Natalie macmaster amazon4/19/2023 ![]() ![]() This isn't only true of Cape Breton fiddling but a great many other folk traditions. However, when one "pushes the envelope" too far, he or she generally loses the local audience. Folk tradition tends to be conservative, but often allows for a great deal of personal interpretation, even innovation. ![]() In Cape Breton music, there's quite a bit of freedom for personal interpretation, but within the bounds of tradition. At least one I know of played a quadruplet rather than a triplet. However, Cape Breton fiddlers have their own ways of going at it. This tutorial demonstrates more or less what Natalie's doing. The little stutters are called "cuts", a series of usually three short notes, dug in, rather than lightly bowed. Last edited by Ranald Sep-23-2020 at 10:29pm. It's rumoured that a fiddlin' brother of mine, 2,000 miles or so away, has a copy. Believe me, I've been trying to get it for a long time. Unfortunately, the book been "temporarily out-of-print" for over a decade. ![]() The DunGreen collection was compiled from field recordings of CB fiddlers, complete with all their idiosyncrasies and ornamentations. We won't blame him for the results in my case. He taught me entirely by ear and observation. ![]() He was an excellent teacher who'd analyzed CB fiddling right down to the bow hold, different "cuts," and foot tapping. I took fiddle lessons from David thirty yeas ago. David did a great CD of CB fiddle music called "Tunes Until Dawn." He also did a couple of CD's showing the links between Cape Breton and "Celtic" music. They're both excellent Cape Breton fiddlers, truer to the style than most classical musicians ever get, though neither is originally from CB. I believe Kate played with them too, but they moved to Nova Scotia to be closer to Cape Breton music. He was the concert master, I believe is the term, for Tafelmusik, a Toronto-based Baroque orchestra with an international reputation. They are both classically-trained musicians with a passion for Cape Breton music. Yes, it was put together by Kate Dunlay and David Greenberg, a couple at the time. I could find nothing on the Macmaster website that would link me to the notation of the tune. That version may however be just a simpler, shorter version. This 4 part, Cape Breton version is apparently written down, but in a book that is no longer in print, "The DunGreen Collection." It is possibly in a book called "The Skye Collection" which is available on Amazon. It is the last part that I'm still having trouble connecting the written notation sound like what she is playing. Supposedly the one she plays, a Cape Breton version, has four parts. (Is there a name for that fiddle ornament?) The transition from Part 2 -> Part 3 sounded abrupt but evens out with the addition of a low E to the written B that starts Part 3.ĭigging around the internet, there are many versions of this tune. Using hammer ons imitates the little bow-shuffle ornament that she plays. Using Amazing Slowdowner, I hope eventually to figure out something there, but just before the fiddle comes in those instruments play simple pickup notes G, F#, E and Natalie joins in on the E. MacMaster uses a long (gorgeous) lead in with guitar and piano. The closest notation I have found has been on "The Session" with the post from Javi V (Spain). Progress report on MacMaster's "Flora Macdonald": ![]()
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |