposed key As on athe instnents, nd ether provide transposed sheet music ithe rea) or allow them ie 1 transpose itby eat. “Garrett Berrys” aig that has some quick sifng and awkward string crossings. While is possible to play iD Mixolyian It fis mich nicer on the cello in G Mixoldian, With a te notice, nos filers shouldn't have sy "rouble cransposing down with you, since 'sust one string lower, andthe tune wil tile within thet ange {isten and play along with “Gare ery’, fist in G Mixolyan andl then {nthe original ey, D Mixalydan (both ontrack 10 Garrett Berty’s FIG, 6.18. Garrett Sony's in G Noxoyciana curren eee ih ee FG, 5.14. "Garrtt Bony nD Mixoydan2 CHAPTER 6 Micro-Improvisation "don fel tha ink about the tne 00 mach. Lind mel eng certain Phrasincetan ollshore and thre, rater hon eng them in atnce Frank Gavin In most classical repertaite al dhe notes, owing, dynamics, fingerings, and Dhrasing ate predetermined and watten out, Uslly, the clasieal musician's ‘0a isto reproduce what the composer had in mind. My clas ella scares at filled vith notes to myself (and from teachers and conductor) that help me play the plece the same way, everytime perform it In oitonal Irish muse, this is not ehe case, Like we've discussed ffs primarily an sual tradition, an! when tunes are writen dawn, the sheet music juseshows the basi outline 1118 up tothe musician oad “personally.” TRANSCRIPTION VS. REPRESENTATION ‘Keepin mind hat wnen rsh tunes ate writen down the nfes ee ust sarin ont Don't be surprised when te perrmances and recordings (even on this book's relarenc recording) don't matchup perecty wih th dots on te page Use ne shoot muse 8 a staring place, then use your ears end yur erty 'o move beyond the page and aa your ov personal och, ‘Some players create theirown personal versions of tune in advance, andare faslyconsistentin dheirinterpetations But os playersate more spontaneous and they rarely ply a une the same way twice. ‘When discussing this approach, we en use the term, mi-improviation. Unlike jazz or bluegrass, improvisation in Irish traditonel music preserves the melody almost ently intact. The improvisation is found inthe “micro level—in the nuances such as omamens, bowing patterns, and suble melodiccarte magne that he following images roma coloring book. The simple outlines arelike the basic notes ofan Irish tne, Perhaps, jazz chart would be eonnect- the dots, and re improvisation would he a blank page and a box of markers) FG, 6.1, Cato Outing Here are some assumptions about picture in coloring book: +The piewte sn complete unt is been colored in. + There are endless ways to ilitin ‘+ You have to stay In between the fines in onder to preserve the original picture + Yow can use ferent tools, color, and extures every time you color in the pitue “+ Empey spaces often necesaryin onder forthe colortobe really effective. These same observations apply to tne + Anish tune wont sound complete played without decoration, +The are endless ways to decorate the une “+ ow have to stay within certain parameters, reset wont sound Ish + Now can useciferent decorations every time that you play the ‘+ Empry space or breathing room i necessary for the decorations tn be realy effective An Irish une book sus ike a brand new coloring book. iv youll the coloring tools tht you noed. Sut i's up ro you todo the coloringWeil discus four categories of ook that you ean use ‘Omamentation: the decorations you add 1. not o phrase Bowing: the fone quality you produce and the rhythmic paterns end phrasing youceste ‘Variation: he changes yout make tothe notes and rhythms each time you play "Expression: the connection you create with your instrument, the music, and "yur audience Finally we'testn how your se determines the way you pt these together, na colred-in version of the tune, sia to a colredin version of a Image from a coloring book FIG. 62, Colo Clored In ‘Throughout the next five chapters, we wil look at ornamentation, boxing ‘aration, expression, and styein moze det With this information, you'thuve all he tools you need inorder to “color nthe tunes in the coloring book, aka the “Tune Book” section see page 2) aCHAPTER 7 Ornamentation What ie ermamentaton? I's the coloring af a note, bu i's ala avery ayer peso ting The on would do ral ante way wo roll od be difrentan ' the ony of hi at form of ado asic =Nei Matin “ike most gents, rsh musle comes with is ovmn vocabulary of omamentatin, These omaments are rarely notated in tune books. and tis assumed that twadionalplayets will decide when and how to use them. While there are enerally accepted guidelines chat preserve the integrity of the style, an Individual’ taste, background, and instrument will greatly inluence his or her spprosch ‘The cello doesnot yet havea st of specific aional Ish omaments, soit sup tos t-adopt omamens from other instruments and explore ways to use them without sacrificing the “ish-ness” ofthe tunes. Bocause the cll is more similar the fide than cso any oser tadtiona ish instrument, i makes ‘sense to use primarily iddle-infuenced omamentation The names ofthese omaments are ot standardized, Most ofthe terms used here are used by idler. I've invented other names in arer to clarify the differences between some ofthe ornaments. In ation, some names are borove from other tations in order to show a comparison. In any ase is theefectofthe omament,notthelabel that makesit traditions. Foelarfistin ‘when discussing ornamentation, we can refer to the basle melody note that ‘being decorated asthe sarge? noe TYPES OF ORNAMENTS Here are the most common Ish omaments that can be adapted 10 the cell, followed by exercises, tudes, and tunes to help you get comfortable using then Grace notes are shor on-target notes that ate inserted Just before a target note, They are used in many gente, but in Irish music, they are exeeuted so ‘quickly that they eat a pereussve breakin the tone ofthe target note. Thus, ‘hey are primary used asa percussive device rater than o delay resolution of tage pith‘Upper grace notes ate produced by plucking the string just highee than the target note with your let hand, without changing bow direction. The phack should be ight and quick enough thatthe pte ofthe grace note fn" quite Aiscemable (On the idle, upper grace notes use the diatonic second, thitd, 0 fourth above the target noe, depending on persone ‘he interval ofa fingered fourth Is impossible, Fortunately ths not @ major ince, a8 mentioned, the pitch of the grace note is practieally taste and context. On the cello, technical los, Indecipherable FG. 71. Upper Grace Notes Lower grace notes are produced by quickly voleng the pitch step bel the target note, before resolving Like upper grace nots, these aze meant a create 4 percussive eect, but they area ltl less shar, since they do not inva a Plucking mosion. Lower grace notes are less common than upper grace notes SSS FIG. 7.2. Loner Grace Notes ‘Upper and lower grace notes are the bung blacks for many’omamets in Irish raditional music, ncuding cuts, double cuts, hops, ol, and eras. ‘cuts an upper grace note that I inserted in the middle ofa target note rather than before note, Cuts like most grace notes, are played with igh. ‘hand plzecato, emphasizing the percussive (rather than melodie) effect, Toemphasize the rhythmic effect of thecut,ineseaseyourbow speed on the target note immediately following the grace note. (The sudden increase in bate ‘speed is shown in the second measure with an aecent marking) SSS Fi6.7.3. cuEy slurred cut identities cut that ehythmleally separates two consecutive notes ofthe same pitch, I erates a break in the sound that takes the place ofa bow change For instance, Ifyou wanted to play the frst measure without stopping or ‘hanging the dirston ofthe bow, the two notes wil probably sound like one longer note. However, yu place a et between those two nots the rhytim is preserved FAG, 7, Slred Gut You can emphasize this omament just ike the eur when you accent the second target note by increasing bow spe A double cut consists of grace notes—the main note anda higher nate— played before a target note tn essene, tls shifts the basi eut fom the mide of he target note 0 the very heglnning Sj FAG. 7.8, Double Cut Practice scales with these ornaments, so that you can get used to them: Here's an example of ane-octave C major sale with upper grace notes, ower race notes, cuts, sured ents an double cuts. Listen o track nd play along ‘unt yu become failiar With these omaments Q FG, 7.6, Grace Note and Cut Exercise“Fohn Ryan's is polka that lends itself to grace notes and cuts. Here's fan example of how to use grace notes and cuts on this fame, Listen tothe recording and ry to pick up on some ofthe ornamentation, First try to match nny omamentation, cen fee fee to change it up abit John Ryan's Polka 1,77. John Pyan’s Polka" wh Grace Notas ana Cuts ‘A hops Tower grace note that inserted in the dle ofa target not. I Isso quick that produces percussive sound, sir toa cut. Lift the Finger slightly, and then beng ic back down again, as qulkly as possible. The effec ‘should only last a milisecond! The