Na Ceannabhain Bhhana

Na Ceannabhain Bhana, which roughly translates to “na Kan-a-van won’ya”), is in G (“The people’s key!” Davy Maguire), and fits perfectly onto the flute. The title is translated as The Bog Cotton but is sometimes incorrectly called The Fair Young Cannavans. See a discussion on The Session. There are words that go along with the melody, as with many slip jigs. These can be found at this link.

We explored ways to vary the breath, tonguing, vibrato, diaphragm use, vibrato (or no), flattement (or ghost trills as I like them), and simple decoration on beats, with a little more air to enhance the rhythm.

I mentioned Cran, an Irish band. Here is Cran’s version of the song along with other slip jigs.

A Kiss for a Fig

Although A Fig for a Kiss may be a well-known song that can be found within many collections, the version I use comes from years of playing it with Absolutely Legless Irish Dancers for several years. It was first recorded by Des Hurley, a Leeds fiddler and box player. Although it has changed slightly, the two versions can still be played together without any issues. For a comparison, see The Session.

It is a flute-friendly song that lends itself to variations, especially in the first section. These were also demonstrated during the workshop. Some were melodic while others were rhythmic. You can change the pace to make them punchy or staccato, subtle or legato.

You don’t need to spend a lot of time exploring and expressing interest in a melody. Davy also mentioned that the idea of playing a song many times was a common theme. Let’s forget about the “play it twice” and let’s instead give the music some service. It’s fine to play it three times, but what about four or five times? It helps you to build the rhythm and allows you to explore the tune.

Slip jig variations

We had a digression where I discussed and demonstrated 9/8 slipjigs. These are also featured in the Scottish tradition, hopjigs and other variations, such as Barney Brallaghan. We also had a look at 3/2 Hornpipes, which are common in the Scottish Borders as well as Northumbrian traditions. Malcolm and I duetted in Aly Anderson’s Dog Leap Stairs. I also played Go to Berwick and Johnny (3/2) and The Berwick Jockey (9/8), side-by-side for comparison.

Handel used the 3/2 hornpipe for his Water Music of 1717.

James Byrnes’ Slip Jig

Sessions I like to play at (Monday night, Sandy Bells; less frequently recently, Captain’s Bar; Captain’s Bar on the third Saturday of each month). Donegal and Scottish influences are prominent and we often follow A Fig for a Kiss and James Byrnes’ Slip Jig.

Although we didn’t have the time to examine it, I did demonstrate a breathing variation in part two. This was a result of sessions that I participated in (sometimes going under the name Cauldstane Slap; see our Facebook page). Another example of how breathing can enhance a simple melody is when it’s used to create counter rhythms. In this case, we are jumping octaves. This has been added to the resources. I then remembered that The Mooncoin Jig also features something similar in its last part. It may have been an inspiration.

 

Davy and Alice at Ma Cameron’s, November 2017.

Davy Maguire’s performance during the FluteFling Aberdeen Weekend earlier this month inspired us to focus on Irish slip jigs and breathing.This could be the perfect opportunity for you if you want to take a break from your daily grind and enjoy a walk by the sea. You can find more information on the Workshops page. You can still register online, but there are no spaces.

FluteFling Aberdeen Weekend was great. I will be writing about it soon. Thanks to everyone who made it memorable. It will be done again, and we are already thinking about the Edinburgh one for 2018.

 

Alba Low whistles in D (c/ Gordon Turnbull).

Doug Patience, an Edinburgh fiddler, told me that this tune was originally composed by him. The mill was located on land claimed by two rival families. One side burned it down. Local composer, the composer diplomatically composed a tune that could either be considered celebratory or lament depending on the viewpoint of the listener. The Session.org has a discussion about the tune that quotes a Cape Breton Island story about the Mill being a clandestine rendezvous for love. This also divides opinion.

The song/tune was banned from Cape Breton Island because it was closely associated with Margaree’s MacDougalls. They were apparently very sensitive about it being played within their earshot! One line in the puirta a beul that is set to the melody says “Tha Nad Cire Fraoiche’s A’ Mhuilean Dubh.” (In black mill is the heatherhen’s nest). Margaree MacDougalls were offended by a joke about hens that was made at the expense the clan. They couldn’t tolerate any mention of poultry and considered the performance of the tune to be an insult to the clan.

The Fiddler’s Companion has more information about the tune history and stories, including one that involves devilish dealings.

If you like to purchase Irish flute for Sale from authentic manufacturers, check our McNeela based in Dublin

Five Irish Flute Players You Must Hear

For generations, the sound of the flute has been an integral part of Irish music. A simple-system wooden flute is the instrument that is most associated with Irish music traditions. It was used by classical musicians in the 1800s, before the Boehm method became popular. These flutes have the same basic scales as tin whistles, which makes it possible to play tunes using the same fingerings on both.

Although it is difficult to choose just five of the most important Irish flute players, the following musicians can help you get started learning about and listening to Irish music through the flute.

Tom Morrison (1889-1958)

Tom Morrison, a Galway native, started music making on a tin whistle, before he took up accordion, Irish flute, and then the uilleann pipes. In 1909, he immigrated to New York and began recording 78-rpm discs in 1924. He started with duets with Peter Conlon, an accordion player. Morrison’s music was driven and rhythmic, in a style that is reminiscent of fifing.

John McKenna (1880 – 1947)

John McKenna, another Irish flute player, recorded in the 78-rpm era. McKenna was born in County Leitrim and emigrated to New York with his wife in 1909. He served as a member the New York City Fire Department from 1920-1926. McKenna started recording in 1921. He produced many sides for O’Byrne DeWitt, Decca and Columbia labels.

Peter Horan (1926 – 2010)

Peter Horan, a Co. Sligo flute player, was one of Ireland’s most well-known. Fred Finn, a fiddle player, recorded Horan and Fred Finn and performed together for many decades in Killavil (Co. Sligo). Horan created a complimentary flute style, based on the South Sligo repertoire in a county that is well-known for its fiddlers James Morrison and Michael Coleman.

Catherine McEvoy (1956- )

Catherine McEvoy is from Co. Roscommon but was born in Birmingham, England. McEvoy grew up listening to Irish music, and she was accompanied by her family and visiting mentors Josie McDermott and Peg McGrath. McEvoy is continuing the Roscommon/Sligo region’s punchy, rhythmic flute style.

Matt Molloy (1947 – )

Matt Molloy, one of Ireland’s most well-known and highly regarded flute players is Matt Molloy. Born in Co. Roscommon in 1970, Molloy was a member the Bothy Band and later replaced Michael Tubridy as Chieftains’ flute player in 1979. Many modern flute players have been influenced by Molloy’s highly oramented style.