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PostPosted: Tue Sep 10, 2002 3:03 pm 
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Earlier today I was listening to Billy Clifford's "Irish Traditional Flute Solos and Band Music from Kerry and Tipperary" And I remembered a question I've had since before this forum was up, but never had a place to ask.

Now I know a couple of regulars here were/are involved with some fine ceili bands, so I'll ask. There is an obvious difference between that traditional music played for its own sake and that traditional music played by ceili bands for dancing. Aside from the obvious strict tempo, why does it just sound so different? I am asking that from the musicians point of view, not the dancers. I can see why a dancer may not want to dance to recordings with lots of variation or recordings that are just too fast.

From there, I wonder is it good or bad to learn tunes from ceiliband music? It certainly feels like it would be easier to do than listening to a virtuoso playing a tune with all the lovely twists and turns in a more artistic manner.

Would learning tunes from ceili band music be somewhere in between learning from sheet music and learning by ear from learning from music not played for dancing?

What's the scoop?
Mark


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PostPosted: Wed Sep 11, 2002 10:56 am 
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Sorry, this is OT, but where did you manage to find a copy of Traditional Flute and Band Music? That recording is really hard to find, and I really want to hear it.

And, in attempt to say something relevant to the topic, if no one answers your questions, you could buy one of Matt Cunnigham's recordings. They're made for dancing, but it's just Cunningham playing solo on the box, so you should be able to hear what he's doing differently from 'normal'.

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<font size=-1>[ This Message was edited by: energy on 2002-09-11 12:58 ]</font>


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PostPosted: Wed Sep 11, 2002 12:55 pm 
Ceilibands were formed to create a good bit of noise for playing in the dancehalls. I am not sure a good ceiliband is all that different from 'the usual' [obviously some of the not so great are, chewing-gum music]most ceilibands are made up of very good players [listen to the Kilfenora, the Tulla, the Castle and the like lashing it out and having fun while at it. Group-playing demands a slightly different approach from solo or duet playing but all in all a really good ceili band is as good a source of music as anything else.
As for playing for dancing, there is a series of tapes made for set dancers, they feature Tommy McCarthy on concertina, Eamonn McGivney of fiddle and Michael Tubridy on flute [with some help on a few sets from Junior Crehan]. Wonderful music but their playing is not different from what you'd get if you sat down with them for a tune [ok they have no piano or drums so not really a ceiliband]. I have never been really into ceilibands but I have gone over several tapes recently picking out tunes, The Castle ceiliband has some lovely sets of tunes going as have any of the ones mentioned above.
Just don't listen to the bad bands.

edited for typos

<font size=-1>[ This Message was edited by: Peter Laban on 2002-09-12 04:08 ]</font>


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PostPosted: Wed Sep 11, 2002 1:49 pm 
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On 2002-09-11 12:56, energy wrote:
Sorry, this is OT, but where did you manage to find a copy of Traditional Flute and Band Music? That recording is really hard to find, and I really want to hear it.

I got it from Lark in the Morning in Seattle while I was on a trip. It was $10 since they were liquidating cassettes. I also picked up the Star of Munster Trio (John, Julia, and Billy Clifford) with another tape I can't recall right now. I didn't take to it for the first listening. I have enjoyed it much more since then. I find Billy's playing closest to Mike Rafferty & Jack Coen. I think that Billy plays a tad more agressive than Mike and much more than Jack. But I still hear that lyrical flow I associate most with Jack, as opposed to the driving pulse that defines John McKenna's style.

Billy's tape really made me think about it as the tracks keep switching between solo & interpretational and group & functional.

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And, in attempt to say something relevant to the topic, if no one answers your questions, you could buy one of Matt Cunnigham's recordings. They're made for dancing, but it's just Cunningham playing solo on the box, so you should be able to hear what he's doing differently from 'normal'.

Nate

Thanks for the tip. I've been thinking about getting that set for years. First, I'm getting Paddy O'Brien's 500 tunes (400 reels & 100 jigs) this Friday. The next $100 I spend on a recording package will be Matt's. One nice thing I learned from you was that the recordings are solo accordian. I always had the impression that it would be a band. I don't know why.

thanks Nate

Brendan, Stevie: I was sure I'd have heard from you before now about this.

<font size=-1>[ This Message was edited by: Mark_J on 2002-09-11 15:51 ]</font>


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PostPosted: Wed Sep 11, 2002 2:17 pm 
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On 2002-09-11 12:56, energy wrote:
Sorry, this is OT, but where did you manage to find a copy of Traditional Flute and Band Music? That recording is really hard to find, and I really want to hear it.

I got it mail order from Ossian USA in New Hampshire (http://www.ossianusa.com). You might also want to check out the Cathal McConnell cassettes, and John Doonan's "At the Feis" flute & piccolo.

Kevin Krell

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PostPosted: Wed Sep 11, 2002 3:40 pm 
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On 2002-09-11 15:49, Mark_J wrote:
Quote:
On 2002-09-11 12:56, energy wrote:
Sorry, this is OT, but where did you manage to find a copy of Traditional Flute and Band Music? That recording is really hard to find, and I really want to hear it.

I got it from Lark in the Morning in Seattle while I was on a trip. It was $10 since they were liquidating cassettes. I also picked up the Star of Munster Trio (John, Julia, and Billy Clifford) with another tape I can't recall right now. I didn't take to it for the first listening. I have enjoyed it much more since then. I find Billy's playing closest to Mike Rafferty & Jack Coen. I think that Billy plays a tad more agressive than Mike and much more than Jack. But I still hear that lyrical flow I associate most with Jack, as opposed to the driving pulse that defines John McKenna's style.

Billy's tape really made me think about it as the tracks keep switching between solo & interpretational and group & functional.

Quote:
And, in attempt to say something relevant to the topic, if no one answers your questions, you could buy one of Matt Cunnigham's recordings. They're made for dancing, but it's just Cunningham playing solo on the box, so you should be able to hear what he's doing differently from 'normal'.

Nate

Thanks for the tip. I've been thinking about getting that set for years. First, I'm getting Paddy O'Brien's 500 tunes (400 reels & 100 jigs) this Friday. The next $100 I spend on a recording package will be Matt's. One nice thing I learned from you was that the recordings are solo accordian. I always had the impression that it would be a band. I don't know why.

thanks Nate

Brendan, Stevie: I was sure I'd have heard from you before now about this.

<font size=-1>[ This Message was edited by: Mark_J on 2002-09-11 15:51 ]</font>


Alright, now I've stuck my foot in my mouth and I've got to pull it out. Well, um, uh, ya' see, well... :smile: I actually haven't heard the Cunningham CDs, nor do I know anyone who has. I believe I've read that they're solo accordion(with backup), but I'm not really sure. Sorry for providing information that might not be correct. {embarassed grin here}

Perhaps someone who has heard the CDs could clarify?

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