pick below shouldn't be heard, since the Anger on the arger note does’ came al the way off ofthe sting Instead, the hop ust reatesa rysamd breakin the sound, Se} FB, 7.8. Hop ‘Apa shits the basic hop from the middle of the target note tothe bean, ‘matching the shyhm ofa double ext, This omament is more common on the pipes than the Addl, so you ean more closely imitate the pipes hy using the ‘open string as the lower grace note, making the pat squavk il 13S20 oun |Asyou play a 8 minor (Aeolian) sae, experiment with pats and hops Aroltor“longroll” seated to acurnand sdefinitelyone of te most popular FO, 7.10. Pat ana Hop Exercise omaments in ish traditional must. Typically rll decorate a quarter note oF dorted-quarter note, but some players squeeze them nto shorter notes as wel rolls achieved by playing a series of ive grace notes, slurred together: the main note, a note above, the main note, the nate dredly belo and the main note, Essentially a oll eambinesa cut with hop, Because rolls vequlte accesso an upper and lower grace note, t's posible to pay el that tat on your Hist, second or thie finger Like other percussive ornaments the precise pitch ofthe race notes are not mporant. The eutean feature a second or ath above the ‘arget ite, while the hop can use a second o peeirie sy FG. 7.11. Rot 18 open string belo, ‘The precise shythm ofa rolls standardized, but n general she ornament oceurs toward the end of the target note While igure 7.11 is che standard sna representation ofa rol gute 712s much close othe actual hythmic representation, FG. 7.12, Rot, Rrythmic Representation “The hythm of ols takes ite bit of work, so here sa oll etude that you A) ‘an use to practice alls on each finger unl they sound percussive and precise. mEeeee ee Cpe | FIG. 7.18. Roll Etude‘Madame Bonaparte” isu set dance that can feature sine nce rol pas, and hops Listen to dhe cording and incomporate these new omaments Madame Bonaparte FG, 7.14. Madame Bonapacte vith ols, Pats, ane Hops ‘A short rolls comprised of base upper grace noe instead ofa cud anda hop Because ieliminates the Hist target not of standard rol short ols can be used in smaller spaces, —— 2S] 8.738. Ser Rot ‘The notes of short roll occur in such qulek secession, that all ofthe notes before the tinal target note can be notated as grace notes. a follows. 2 FI. 7.16, Short Rol, Noted as Grace Noteseran isa piping ornament that Is comprised of several cus in quick succession tiie rollin which the hop i replaced by one or mor cus. Is ‘sed to decorate an open sting There fs Hota standard series of pitches that create a eran. Some fiddlers play a eran a two cus in row ‘complex patterns | fend to se a to-note cut followed by aone-note cut as seen in mesure 1, while others use more seon in measure 2 ca 0.7.17. can > A treble or “bowed triplet is execute by playing three consecutive short scrubby notes of the same pitch. The fist notes accented, and the frst eo tes ae played with a heavy attack that eeates a scratchy sound. The last note {scten longer and les scrubby. I's helpful to bow trebles "down, up, down’ so that you can relly dig nt the st note and it off ofthe ast 1.7.18. Treble A triplet “melodic tiple” is worth mentioning as an omament, although ‘doesn’ introduce a new technique, Triplets are most commonly used fin ‘leap of thied withthe passing tone in between. They are sometimes surred sd sometimes bowel separately. Tey replace reo eighth notes (measure 1 by auddingan extra note measure 2). In els, they are often played aso sateenth ates followed yan eighth note measure 3) 716,718. Tletvnanton a Listen and practice shot rolls eran tebles, and triplets in the following nude, 3p ae FQ. 7.20. Short Ro, Cra, Table, and iplet Etude “Fearghall O'Gara” sa snappy rel shat can use some great short ols, eran, teebles, and melodic triples Ply along with the recording and experiment with ‘hese armaments oo Fearghail O'Gara EE ” ptf pert = a SSS = FG. 7.21."Fearghal O'Gara” with Short Ral, Crans, ble, and TipletsAsllde i the vocalization ofthe pitches in between two notes Place your Anger jus lower than the target note, and slide up ot In rsh trasional musi, a slide comes before & target note, and generally starts less han a hall step helo. While slides ate generally short and sub, the precise length and use of slides s deine a matter of personal taste FG. 7.22. Side Some fiddlers use pressure variance rather than lissando to create the fleet. To use thls presiurd side gly place your ger on the target not, applying lightly move pressure than requied to play harmonic. Gradually add pressure, and sten as te pitch sides up to the target ite, 2S FIG, 728, Pressured Side Vibrato is pulsating effect and Is used in almost al types of musi. In lasseal music, ts consdered vial to tone quay n wadtional Irish music, however, is considered an omament When itis sedis purpose isto decorate longer note usualy atthe end of phrase ‘Vibrato is one ofthe biggest harriers between classical and traditional ‘musicians. No matter how hard thy try, many traditional string payers can't praduce a consistent warm vibrato, and no matter how good they ate, many classical players can't stop using it ‘Train your vibrato, and learn when an how o use i This i essential you hope to play tiple styles of muse. would recommend carefully practicing vibrato with a private cello instructor. ‘Many flees don't use vibeato a al Frankle Gavin warned me agains it "in faster dance musi, vibrato sn veally appropiate. gets in the way. and ten ther ust inte for it” Tose who do use vibrato generally reserve i for longer notes and in ars ery O'Connor prefers to “use alte vibrato t widen the note ther make it Plalntive agai.” He only uses vibrato at the beginning f long notes, al tis ‘effect widens the note without geting in the way.Ctneneition as Practice this A Mixolyian seal as vbrato-and-slide exercise, and tsten co therecording. 1. lst ply without any vibrato, unl you ean ress the urge to use it 2 Second, add vibrato o che beginning ofa few notes toe secorate them, 3° 3. Finally add nf short slides, without geting 00 “soupy: hasize and mae SS ——— FG, 7.24. Vivato and Side Exercise SSS SSS SS SS Double stopsare used in just abou any genre by any bowed instrument. By "ising and lowering your right elbow, you can control the ange of your bow, ‘and thus control string crossings. ln between a string eossing, you ean pay two stings at once By slightly altering the angle, you can make one ofthe stings {dominant ortouder an the other. hiss parculy sel in sh suse when yotineed the ow arm conmot Featue the meledy note more than a arthony ‘or accompaniment note that you ae double stopping with ‘Try the following exerese to explore the roam between string exossngs. ‘Slowly move fom string to string, playing double stops inbetween each sting ‘The hollow, square noteheads are the not dominant notes FIG, 7.25. Doule-Stop Exercise While double stops are never notated in tune Books, they ate use epully to serve three mala purposes: 1 double stops can help outline the chor. This i espectaly effective it Playing soo, toring out the harmonie rhythm and structure and i a the Tole of guitar or bouzouk' payer26 2. Secand, dile stops can ep you accent or syneopate This sa great way to add thymic emphasis and Is eharatersieof concertina or accordion players 3 Thin, you can use drone bowing ofmitate ce pipes This provides a strong Tonal center thatserves as foundation forthe melody Most effective drones include an open string, but within reason, fingered drome bowing ean also ‘Work for short periods of ime "Dinny Delany's" is single fig that has enough room inthe melody to su sides, vibrato, and double stops Listen tothe recording, and use these ‘ornaments toad variety tothe med Dinny Delaney's weerAirs are sualy played solo end ata relaxed tempo, so they tend to provide plenty of room for these types of omaments. Experiment with the theee types Df double stops and decorative vibrato on his slow ir, “Ur Chnoe Chein Mle Caine" Listen to my version on the recording for ideas, and explore yout oven Imerpretation. Q Ur Chnoc Chein Mhic Cainte ms 40 1. 727.