Not Scottish fiddle exactly. Scottish viol played pizzicato which I have not heard of before. Anna Tam, I think, used to be a member of Medieval Baebes. The dialect she sings in is a bit lost on me although I can get the gist of it.
We listened to the full cd over the Christmas holidays and it's really lovely. I'm glad we got it.Oh what a great discovery on YouTube this afternoon. Have sampled the cd and written to Santa - that's Christmas sorted for Mr & Mrs Taggart, then.
Hesperus Early Music Ensemble - MacDonald Of The Isles March To Harlaw - Source Of The Spey - The Periwig.
I've been following everyone around who has "liked" my posts trying to acquaint myself with the various members and their interests.Most Scottish fiddle accompaniment is the standard I IV V three chord pattern. When I was in Beauly, Angus Lyon spent some time on this. He was more concerned to get a good rhythmic pattern rather than to worry about the chord voicing. The technique was about finding chord voicings that sat comfortably under the hand so that you could follow a tune at speed. Although a piano player, Angus had worked as an accordionist - second box - in a Scottish dance band. That job is basically providing a rhythmic accompaniment to the lead accordion - first box - who takes the melody. Angus also considered using II and VI chords to provide alternatives and to allow fast movement between chord sequences.
I met a similar approach a couple of years later in Melrose when Ian Lowthian was leading the Merlin Summer School. Ian is an accordionist who has trained at conservatoire level. (Yes they do that in the UK!) He is a music teacher leading school orchestras so has considerable interest in arrangements. Again he was more concerned with playing at speed than with voicings so again was looking at hand patterns.
This sort of accompaniment works well for fast music. One of the glories of Scottish music is the Strathspey. The problem here is that there will be rapid harmonic changes at the end of a phrase so instead of one type of chord a bar you will have several. Here's an example:
The triplets at the end are another feature of the Strathspey which gives it its grace but can also involve rapid harmonic changes.
My apologies for the posts which were about tunes... Should have read the entire thread before posting.A word of explanation that maybe should have gone in the OP.
I started this thread because of my love for the traditional fiddle music of Scotland, which has become my musical journey. (I call it Fiddle Trek...)
However, I decided to place my thread in the Strings section of the Instruments and Technique sub-forum because it's not about tunes or links so much as about fiddle lore and aids to learning the instrument.
Thanks.A series of Scottish grace note tutorials -
I should have been much clearer in the statement that I used and for that I apologize.Thanks.
My point was merely that your definition needed more amplification because the scrunch is different.
It's not like the normal grace notes in that it's deliberately not grace-ful and is also played with the main note as a dissonant harmony so not what you'd normally think of as a grace note like a roll or a flick, which forms (as it were) a little extra tune in between the main notes.
In that way, it's more like double-stops or ringing-strings - which are very important to Scottish music but so far at least don't figure in the grace-note collection that you cite.
The scrunch is the coolest ornament at present, along with very frequent birls. I suppose these are the more energetic 'in your face' ornaments which suit the present zeitgeist. Tunes which are being composed now include a lot of birls and scrunches and also a slightly jazzy rhythm.
Have you found these videos helpful in your playing?
And do you yourself use 'the scrunch'? I found it difficult to acquire (I have a short left pinkie), and in the end not to my taste, so I have not kept it in practice.