“Ur Chnoc Ghein Mie Canta wth Double Stops and Vato20 mere ‘Now hat we've dscussdallofthemostcommonomaments,ler'susethemin ‘context, Here fa straightforward reel cae “Walter Sammon's Grandmother notated ast would appear in a tune book. Consider it an untouched page in a coloring book. Walter Sammon’s Grandmother FG, 7.28. Water Sammon Grandmother’ without Notated OmamentationNow, here is“Walter Sammon's Grandmother” with all common omaments we've discussed, You wouldn't yplally pay al of these types of ornaments dlring one time through the tune, but isa good exercise to see where they «an go, Experiment with the placement and frequency ofthe omar. Just remember empry space also necessary, Walter Sammon’s Grandmother FG, 7.28, Walter Sammon's Grandmother’ Omameniaton Suggestions {stent the recording to hear me ply through the tune few times, using mentation each time. Notice that she ornamentation isn't the only ‘chaning. Next, we'l ad bowing to help create expressive an aiferent on element th Interesting phrases« CHAPTER 8 Bowing ‘Don't of micas «combination of nots 47 doe. Think of curves lines oF shapes ofa comin tion I's. wane, no pate! Martin Hayes Teseems that in ealand, there ae almost as many diferent bowing styles as there are fides, I've seen dens of ifferent bow holds, and 've heard juss many ‘outcomes. While there are general guidelines, theres no correct way fora ish fiddler to approach towing and this is us calli even more freedom top sind choose elements tht work best for us personally BOWING PATTERNS While the specifi bowing ofa tune n't ever predetermined, there are some bowing patterns that are mor stylistialy relevant. The purpose behind these bowing pattems isto add variety, bring out nuances in the melody, emphasize sv ornament, elongate the phrasing, and reat gentle syncopation Practice this E Dorian scale with some of the more common bowing patterns for wels and other tunes with four note groupings. Anew pater is introduced every to bats. Fel fe to repeat each patern multiple mes und t becomes natural, Altemate starting each see on an up-bow and a down-bow. The last ascending and descending scale is a combination of all of the most eommon bowing pacers, as they could be wsed in tuneFG, 81. Ree! Bowing Patterns Exercise Sigs another tunes that have groups of thre stead of four use a different set of bowing pattems, Practice this D major scale as you become comfortable with fg bowings. Again, altemnate starting on up-bows and down-bows, FIG, 82. Jig Bowing Pattoms ExerciseWsimportant remember thatthe syneopated bowing pattems tnd close their efectifthey are over used. t's good to insert afew simpler bowing paterns ike swo bows per measure, or separate bows) for contrast. JUST KEEP BOWING eon nmin the chatenge a complex and spontaneous bowing pats to ‘rnte he phrasing tat you want no mater your Bow avecton a lacement. “sally Gardens” rel that i almost entirely made up of eighth noes, but you can give it shape with a synenpated bowing ptt Use these owings as starting place, but experiment with your own combination ofthe basle bowing patterns and ryt imitate those the reeoeding. Sally Gardens Q FIG. 8.8. Saly Gardens" Bowing Suggestions “SALLY GARDENS” ADAPTATION NOTE you play Say Gardens no octaves below he ase ange, youcan preserve ‘more ofthe natal sting crossings“Star above the Garter” is slide that lends self creative bowing patterns, ‘Notice that it ecetes nice effect to slur into a note tha is omamented. Listen fo the recording for inspiration as you expand on this howing and practice incorporating the omaments you've leamed I've included the slutred euts in ‘this tanscrpton, since they affect the bowing patterns but feet fee toad in any other ornaments a8 wel, Star above the Garter FIG. 84. "Star above the Garter’ Bowing SuggestionsBOW PRESSURE AND SPEED ‘When studying with Caoimbin © Raghallagh, Frankle Gavin, and Gerry ‘0°Cannor, [found that their respective bowing techniques are very ferent ftom each other. By incorporating tips eared from each of them, and applying thom to the cella, we ean create a esh Bowing sound and eonttol our tone ‘quali. You dent have o produce the loudest. most ‘cls one al the ne when Playing this music ofc, you do, you prebably wont be able to keep Up {rnyemialy and physiealy) and weit sound ‘Caoimhin © Raghallaigh primarily plays cadtional Ish musle, but his bowing styleincorporates old-time and Scandinavian nluences. Heuses light Baroque bow, abe often plays a the ip, ith fst bow speed, and hardly any pressure. This produces a quiet, floating tone quality. From Caolmbin, {eared to pay with lighter bow pressure. I has helped sme relax my right and even thoogh I'm paying complex bowing patterns ata ‘lipplng pace, end thas helped me avoid hand injuries. . Sy’ il 4 FG. 8.5. (a) Relaxed and (b) Tense Bow Holis4s Praying athe tog can make the tone lon dar, ant wil goneraly be slower 40 speak Play at the balance pa wh shor bows and avod ing your Bow between he rots, Franke Gavin is one ofthe most well-known fides for energetic dance ‘anes. He has a high-energy sound that is derived from using primary shore scrubby bows, near the balance point. He usually uses no more than afew inches ‘fis how, reserving long bows for added emphasis, Many casialy trained cellists havea tendency always to return tothe og, and use longer hows, Mtr working with Frankie, began expesimenting ith balance pont. about midway up the bow. Because there's a natural bounce at this point in the bow, the hal-wil worksith you when you ae playing fast notes FI, 8.6. Playing at (2) the Balance Paint ve (b) the Frog“ cries By using bow pressure an speed as shaping tools, you can creat inteesting Gerry O'Connor's bowing Is more deliberate, and he approaches it with the “mind ofan engineer.” He uses the tonal variation aflonger bows to adel contour to the phrasing. From Gerry, I learned that even though Irish bowing isnt written down bforchand, i's important tobe deliberate inthe moment Your bow technique certain section ‘a ad alot of variety tothe tune, For insane, you can mak sound wispier, by lightening up oF speeding up your bow dike Caoieahin O Raghallaigh for a few notes. I you want to emphasize a phrase or note use 4 scrubber tone (la Frankle Gavin. By deliberately choosing your bowing pattems and technique, you can shape the phrases more gracefally pe on the Hob” jig that lends itself o variation in bowing style Try playing ic chrough. incorporating thse three tps. Listen to the recording and compare the lighter tone ofthe firs time thought the scrubber sound ofthe second ime through, Experiment with your bove speed placement eng, and pressure to create undalating phrasing. Also ieoeporate che owing patterns that we've discussed in the lst section Pipe on the Hob FG. 8.7."Pipe onthe Hob"or Bowing Practco “PIPE ON THE HOB” ADAPTATION NOTE 1 ou play the tant we octaves lower than the fiddle, you can ecu make on bowing than sitingRHYTHMIC ACCENTS What yowre tying wo do artcuae the rym and the bes rather tha paving ie fpr) tes lder—ply al hemes art hom safer, Cavin 0 Rechalagh Dynamics can ao be used to shape your phrasing. Rather than using accents to ‘make emphasized notes louder, rsh fiddlers often use ghasted notes or inverted accents. The emphasized notes are played normaly and the surrounding notes are whispered, using extremely light bow pressure, so tat the notes a almost Inte, Here's visual representation that compares normal notes (shown with, standard note size), 10 accented notes shown with accent marks and bigger ‘ote size, and to ghosted notes (shown wth tiny noe size). FIG. 8.8. Ghost Notes Ghosted notes ean provide enough rhythmic variety to make even repeated ‘notes interesting, In the following exces, you can experiment with ghosted. ‘ote patterns that emphasize different bets in the measure. Sa ea aS eee FG. 8.8, Ghosted Notes Exercise Luke we discussed inthe “Ornamentaion” secon (page 35), you ean also ‘add shythimic accents with double stops on emphasized syco You can use open strings, or experiment with diferent chord tones ose the ‘melody nots, bu the melody shouldbe the louder fr dominant ofthe iad el Beats,Na Ceannabhiin Bhaina® is sip jg that really comes to life when you ‘se ghosted notes and double stops to create rhythmic accents Listen and play along with Lic Cato and me onthe recording, using the following suggestions for hosted notes and double stops as guide, Once you're comfortable withthe tune, add ornaments and bowings to decorate i Na Ceannabhain Bhaina FG, 8.10."a Cesnnabhain Shaina” Rhythmic Reconts ‘This avareness and contol of bowing patterns, bow pressure, speed and hythmicaccents ive shapeto the tune, and, lke Marin Hayes told me,“ Without shape, i's nt really muses eally annoying” ‘With al hat i ng, e's eur to "Waker Sammon’s Grandmother” once again (ve worked out the omamentation on ths ane on page 39). This ime, ‘wll add some bowings and phrasing, Ply the bowing as wen unl you're ‘comfortable with the diferent pattems, Then experiment with bow pressure, speed, placement, bossing patterns, and dhythmie accents. Listen back to the recording for aditional ideas. od Walter Sammon’s Grandmother (revisit)CHAPTER 9 Variation The more variant bers Jong sit ot nthe ation on serve extend tha tradition rather tha dest by using court Son © Ride Variation refers to minor changes tothe melody that generally do not obscure the basle tune, These changes serve 19 make the tune more complex and interesting when repeated over and over agin. The usage and complet of ‘one’s variations is up 1 she player, and these variations canbe composed in advance or improvised on the spo, ‘ial Keagan, a musicologist and fantastic Matis, suggests that vaeations re motivated by a players desite 1 change one or more of the following characteris of the tune: rhythm, melody, harmony, and phrasing (Characteristic | How to Change It Rhythm | Change nove values and wid syncopated emphasis Melody [Change the contour ofthe melo ine Harmony [Change the undesining choc progzession implied by the melody or ase chromatic notes, Phrasing [Add rests or aller melodic motives lightly w cae longer or honsr phrawy By using these four categories, we can analyze vations and lear 1 apply them to our ov playing. Lev's use the jig *Sixpenny Money" to demonstrate these four types of ‘tations. Listen co my variations, and use them asa launching pad for your Here's a transcription ofthe hase tae fllowed by some suggestions for ‘variations ofeach of the categories: rhythm, melody, harmony, and phrasing Keep n mind hat the repetitions ofeach section would typically feature diferent ‘variations, but co simplify this exercise, ve just ncaa repeat sign “Rhythmic Varaion Mele Variation curren Sixpenny Money eee aaa a saeaee Melodicvation 5 eyeimie [D Melodie Hammon Porning Basi Riythmie Melaic Harmonic vy EPEAT Ete FIG, 2:1.Sopenny Money’ Four Type of Variations “SIXPENNY MONEY" ADAPTATION NOTE "ay “Sipenny Money down th Kom fe custrary key (G mac nstead ot ‘he usual D maj in oder o make me clo rend“BUNCH OF KEYS” VARIATIONS Jolin Carty known for his innovative variations Listen to his version ofthe ret hunch of keys.” and comparchis variations. He plays he tne our times onthe econding, and it’ diferent everytime, Fgute 9.2 Is atanseripton ofthe frst thee mes through the tune. This tansespton Is transposed down an octave to iton the cll, I'S an ABCC tne, bu ve written out the repeats o show hhowrhe alters the melody within that form, Johinstars witha simpler variation of themelady and adds more complicated ‘asations during the second and thed times through. Notice chat there are some motives and phrases that he plays the sme every ime (like the fist few measures). This keeps the melody ntact nd recognlzable, despite the variations he ads every ce, “BUNCH OF KEYS" ADAPTATION NOTE Wile these vations are most playable on te cao, you ean adap nem by changing the pecblem notes tom hgh 8s te Gs, ery laying he socomBunch of Keys sercgutel si efereepeecpetel eters) See eeerpestirete fees peceroppiels ef rae rpecnitet plete:asso ss prtestefeter etl trey pester et thy fetch p teen peiperecet eet ee 2 eS SSH FI, 2.2. Bunch ot Kevs John Cart Varise cures “CASTLE KELLY'S” VARIATIONS ‘Tricia Clark provides a great example of the four categories of varlato version of Castle Kell,” as wanserbed here, Ol {ome la the bast tune, followed by 0 of Tricia’ transposed the de variations down an octave, 1 range Castle Kelly'ss cures FG. 9.3, “Caste Kells Tic Car's Varations ‘As you learn Tricia’ frst variation let'sdentiy examples of the four etegoles of variation, Inbar, she changesthe rythmshen she replaces the quarter noteand wo cahth notes witha dotted-quarternoteand tled-eighth-note grouping. She also steipates the fourth beat, paying the Cn eghth noe easy: gape gig tar FG, 9.4. "Caste Kats" Rhythmic Variation (Bart) lin bar 25, she changes dhe metody, inverting the contour ofthe une. FIG. 95. Caste Kellys" Melos Variation (Bar 25)Inbar 9 and 10, she varies the harmony by using double stops co change the underlying chords of he tne FG, $.6. Caste Kallys* Harmonic Variation (Bars 8-10) In measure 32, she extends the pas, so that instead of ending a beat 4 'cresolves on beat 1 of the next time through the tune. Ths aration creates @ longer phrase, and forces the second time through the tune o start bet later than usa FG, 27. Caste Kellys" Phasing Variation (Bar 32)neCHAPTER 10 Expression “As we are ase Having ow Bais engage inthe extreme, as buns ‘mands ne are rae taught the importance of our emationol engagement ‘hoes for personal net and weerprestion Siobhan Peoples ‘Theexpresson and emotion that dives rsh tradonal music isendlesly mote important than virtuosity. The goa sto show off just how fast ox high you «can play, nor how well you can improvise, Instead, the goal sto cone wih the musi, enjoy, and wo engage with the listener andi other sascians, Depending on the context and motivation ofthe fiddle, expression ean bbe used internally (as x means for the musician to connect withthe mus) oF ‘externally (asa means forthe musician to connect with other people. Fiddlers who focuson intemaiexpression often play tunes that are assoclated ith specie people, places, and intemal emotions. Often, these fdas wl perform with their eyes closed and their heads down; they seem tobe ost inthe ‘se and unaware af the audience. This typeof expression draws people into the musi in an understated way and is common among gretsesion players. Siobinan Peoples is a champion of internal exptesion. She emphasizes the portance ofbeingfamila enough wth themusithat yuan relax andinteraet ‘ith the tune and your instrument. he sys, Ifyou constant keep your mind ler ican be dlicult to fuly relax and commune with your instrument on at ‘motional level ind that when masielans get a certain point of elation, ‘he iteration between them ane ther instrument becomes complete. Fidulers who focus on the external expression aim to have an impact on the listener. They deliberately connect with the audience through eve contact {and body movernent, and they get people to reat to the muse by reaching out ‘o them, rather chan draveng them in, This 8 more common aman ders who've spent thelr careers as entertainers in large-scale concert halls, Frankle Gavin is a great example ofthis approach, During a tne se, he ‘wil ‘usually ry and make people want to getup and dance, because i's dance "usc alter all” As for the slower sets, he believes that ifyou can playa arin ‘cotrect tame of mind, emotion wll drop fear rom neones' eves:a ‘Once you have learned (and memorized) a tune, ty to visualize diferent contours, image, stories, and ides that help you get into the “mood” ofthe tune, Ax you visualize the tune, you wil init casero respond to the melodies and ereate energy through expression and emotion. This i «gre ‘ether your goal so draw Hsteners io reach out mee them, “SCATTER THE MUD” FIDDLE EXPRESSION ‘Scatter the Mua! i a great jig fr this exercise, snce the te fs veally well with the jing slappy melody. Ty to make dhe tne sound lke puddle jumping Then, just for fu, ty to make sound as dainty and clean asyou can, ron can be quite effective, fnot entertaining} Tap your fet whileyou play, and imagine (or ifpossible, watch) a dancer doing jg Listen t Ellen O'Brien's expressive performance of "Setter the Mud” (on the fide) sod try to eaptre tha sprit on your cll. fxplore different interpretations ofthe melody, tying out both internal and external forms af expression. Take Siobhan’ advee, and lt your mind wander abit, so you can selax and “commune” with your Instrument. Then, use the tune 19 ell story ‘nd make yourlstener want to dance o lap along Scatter the Mud Ses Settee ial papettenr DySeectettiee etter URS FIG, 10.1. "Scat the Mus! “SCATTER THE MUD” ADAPTATION NOTE This une et down to cetaves fom where Ite played on fd, to avoK aware esting“LAMENT FOR LIMERICK” FIDDLE EXPRESSION “Lament for Limerick” isa beautiful slo ar Like ll airs i should be played ‘ver rubato, and with ts of expression. Aiea yplealy songs with words, and sare familiar enough with the Isees ofthese songs that, ‘hey let the words guide the phrasing ith breaths and freer rhythm) and the "motion with stories and dram) ofthe pesformance. Tr to channel Frankie Gavin's tame of mina” while plying this ai See you can make your listeners ‘want to cry ibeeause ofthe pure emotion, nat becanse of bad notes, of course) Usten to Siobhan Peoples’ version on the recoding, Fel fee to create your ‘own version, 38 you connect emotionally withthe melody, You'l noice that she plays around with dhe melody and shythm significantly in her version. Recause rs are usually played soo, the individual can take more liberties with the ‘hythmie structure and variation of the tunes This freedom prides space for ‘ndvidva expression (oth intemal an extemal) to come through 9 Lament for Limerick = FIG, 10.2. "Lamont for Limerick”CHAPTER 11 Style omamentatiou, bowing variation, and expression are the tools weuse co color Irish tunes, then tls the outline ofthe image, ofthe nuanees and tendencies thar guide the player's choices, A musician's syle an be infuenced byhis her teplon, experience and personal ase REGIONAL STYLES “Aint lace, regional es ote. Lok a le dep, and ou ca sce the, Look een dest a your argument once apa fll par. Marin Haye ‘he distinction of regional fiddle tes has boon a matter of discussion since it was ist brought co publi attention by Sen O Rada 1963 wih his eado broadcast Our Musical Heritage, © Riada suggested that musical sls, Ike lets in language, are speci to local communities ‘Over tm, this idea became so embedded in the discussion and ently of ‘ronal ih muse tha today, veal all ish rsclans clam regional styles thelrmusteal heritage. However, these physical houndarleshave become ‘decreasing definable as modern misicians travel, tout, lmmagrate, and record, ‘Now that Irish musi s such a global genre's upto the individual decide wat seo ses to imitate and, in essence, what region to call home ‘While te nuances of regional sls te often considered more poetic than praca, che basic characteristics of few of the most popular regional styles of Inch dling are worth inodeFIG. 1.4. Felons of elas he Donegal syle is generally fast and percussive, Is sound fs fluenced by Scotish traditional music and the popularity of the fide as the featured instrument, These influences are manifest in ts repertole (highlands and strathspeys and fast reels), modes (A and E miajor keys are popula), ‘ornamentation otsof drones fst trebles doy spaseletshandomaments) and bowing (separate, articulated bowing patterns that rarely str int the bea, Myou’ re interested in Donegal fiddle musi sen to recordings fon Doherty, Paul O Shaughnessey. nd Tommy Peoples. 1isten to “Timmy Lyons,” a popular @ popular Donegal highland, played by Siobhan Peoples (daughter of Tommy Peoples).oO Jimmy Lyons 6.11.2. "dmmy Lyons? ‘The Slignstyle is very popular regional syle, Sligo fiddlers tend a play fas, tout they crete long fuk phsses by slurring across the beat. A wide varity of ‘nmamentation bs used to create “hf,” and there sa amboyanceinvatation. “The grandfather ofthis style fs Michael Coleman, one of the fst rsh fiddlers to create commercial recordings, His distinct way of playing has infuenced ‘many ofthe great fiddlers of the past hundred years, Other notable Slgo ders Include Kevin Burke John Carey, and Andy MeGann, Listen to John Carty playing “Sligo Mal i) Sligo Maid FI. 11.8. “Sigo Mat “SLIGO MAID" ADAPTATION NOTE ‘Te tune i played in a range o kay, but when tis played in A Daan, 35 6 er, fs Reto pay down wo octaves.‘The East Galway spe s worth mentioning because it uses a wider range of ‘Keys than other tegons, rsh musicians from the are tend eo change the mndes ‘of standard tunes, and they often use chromatic accidentals. Paddy Fahey sa ‘wellknown composer and performer ofthe se stent Eileen O'Brien playing “Paddy Fahey's Hornpipe.” Paddy Fahey's Hornpipe FIG, 11.4. "PaskyFahey's Hornpipe‘The Claresye is wellAnown for is slower tempos and focus on the impact ofthe melody. Rols and cuts reuse instead of trebles. Long bows beats and slides into notes creat longer phrasing and accentuate Clare fiddlers te to focus on internal expression and ik rather than showy percussive dance, John Kelly, Paddy Canny, and Martin Hayes have helped shape this egin’s characteristics, Listen to Kate Henderson playing “The late Reel The Clare Reel FG, 115. "The Clare RestStab Luacea is known for its enduring connection to dance an forthe abundance of slides and pols. The ight, syncopated rhythms of these ene ‘9pesinfuence the way that Sllabh Luachra players interpret other tune sypes 48 well The fiddlers inthis region tend to play mote drome double stops and hosted noes, andthe dvenbests ae very often obscured by slurs, otmament, variations inthe melody. Listen to recordings of great southern players tke Padraig O'Keefe, Julia Cliford, andl Mat Craniteh, Usten to Matt Crate plying a popular side called “The Dingle Regatta” 7) The Dingle Regatta seg hee FG, 11.8. The Dingle Regata® ‘This far fom comprehensive description ofthe regional spl in ish fiddle musi. As Sean © Riad said in hs influential Our Mustew! Heritage broadcast“ doubt if theresa county in Klan thet hs not gat its own quota ‘of Rae players and its own tradition: Thtty-1wo counts and, you might say, thiy-wo syles—at eas”1 PERSONAL VOICE ‘Minicians ho come from he go of traditional mie need 1 Be vr el hat they enone ong pe plait teed 1 be ‘nh hey watt be fmasicalls.Bt h oung mein, ving ha edo, reed have respect forthe gen far wre [tame] rm, adhe pope ws Ae ave who a iia ee ae Seams Conny ‘So mich of tadional Irish music comes down to persona interpretation and the tendencies of individual players. Some ofthese tendencies an Be accounted for by region ofa player, but others ate die to the personality. experience, and taste ofthe individual, Lots looks at examples of personal voice by comparing the following popular tunes as played hy some of my favorite fiddlers. For convenience and accessibliy, ve transposed the wanscrpsions down one octave “MAID BEHIND THE BAR" VARIATIONS: Maid Behind the Ba isa popular rel tha splayed ll ove Ireland (and at sessions thmughout the world). Compare the basie tune (rack 40) Siobhan Peoples’ version first repeat, track A), and to Matt Craniteh’s vetson (ist repeat, rack 2),Maid Behind the Bar fete. Eecrtt irre.n caren vox pratt tesseretr Oh epett iter eryBasic Siobhan Baie Sioban Mat FIG, 1.1. "Mae Behind the Bar “MAID BEHIND THE BAR” ADAPTATION NOTE "you play te B part down an octave unt the lt tree measures, you can ved he awkward hing, See the “Tune Book ortho bas une on page 92 Siobtan plays this tne in G major rather than D majo. for convenience to {us calsts.She also plays ata slower tempo, so we can hear all of her valaons of the melody. she uses quite bit of ornamentation, including upper and lower face notes, double euts, double stops, and trebles, She slurs into the beat in ‘rou of os and threes, but doesnt vary her bowing pattems very mich, While Mace plays this tune in the orginal ke, he plays all the high Gs in the B section as G sharps. This asa unique modal fee. He doesn use many ‘omaments and favors ples and ols, Wile he doesn't use alot ofataton in ‘the melody he ses complex owing patterns anda foto variety to the phasing He starts most phrases on up-bows, an often slurs actos tong beats 2" curr “OUT ON THE OCEAN” VARIATIONS ‘hae ts telly well on dhe elo, Compare Jobin Canty est repeat on track 44 and Out on the Ocean octane SHS fe pf F ete ett% eure FIG. 11.8, Outen the Ocean John Carty adds his personal style to this tune with his use of hythmle accents (both double stops and ghosted notes) He changes the melody often, and occistonly slides Into notes. He sus pickupsinto doven beats, but doesnt ‘overuse slurs asa phrasing tool ‘Uz Carol plays around a bit more withthe phrasing ofthis tne, using longer slurs to syncopate and extend phrases, She uses subtle melodic variations that she buds on in subsequent repeats though the ane. She uses sides and ‘bata to emphasize important notes, and her most common omaments are ouble cus and patsCHAPTER 12 Putting It All Together ‘Now that you are comfortable taking tunes fom the page tothe cello e's play ‘fina et of to tunes called “Teahan’s Favor” and "Rolling Waves, Buc fst title about arranging "sets." It is very common to crete medeys orsts of tunes to add direction t an aerangement. Most sets include betwee ‘ro andl four tunes and each rune in the sets played about two or tree times, ‘ccassionally featuring ehythmic breaks a nos or interludes, ‘Some sets are mote subi, eaturing tunes that are si, More dramatle or energetic sets end o include wansitions with «novicable change in tempo (eg. from a slow hompipe ta fasthomnpipe), in tune rype eg from a fig toa ee, and/or mode (eg, from D lonian tof Aalian}. When pating canes together, listen forthe relationships between the tes and use these relationships to create eetive transitions ‘As you learn the following set of mines, e's review aur approach: + Analyze the mode, tune ype fre, ane motive map. + Trytolearn itby ear froma recondng or another musician + Look the range tose fand how you can adapt the melody to make it snore cello-rlendly. + Addcolortodhetunewith your own personalstyle. usingomamentation, bowing aration, and expression. ‘+ And. inal inthe context ofa se, en ifthere sa change in emp, tune type, and/or mode between the tues and use these change 1 rete an effective transition,Teahan’s Favorite I. 12:1. “Teshan's Favorite” Adapted for cao TEAHAN’S FAVORITE: ADAPTATION NOTE 1 you pla he pat down an cetave nti th ast measur, he malay ts ‘ely on he coo Foe gal version, Seepage 1311 he “Tune cok Rolling Waves 18, 122. Rolling WavesBACKUP PLAN ‘xperiening wih accompanying Wish tu the accompaniment or fo has great nor range ane vest Tey Now, with these ides, techniques, and approaches, your'e ready to lam tunes on your own, Using the following “Tune Book" fand other boots and albums), you can build your repertoire of Irish music and apply everything you've learned lin go fi!PART Il. TUNE BOOK Like pica rsh tune book, eis section 2 eompation of traditional canes in their most basic form, without specifying the nuances ofthe msi. Because tunes have ens variations and interpretations. dhe representations in sis fue book souk! be usel starting point, not tera trnsepion Irish wine books nd tesources ae typically written in tebe let. es worth ur sme fo study thi clef so that you cat ead itt pitch, tansposed dow one ‘octave, and transposed down two octaves, Hecause ths tune books specially for cells, Pv onl us ass clef, (Yo welcome! Just emember tha inthe lush must word if tune frien atl wl be vito in tebe let {ve incided wo symbol to help you naigate tis tune book se gure 1.0 lest, «curved fine fs placed sve a note ifan ornament is important wo the busi eantour ofthe melody. Bu i's up co dhe player co decide what ornament Second afermatasyubol spaced aver a note to mean fine In other words, thelist time you play the tune, stop on tha note, Occasionally the fermata will ‘cur the fst measure ofthe tune, In this case, that mesure becomes a "tag atthe end to vesolve the une ay FG. 13.1."The Siver Spear” Last Tao Messutes Enaing on Fermata‘there sno fermats andthe last note ofthe last measure doesn't resolve (figure 13.2), you can add the tonic noteor other resolving pitch as aon the end figure 122), FG, 182. The Siver Spear” Last Measure Ending ana Resolving Pitch ‘While these tunes are written down foryour reference, I wouldstilencourage you to memorize them by listening rather than reading when possible. Fadler (Gerry O'Connor has some great adviee abou learing by ea, even whea you {ust have sheet music: "When I'm leaning a tune aut ofa book oem record nyse playing it slowly so hat have it right, Thea I sen to myself paving ‘overand over, absorbing tina diferent way" By “absorbing” music auraly—even if you're leatning it from your own recording—the nuances are easier to plek up, and you can start feng the musicality rom the star 4 you play these tunes, use the oraments, bowing, and variations we liscused in part. necessary, change the octave, melody notes, or keys so that the tunes it naturally on dhe cella. Look for page numbers and tack numbers ta reference runes aut in the lssons section ofthis book as wells ins on ine adaptations an listening recommendations, (Create sets of tunes and get together with other musicians to make up arrangements. Mos of al, have fun!REELS Bunch of Keys 1 Some tanes have mulple versions that are jst ferent enough hat they cathe played simultaneoy, Take these wo versions of Bunch of Keys fr example, The contour ofthe mods ar almost excl he rame; however, they aren diferent odes See teesBunch of Keys 2 ‘See page 53 fo John Gary's vatlatons on this tne o avoid the high B nots, you can transpose the entite section down an octave, except forthe list measure In ard to transition backup, you can ‘hang the last note befor that last measure from an Ato an Ea Castle Kelly’: cia Cacks variations on He 04Cillian's Midnight Dip pee torres peer E PAPE eh tees ae, ‘While itdoes i celyin he original key, t's mote cello friendly when played oven 2th, in Amino,Cooley's Listening Suggestion: Wat Wan ope efit efit OU eerie et et et eiref elf tel tofapp th Eh SE ir tery (itr reepepepre eet PEF Dark Haired Lass This was one ofour warm-up tunes (page 4-See pages 7t0 12 tfeam about this tune’s characterises, Listening Suggestion: Blackuwterby Akan es helpful to play the entre rune dawn an extra octave See figure 21 on Page 4 to see the lower octave.Drowsy MaggieEarl's Chair » Welby Matt and Shannon HeatonFair Haired Lass Here, hisruneis written down two octaves, but you can fee fee transpose up and explore other adaptation options Sept SE ea Farewell to Connaught LUstening Suggestion: Close Home by Donal Claney90 rato Fearghail O'Gara See figure 721 on page 2 for dscussion on omamenting this tne, ona ee er tihete eet oe titre ee ry Humours of Tulla See gure 4.1 on page for discussion on learning his rane by ear. The mode is G mj, the te ype sa rel andthe form AB. The motse map i abae sac dea de ‘Woe histane is somerimes ao payed in D mari fs beter in G major onthe ela od Listening Suggestion: Looe Arby Gary ShannonJenny Dang the Weaver You can playt down fit, or drop the octave ofthe Band C parts Here are ‘he Band C pars written down an octavefe ve 00 Killarney Boys of Pleasure PERT te FEE BESET eee atte te, EE epee eta92 Maid Behind the BarMy Love Is in America Listening Suggestion: Lonesome Touch by Marin Hayes and Dens Cal ftte 6 pappeperet tre Sees erettemters perepreste ttt ess) Periwig Ustening Suggestion: On Common Ground Cillian Vallelyand KevinPigeon on the Gate Listening Suggestion: Forgovien Days by Davy Spillane and Kevin Glackin Ste tet Py Sete rite ly Gardens bossa patterns and 1 see this tue written down inAirby Gary Shannon96 He 30 DET Renter sete etae a f pete fete ert eee ry St. Anne’s Reel LUstening Suggestion: Champions af the Nork by Desi Donnelly and Mike MeGoldickStar of Munster Listening Suggestion fthe Cap Fs Kevin Bathere s008 ‘Swinging on the Gate Ths rune also played In G, but I've written iin D ere pegplifre eritererese oy litre riters age FEE tee The Clare Reel Q Secure 15.0 page ena hun incon fraseThe Collier's Reel Listening Suggestions: Martin Haysby Matin Hayes; Cases fri ping by Wiper tReet De wer tpi te fe tee a A pte ea Papeete ee papel tes Ee tteThe Morning Dew Listening Suggestion: Dusk THD by ohnny ORC sd Charlie Lennon j aThe Silver SpearThe Teetotaler’s Reel Listening Suggestion: Chapa orth by Dect Donnelly and Mike MeGoldsck feteteer emp ce cell Loe eee Cetra pepsrpertiyit isles teesrerppetepr ry pap irl tfTilly Finn’s stein Suggestion: Lal Ground by Akan Walter Sammon’s Grandmother ‘See pats 89 ad for deuson on omnamentation al bong Q Listening Sugetn: Pick ser Pick see ot104 ren HORNPIPES Galway Hornpipe Listening Sugeston: | Will fCan by John Carty pest thee De Crd Chtpieprte ie eerJim Coleman's Lstening Suggestion: As Caneel Did Stray by Hany Bradley SESE peer ery CoeP rtESteretrietrer ey SECC ero eer reer Kitty's Wedding o ‘See pages 19 and 20 co compare mule adaptations to this tuneMulqueeney’s ‘You ean play the C part dawn an octave and alter the second ending athe B par to lead intOff to California outer tereseseetl f Paddy Fahey's Hornpipe Seepage 67 tem abouthis tune n conte regal sys Listening Suagestion: D Flare Abunhy Kevin CaoFe Ee Pride of PetravoreRights of Man Lstening Suggestion: Wild Blue by Eileen Fivers110 ven HIGHLANDS: Listening Sesion: a Pg pepe Ts et pet eedGan Ainm Fling 2 Degree SS clare ped Jimmy Lyons Se page 66 olan about his tune conext freon ses UUstenlng Suggestion: Last Orders by ie DohertyLow Highland IES SS Sa a Se SS eae toppp SPESES Ete ‘Yu can play the B part down an octave, except for te st note andthe LastJIGS Blarney Pilgrim COPCErrpretiecserreechiterer Steen 1 Ftp trrise sy Cliffs of Moher This was one of our warm-up tunes (pages). See pages to 120 eam about this ‘me's characteris, = Ustetng Suggestion: f the Cap Ftsby Kevin Burke18 ve se Connachtman’s Rambles omgpett ey tecCerretet ltt acer epeteneee CBF EEEEH tory ‘You can pay the B part down an octave. zreerecterete Garrett Berry's Se page2 for dco. playing th tne na mot cll-SenAy. Listening Suggestions: Shows on Stone by Mat Maloy, avetropper by Kevin Burke and neki Daly =a Ett ep| Buried My Wife and Danced on Her Grave Ustening Suggestion: Liven Palmaby Dervish Pager pect leret,116 ves Lark in the Morning Listening Suggestion: Forgotten Da by Dasy Sp Lark on the Strand This tune common paye o-tonaly key ofA Listening Suggestion: Decade out peritese ‘wageeeeinsbtet etMorrison's Jig LUstening Suggestion: Champions of the North by Deci Donnelly and Mike MeGolarick PEG cerltt tet pteplere eat) ge cctrefptreitsectitereesy EA Det teres EM sttreesy Out on the Ocean See page 74 fr mulkipl syste interpretations ofthis tune.re s00r Paddy Clancy's ‘You en ply the entte tune down an octave sts wrten here Pat McKenna’s stenng Suggestion: ourneynan by Gery O'Connor You can change the melody in ‘yay BREED pappEP Ete tree Bee freeeeePetticoat Loose Lstening Suggestion: Comb Your Hair and Cust te by Catherine McEvoy, (Caoimhin © Raghalsigh and Micheal © Rahal TeELEPLEPIE PPL eristre CoP PREEPCPIREPCepl= pr siteperrl ope Ps theee! riety be refers. “4 Pipe on the Hob 1 Here's another example of ta tunes with the same name See page 46 for discussion of bowing on this tune. -’ Listening Suggestion: Forgotten Dayeby Davy Spillane and Kevin Glackinfal sen Hob 2 tof tis Traditional Msicby Paddy Bue Latferey Pipe on ti Canny, ayes, Penar Oo ogy re ee Rolling Waves See figure 122.0 page 78 or aversion ofthis tae in «med, th mode cavaton insta of ggested omarion. Tistening Sueston: Ft Ragourby Folk RagoScatter the Mud te earn about playing this tune expressively, and to see the tne dalton oct LUstening Suggestion: Ye, Thats fs by fb Cary men Sixpenny Money Sec pageso seth eanpoed en Goa) andr saan srezonnsa eno Swallow Tail123 When the Cock Crows It Is Day 1 Thefallowinggs have de ste ane ada sina elo fim play hem When the Cock Crows It Is Day 2 4 teeeret tert Sets wees DeppEce Bier rpebtees Pptsretteee124 we 10 SINGLE JIGS Bunch of Roses pectitesspe teckel scehtertanery Dinny Delaney’s ‘See page 6 for ornamentation suggestions Listening Suggestion: Ol Hg Yow Bae Killed Mey The Bothy Band Hag with a PurseMiller's Maggot Listening Suggestion: Champions ofthe North by Dest Donelly and Mike MeGoldiekSLIP JIGS An Phis Fhliuch Listing Suggestion: Pl the Ki by Killarney Barney Brannigans egy ifeti tents tlButterfly Ths rae ease when plying the high wk opton stening Suggestion: Life aks by Tommy Pes ‘Bas writen seems 10 be the least Dusty Miller 1 Lstening Suggestion: The est of lian 1987-1988by Akan128 ves Elizabeth Kelly's Listening Sa ie Efeerby Liz Carol gyptater tester pestle gap eter el tp et Fig for a KissThe Kitten Stere git tteeres| is a recip iter tte test Ceretrey You can change the G 10 quarter note in measure 3 of the D part, to avoid ‘he high Na Ceannabhain Bhaina ‘See fgure 8.10.on page 48 for discussion of this tane with rhythm accents Lstening Suggestions: kitty Lie Quer by Mick O'Brien and Caoimhin © Raghallaigh Forgotten Daysby Davy Spillane and Kevin Glackin430 ‘He neo SLIDES Denis Murphy's Star above the Garter Soe figure for bowing suggestionssis 434 Teahan’s Favorite @ See figure 12.110 this une in mde mae a The Dingle Regatta See page 69 lear about this tune in context of regional sites.s92 ve no POLKAS: Biddy Martin’s Listening Suggestion: fhe Cap Ftsby Kevin Burke pit Ee Britches Full of Stitches ° ‘This was one of our warm-up tunes (page 5) See pages to 12 to learn about this tune's characteris.aa 133 Charlie Harris’ Polka ‘This tune s based on "Chat Haris’ Reel* made popular ssa polka by Kevin Burke. Ustening Suggestion: Up Clase by Kevin Burke Ger the Rigger Listening Suggestion: Fhe Cap Ftsby Kevin BurkeSET DANCES BlackbirdSet Denne 137 ‘You can play all ofthe part down an actave uti the pickup notes ta the las fine 7S Sere oyttre. FESS eet BES Epriperert. SSS Soe mEpEEr ters ) Sees Blackthorn Stick ‘stening Suggestion: A Yar in ireland by New Time Ensemble138 reson Hill Listening Sg relandy lanes Kelly, Paddy O'Brien, Dai Sproule Staats re fererer teres ere Speers pref fap SEE ee pee agdocky at the Fair Ppt pe meteeeel pe ytteeee|s140 e804 Madame Bonapartesa AIRS A Maid That's Deep in Love Amhran Leabhair “Amira Leable" sby Tomas Rus 0” Sulleabhain142 apt t Irish LamentationLament for Limerick See page for discussion of playing this un Ustening Suggestions: Lonesome Touch ayes and Dens Cahil 4) © Rada se Gaiety by Sen © Riad wth Coltri Chuan and Sean O Se am EEE De prir te BEEMy Darling | Am Fond of You Listening Suggestion: Wore of rland by Coole ue 2000Si Bheag, Si MhorSouth Wind gap opt pte petspert tte pe pr ey Pot F top ope tp fete th an ee The Dear Irish Boy LUstening Sugtetions: Welcome Here Again by Martin Hayes: The Lifey Banks by Tommy Pots aeraUr Chnoc Chein Mhic Cainte See page 37 for suigestons pel SeasHe nox 148 MISCELLANEOUS Fanny Power ae ee OMe Pg LES SSS Peet test ese ee pore ee peeMrs, Hamilton's Barn Dance ESS peLEtyepeepseprpterste per |O'Carolan’s Draught LUstening Suggestion: A Tribuze 1 Andy MeGinn by foe Burk and Felix DolanYeu can play this tune dose filth in mijn. SSI beer hi tee ret I Peer rrp torsitte. f fee ie og prjterti tee etee,, POI og Eee Eee Bebe Petre tet SSO’Carolan’s Welcome Listening Sugestlan: Zhe Story So Far by Lassa gaplepr etl pe thh ti tteepeet ee Ete perth erga be rh bt beret teeter ry pep elie tth thtrereseAppendix BIBLIOGRAPHY Much of the content inthis book Is informed by the author's pessonal !nerviews, conducted betwoen Novernber 2009 and March 2012, with Searnas Connelly, Frankie Gavin, Martin Hayes, Neil Marin, Eilen O'Brien, Gesry (O'Connor, Caoimbin O Raghallaigh, and Siobhan Peoples, he following sources were also important to the author's esearch Keegan. Nil “The Parameters of Svein ish Traditional Must” Inbar Journal of rsh Musi and Dance 1.1 (2010: 6-96, Web. 27 Feb, 2012 6 Wiada, Sedn, Our Musical Heritage Ed, Thomas Kinsella and Tomés 6 Canainn. Dubliy Dolmen Press, 1992 Valley, Fintan, The Companion 1a trish Teadivional Muse. New York Ciy New York Univesity Press, 1999 ‘Alan Ng, “Iishtune.info Tune Search aid Finder,” srisbsune.info trish Tradtiona! Muse Tune Indes, 27 Fe. 2012, wvitshtuneino/seatch php.Guest Musician Biographies ing Fellowship, a Grammy ic prize, the CumaditTr {rsh music at Queen's Universi; Belfast, Although she didn’ discover Irish {Hark 9 masterfl fiddle and piano player, currently pursing Phb> ‘music unt her teens, she quickly became an expt in the nation, receiving Band MAI ish Music Performance athe Univers of Limerick, and touring ‘with numerous groups workwide. Matt Granite is world renowned as idle player and teacher. le has won altrland Feadh Cheol! ies, 8 well as The Fidler of Dooney andl Oiteachtas {Crotty Cup. He s the author of Te rsh Fide Book and is a champion ofthe Siiabh ache tye, performing nteroationaly with hsp, Sab Luachina Katie Henderson started playing the Fiddle at age four and grew up performing throughout the United States with het family band, FiddleSticke, In2011, she started the popular “New Tune a Day" project learn new tunes and post them online. Currey she plays in Klay, an Ii do with Colin Botts andin Ampersand, a Chambergrass duo with he sister Liz Davis Maal, ‘ww katedavishenderson.com een O'Brien, AlIeand Fide Champion, fiddle player of Immense talent and her musial pedigree fs second 19 none. Carrying onthe tradition se by her father (Paddy OBrien) and other notable relatives she is known for» ‘very neat, seemingly effortless sve, while she impart grea drive and shythen to her msi156 Guest Mian ianig Seén 6 Fearghall comes fiom An Kinn, an Irish speaking area in west, \Worerford bas won numerous awards inctding utile Al-eeland medals Olneschtas na Samfins, the Fiddler of Dooney, and the Fidler of Oriel He teaches and performs regulriy, and is also a notable concertina and bouzouki player Siobhan Peoples s based in Ennis, County Clare and teaches at the lsh World Academy. Her fiddle playing sty is intricate an! immensely musical featuring @ unique blend of iuences from her father. Donegal lle Tommy Peoples, and her maternal grandiothes,Kity Linnane ofthe Kifenora Cel Band. ik at tats en scone ok hota was fond whe Fb Poul on gut) and Lesbie Anne Harrison (on fate) spent a Year studying lush tational musie atthe Universiy of Limerick Thee 2011 self-itled ul presents folk music fro aroun the world ht maintains a traditional sound, yet features innovative experimentation with extended instrumental techniques. wn folkagout.camAbout the Author Uz Davis Maxteld fas performed and augheworkshops on flkcello throughout the Uniced State, Canada, and Europe, She holds ges from Berke College of “Music and Universyof Limerick In elend where, as « Fulbright fellow, she was the fst eels completea Master's green rsh ‘Traditional Musie Performance She has founded «wo bands (Folk Arts Quarter snd New Tine Ensembl}, eearded ten albus, and composed pieces enjoyed by ‘els across the nation, Shelves in Provo, Utah with her husbandt Andrew and! her son Hit, Pease Visit wow LizDavisMaxfelcom for additional resources and to purchase sheet musi, albums, and methods on other aspects of plying folk music on the cells,158 INDEX Note: Page numbers in Hales indicate illustrations oF ‘musical examples, A ccardion, Acoian mode, 6,6-7 sit) 10,37,63 tame book for, INT Alta, 96,103,127 “Ambra Leabhalt” 14 “Aan Phis Flue 126 As ICavelesty Did Stay (Bradley, 105,135, ‘Ba Turns and Hore Shoe Bends (Bradley, 96 banjo. *amney Brannigans” 126 es of Alan 1987-1005, The (aan), 127 “Biddy Martin's” 132 lacked” 196-27 “ackthoen Stick” 127 Blackwater (Aan) 86, ‘Blarney Pilgrim.” 113 boda, 1 Bothy Bane the, 124 boson, bowing, 40- pater, 23,25, 40-49, 73 Personal se, 73 Playing atbalance point vs. Fog pressure and speod. 44-16 relaxed ane! tense holds 44 iythmic accents, 47-48 Bradley Harry, 96,105, 195, Britches Fil of Sitehes,” 5 132 asexampl of polka 10 mode of? motile map of, 12 ume form of 11 Bunch of Keys bunch of Keys 1" 2 -tuneh of Keys27 85 variations, 52-55 bunch of Roses” 126 Burke, Joe, 150 ‘Burke, Kevin, 65,97, 113, 11, oat Buttertiy” 127 Cc Cahill, Denis, 98,185, Canny, Paddy, 68,120 (Carol La, 48, 74-76, 128 Canty John, 52-58 66, 71-76, 83, 5,104,121 “Casey's Pig” 10 Castle Kelly's" #4 vatlatons, 36-59 xls Socal dances) 1 ‘alo, adapting Fiddle tunes for, 15-22 See alo adaptation notes for specific anes asbackup instrument, 79 hanging keys, 21-22 ‘changing melody, 17-20 changing octaves, 16-17, ouble stops 15 ceo 144 Champions ofthe Nort (Donnelly sand MeGoléric 96,12, 17, “Charli Harris’ Polk,” 139 CChualann, Ceotoiri 3 Gillian’s Midnight Dip. 85 {lane Donal. 08 “clare Heo, The, 98 Clare tye, 68 Clare ss, 68 Clark. Tela, 56-59, 64 Clases of sh Piping (awsome), itor lia 69 ‘Cliffs of Moher” 5,113 . ‘a5 example of double jg. 10 mode of.7 motive map of 12 tune form of 11 lose 1 Home Caney). 88 Coleman, Michael, 65 ‘collie’ Ree, The." 99, ‘Camis Your Ha ant Cur (febv0y,O Raghaaigh, and ‘oRaghald, 119 ‘concerting, 1 Connachtman's Rambles” 186 Connolly Seamus, 70 Convey. Brian, 150 "Cooley" 86 Craniteh, Mat, 70-73 rans, 32 cde, 39 intumes, $9 CCrantich, Mat, 68 Crawford, Kevin, 98, 107cuts, 27 exercise with 28 Intunes, 25 68 D D Flute Aton (Censored, 107 Daly Jackie, 114 ark Halted Lass” 4,06 asexample are, 10 mode of 7 motive analysis, 12 ‘motive map of, 1-12 tune form of IL ‘Dea Irish Boy, The” 146 Decade Dervish, 16 “Denis Murphy's" 190 Dervish, 15, 168 “Dingle Regata, The 69,132 asexample of lie, 9 inny Delaney’s” 124 asexample afsingle jig. 9 ‘ocnamentaton for, 3 Doerr, Ly 1 Dolan Felix. 150 Donegal syle, 65-66 Donnelly, Dez, 96, 192,107. 125, Dorian made 6 6-7 double cuts, 20,73, 76, double jigs 9 17-19 double stops, 35-35, secidenta"3 Itunes, 96,92 73,76 “Down the Hl” 128 ‘Drowsy Maggi” 7 Dublin Heel” 87 Dusk Ta Dawn (Og Conoly and Lennon) 100 *Dasty Miller 1" 127 ‘Dusty Millor2” 127 3 “Eons Chale 66 Eavecdropper (Burke and Daly, 48,69 vers Eileen, 109 “Ellzabeth Kellys 128 expression in trish muse, 25, 6163 internal vs external 61-68 F Fahey, Paddy, 67 “Fal Haired Lass" 89 Fanny Power 48 Farewell Connaught” 09 “Foorghail O'Gara,” 90 as example of rel, & ‘ornamentation fr, 42 fermata symbol, 60-81 Fite, 1 adapting dale tanes for eel, 15-22 Aoutble stops for, 15, “Figiora Kiss” 128 {fleas (competitions, ‘tute wooden, 1 Folk Ragout, 120, Folk Ragu FoI Rago), 120 Forgoten Days\Spllane and (Glackin, 95,116, 119,129, Foxhunter's jig” 128 G ‘Galway Hornpipe” 10s “Gan Ain Fling 1170 ‘Gan Alnm Fling2° 11 *Garree Berrys 14 adapting for cello, 21-22 Gavin, Frankie, 29,94, 44 45.46, 61.63 ‘Gere Rigger” 139 hosted notes, 4,48, 69,76, Glackin, Kovin, 95,116, 19,129 race notes 26 exercise with, 2 Inte, 29,73 4 Hg witha Purse 120 harmon usc 49-51, 59 harp, “Harvest Home” 104 Hayes, Martin 40, 64,68, 94,99, 13, 146 Hayes, 120 Heaton, Mat and Shanon, 88 Henderson, Kate, 6 highlands 65-66 tune book for. 110-12 Hiszri Roording of ish Traditional Musi, An Canny, Hayes, "Loughlin, anc Laer), 120 ops 29 exercise with 30 intunes, 31 hornpipe's 8, 19-20, 67,77 insetdance, 0 tune book for, 104-9, “Humours of Tulle 90 ‘changing raves in adaptation, 16-17 17, learning by eas 1 " Buried My Wife and Danced on Her Grave," 155 {wtf Can Cat), 86,104 Yoke Cap its Bure}, 97,193,132, ha Inconation, 2-3 Ionian mode, 66-7 rsh Lamentation,” 42 aration in ish Irish mnie, teaditional aulaping fle eunes or cello, 15-22 arranging sets for, 77-79, bowing in, 40-48 context, expression in, 61-63,160 Instrumentation, L Intonation ane! one quality, 2-3 learning by ear 18-14 81 rmro-Improvisation, 23-25 ‘omamentation in, 26-99 personal style, 70-75. regional styles, 64-69 rhythmic performance in, 10 sessions, 12.2 tempos for 8 tune book, 2-151 tune book explanation, 0-81 tune characterises, 6-12 warm-up tunes. 4-5, J “Tenny Dang the Weaves” 92 Figs 9, 21-22, 49-51, 62, 74-78 See also double ia sil is sli ites) bowing paterns exercise, 42 tune book fo, 112-23 “tim Coleman's” 105 “timmy Lyons 12 Donegal style in, 65, 66 asexample of highland, 8 “Focky atthe Fae,” 139 “Jon Ryan's Polka” 134 ssexample ot pol, ‘ornamentation fr, 28, 29 Journeyman O'Connor 10, 118 K Keagan, Nil, 49 Kaly James, 138, Kelly John, 68 Kesh Fig” 15 keys changing in adaptations for ‘elo, 21-22 salary, 125 “illaney Boys of Pleasure” 32 kien, The 129 any Lie Over O'Brien and’O aghallaigh, 123 Kiny’s Wedding” 105 adapting for eello, 18-20, 9-20 VE Lafiery, Bride, 120 Lake es Carel), 128 “Lament for Limerick” 14 file expression, 63,65 “Larkin the Morning” 116 “Latkon the Strand" 16 ast Orders(Dobert) 111 learning by ear 18-148 Lenton, Chai, 100 Liffey Banks, The Pots 127, 106 Live in Pana (Dervish, 15, Local Grownd (Ata, 108, Lonesome Toueh Hayes and abil), 94,12 {gain Air (Shannon), 80,95 Lovers Well (Heaton) 88 Low Highland” 112 lower grace notes, 27,78, Lunas, 152 “Madame Bonaparte” 140 asexample of et dance, 10 ‘ornamentation fr. 3 “Mat Behind the Bar” 95 variations, 70, 71-78, 7 Maid That's Deep in Love, A" 247 Malloy, Matt 1, 128 Martin, Neil26 Martin Hays Hayes) 99 ety, Catherine, 19 MeGann, And 65 MeGoldvck, Mike, 96, 102,117,125, melodeon, 1 melody, changing in adaptations for cello, 17-20 mlero-improvisation, 28-25 Miles Maggot.” 125 Misolydian mode, 66-7 ‘modes in eadtionat Irish musi, 67 arranging sets and. 77 *Morning Dew: The," 100, Morrison's fig” 117 ‘motive maps of aditonal Irish rae 6 11- scranging sets and, 77 raping, 12 ‘Mrs, Hamilton's Barn Dance,” 149 ‘Mulqueeney’s" 198 ‘My Dasling Am Fond of You." mt ‘My Love Is buta Lassie” 195 ‘My Love sin America," 94 N ‘Na Ceanmabhsin Bhaina 129 asexample of slip jg. rhythmic accents, 48 _New Irish Harmonica (Power), 98 NewTime Ensemble, 157 0 (0 faghall. Micheal, 19 ( Raghatlaigh, aoimhin, $6 36 $7,119,129, Rada, Son, 4,64, 69, 143 ORiada va Gio Rad, CChuslann, 0 Se), 3 Se, Sean, 143 (FSuilleabhain, Tomas Rus O'Brien, tleen, 62 67 O'Brien, Mick 129 O'Brien, Pada. 138 ‘'Caclan’s Draught.” 150-51 ‘otCacolan’s Weleome." 152 (OrConnor, Gey, 34, 44, 4.6, b 10,118 f ‘craves changing in adaptations for cello, 16-17 orto California” 107 (0g Connolly, johnny, 100 utO'Keette,Pactralg 69 ‘Old Hag Yor Have Killed Me he Bosh Ban, 124 Loughlin, Peadar 120 (0m Common Ground Valley and Crawford), 94 ‘omamentation, 25,25, 26-39 rans 2,8 ts, 27,28 29,68 efinition of. 26 Mouble eu, 2, 73,76, double stops, 35-36, 9672, 76, grace notes, 26,28 29 hops 28, 30,21 lower grace notes, 27,74 ats, 28, 90,376 pressured slide, 34 rolls 30,68, 73 shore rols, 3,38 In adh txacra syle, 69 slides, 34, 6 slurred cuts, 28 ecbles, 32,33, 73 triples, 32, 39 types, 26-19 "per grace notes, 27,73 vibrato, 34-2, 96 Our Musca Heritage rato show 63,69 ‘Outon the Ocean 17 vatlatlons, 74, 71-76 P “Paddy Caney’ 118 addy Fahey’ Hornpipe 107 East Galway syle, 67 asexample ofhornpipe, 8 "Pat MeKenna'y” 118 Patrick Street Stree), 103, ats, 2,75 ‘exerese with, 90 Peoples, Siobhan, 61-69, 65-86 70-73 Peoples, Tommy, 65 “Por” 94 Dhrasing variations in trish musi 49-51, 59 piano, Pigeon on the Gate, 95, Pipe on the Hobs* Dovwingpatteuns for 46 asexample of ig, "Pipeon the Hob 1" 119 “Pipe on the Ho 2” 120 polkas 9,29, 69 tune book for, 192-25, Pots, Tommy. 127,146 Power Brendon, 99 pressured slide, 34 Prideof Petravre, 108 Pad she Ke Killarney), 126 Q Quicktime computer program, 14 R reels, 8 35, 38-89, 68, 70-7 owing pattems exercise, 41,42 insetdance, 10 tue book fo, 82-102 siythmie accents, 47-48, ‘hythumie variations in lsh musi, 49-51, 58 Rights of Man” 109 Road to Lisdoonvarna” 190 “Rolling Waves: 77,78, 120, vals 30 etude, 99 thythaierepresenation, 39 In tunes 21.68, 23 Rowsome, Leo, 99 s St Annes Reel 96 "Sally Gardens” 95 bowing patterns for, 42 Seattr the Mud” 121 fiddle expression, 62, 62 t61 Scots Snap pattern, 8 see dance(), 10,31 tune book for, 138-40 ‘Shadows on Stone (Malloy) 14, i ‘Shannon, Gary, 90,95, shore ols 31 ‘etude, 33 intunes, 39 Si Bheog.SiMhon” M5 “Silver Spear. The” 102 notation examples, 0-82 single jigs 9, 35 tune Book for, 124-25 ‘Sixpenny Money" 221 variations 48-51, Saba Lusehra style, 69 sliets.9 ‘bowing patterns exercise, 48 tune book or, 130-31 slides ornamend 24, 69 exerise, a5 intunes, 36 “Sligo Mai,” 95 Sligo style in, 66,65 Sligo style, 66 sli gs, 848 tune book fo, 126-29 sturzed et, 28 *Sourh wind 168 Spillane, Davy. 85,116, 119,129, "Sporting Pitehork 122 taping for cello, 17-19, 18-19 Sproule, Dah, 298 ‘Star above the Garter" 130 bowing patterns for, 48 “Sarof Munster” 97 Story Far, The Lunas, 152 Strathspey (Seottish rune type) Street, Patrick 103, style in ish musi, 64-76 Clare tse, 68 Donegal style, 65-66, ast Galway syle, 67 ‘map ofregions, 05462 regional, 64-69 Slab Linen sty 69 Sigo style 66 “swallow Tal” 122 swinging on the Gate” 98 T target note, 26 tachingby ea, 1 "Teahan's Favorite” 77,78 131 “Testotalers Reel, The,” 102 “Tuy Finn's" 103, tone quality, 2-3 Traditional Muste of bland Kelly, O'Brien, Sprout, 138 ‘transcription, notation compared wth, 23 trebles, 22 exude, 33 bute to Andy MeGann A (Burke, CConvay, and Dotan), 150 wipes, 32 exude, 33 itunes, 33 ripping up che Sais” 122 tune forms of tradional ish arranging sts and, 77 tune types of wadtional ish muse 6,710 arranging sets and. 77 U lean pipes Up Close Burke), 138. upper peace notes, 27,73 “Ur Chnoe Cheln Mile Caine” asexample ofa 10 fomamentatin for 37 v Valley, Citian, 94 ‘aration in Irish msi 49-59 harmonic, 49-51, 59| melodic 49-51, 58 phrasing, 49-51, 59 hythene, 19-51, 58 ‘aratons, melodie, 23,25 48-51, vibrato. 3,34-35, exercise, 25 Incunes, 36,37 voice, 1 Ww ‘Walter Sammon’ Grancmother” 38-29, 109, ornamentation and bowing suggestions, «8 Welcome Here Again (ayes) 146 ‘when the Cock Crave tts Day wie “when the Cock Cross tts Day 20 120 whistle 1 Wie Bie Evers, 109 “Wise Maid, The.” 102 Women of eland (Ceokori, 144 Y ar in tea, New Time + Ensemble, 137 Yeh, That’ al 8 Care,LEARN MUSIC aa hae BERKLEE SMa i ee ae tee faculty and gain eC ene et aie od Oe reed as eee Sr eerie Sane eect ieee ene * Interactive Online Courses * Free Massive Open Online Courses (MOOCs) ib Berklee Online Lc Ae ie eras eee i coe oe cero) Aeranging one Cee cn eae frets eee reeMore Fine Publications Berklee Press ‘BEBOP GUITAR SOLOS BLUES GUITAR TECHNIQUE ‘BERKLEE GUITAR CHORD DICTIONARY LBERKLEE GUITAR STYLE STUDIES ‘CLASSICAL TECHNIQUE FOR THE MODERN GUITARIST ‘CONTEMPORARY JAZZ GUITAR SOLOS “CREATIVE CHORDAL HARMONY Forcutae FUNK/R&B GUITAR BUILDING ROCK/METAL TECHNIQUE GUITAR SWEEP PICKING InrRODUCTION TO JAZZ GUITAR JAZZ GUITAR FRETBOARD [A MODERN METHOD FOR GUITAR” BASS LINES. ae BERKLEE JA7z BASS FUNK BASS FILLS BELTING THE CONTEMPORARY SINGER - No ED JAZZ VOCAL IMPROVISATION or ae ee Fiasey bobe Christen Hey Ss cones nv om ee oa Severe! ee VOCAL WORKOUTS FOR THE CONTEMPORARY SINGER YOUR SINGING VoIcE TRUMPET SOUND EFFECTS SAXOPHONE SOUND EFFECTS THE TECHNIQUE OF THE FLUTE: ChoRD STUDIES, RHYTHM STUDIES 'BEGINNING OJEMBE [BERKLEE JA2Z DRUMS ‘DRUM SET WARM-UPS DRUM sTUDIES [A MANUAL FOR THE MODERN DRUMMER MASTERING THE ART OF BRUSHES — PHRASING: ADVANCED RUDIMENTS, Fon cREATIVE ORUMMING