Fraser & Hass, like peas & carrots

February 27, 2010
Alistair Fraser & Natalie Haas

Alistair Fraser & Natalie Haas at the UVM Recital Hall

Though I like peas and I like carrots, I’ve never been convinced that peas and carrots actually go together all that well. But I guess one could say that about fiddle music and cello music and yet when you hear them together you wonder why you don’t hear it more often.

Last night Scottish fiddler, Alastair Fraser and cellist, Natalie Hass, performed a flawless concert at the UVM Recital Hall as part of the Lane Series. We often hear fiddle and guitar and fiddle and piano, yet it’s not very often we hear fiddle and cello. I’m not sure why since fiddle and  cello were historically at the heart of Scottish dance music going back to the 1700′s, explained Fraser during a break in last night’s concert. “Cellos have been in captivity for quite some time,” he joked. “And now they’re starting to break out.”

Traditional jigs, reels and Strathspey’s (indigenous to Scottish and Cape Breton music) were played with the percussive backdrop of the cello. The  music was peppered with melodic harmonies that complimented the sweet tones of the fiddle. Together their timing was impeccable, their music was tight, flawless and at moments literally transported me to a different time, place and era.

The show opened up with Cape Breton fiddlers and pianists, Kimberly Fraser and Troy MacGillivray with the traditional Cape Breton sounds of fiddle and piano, and a little step dancing. It was a good introduction to the Scottish tradition as Cape Breton music stems from Scotland and it took us from the present back to the past.

Scottish and Cape Breton music is so percussive, its almost impossible to sit in your seat. As I watched heads bopping, feet tapping and hands moving around in the air, I realized how silly it is that we have these amazing concerts in concert halls. We should be having them in dance halls so we can actually experience the music instead of just listening to it. This was one of the points Fraser brought up at the finale when he made the entire audience stand and learn the basics of Scottish step dancing.

Though this was their first time performing in Vermont I hope it is not their last. The combination of fiddle and cello in folk music is innovative yet brings us back to the roots of this music. I love when musicians break out of the mold. The two instruments truly do go together like peas and carrots. Now I wonder, what other instruments can we bring together?


Improvisation 101, Part 2 – Circle of Fifths

February 23, 2010

Circle of 5thsThe Circle of 5ths is a tool for learning the notes of a major scale. Starting at the key of C and going clockwise, each key is a 5th apart.

I use the circle of fifths to figure out how many sharps or flats there are in a major key.  In the previous post, I talked about tetra chords and the pattern you can use to figure out what notes are in a major key. The circle of fifths is another way to figure out how many sharps or flats there are in a major key signature.

Its starts on the key of C which has no sharps (#) or flats (b) and goes clockwise in fifths. A fifth away from C is the key of G which has 1 sharp, a fifth away from G is the key of D which has 2 sharps and on down to the key of F# which has 6 sharps. As you go on up the other side you take away flats. Db has 5 flats, Ab has 4 flats and so on until you’re back at the key of C.

For a little exercise, you can write down how many sharps or flats there are in each key:

C
G
D
A
E
B
F#
Db
Ab
Bb
F

Once you have figured out what notes belong to which key, you can then start practicing those notes on your instrument.

When you practice your your major scales, keep in mind there are 7 notes and each one has a number. For example: in the key of C: C=1, D=2, E=3, F=4, G=5, A=6, B=7 and then we’re back to 1, which is C only an octave higher. Learn the note that corresponds with each number. This will help tremendously when you’re used to playing a tune in a certain key and then someone else comes along and plays it in a different key, you’ll know immediately what notes to play. We’ll go over more of this in the next lesson. I bet you’re on the edge of your seat aren’t you? If so, sign up to receive these blog posts by email!

Happy practicing.


Improvisation 101, Part 1 – tetra chords

February 14, 2010

G ClefSince most traditional Irish musicians learn tunes by ear, it’s possible to know thousands of tunes without ever knowing any theory. Most of the time I barely even know what key I’m playing in never mind the theory behind it.

Recently, I enrolled in a class on musical improvisation at the Summit School of Traditional Music. I have to say this is probably one of the best classes I’ve ever taken. It has completely improved my Irish music playing and I seriously think I’m learning the secrets to life in the process. So I wanted to share some of the things I’m learning (at least when it comes to music).

A starting place to learning to improvise is to learn about Tetrachords.

Tetra Chords – a tetra chord consists of 4 notes, or tones, of a scale. The first and second note are a whole step apart and the third and fourth note are a half step apart. Here’s a song to help you remember: I’m a little tetra chord, short and stout, whole, whole, half, is what its all about.

When you combine two tetra chords and separate them with a whole note, they form the pattern of a key. This is what the pattern looks like:

W-W-H-W-W-W-H

For example, here are the notes in the key of C:

C D E F G A B C

If you look at them on a piano you’ll notice that between E and F is a half note and between B and C is also a half note, following the pattern above.

The reason why tetra chords are so important is because if you know this pattern you can figure out the notes of any major key signature. Let’s try the key of G. A whole step away from G is A.  A whole step from A is B, a half step from B is C (W-W-H). That’s one tetra chord. Now separate them with a whole step to D, another whole step to E, a whole step to F# and a half step back to G:

Key of G: G-A-B-C-D-E-F#-G

With this pattern you can easily figure out the notes of any major key.

At the end of each class, I like to walk away with a clear understanding of what I should practice. So if you want to practice using this pattern above to figure out what notes are in any major key. Here are the rest of the keys to try:

Key of C: C-D-E-F-G-A-B-C
Key of G: G-A-B-C-D-E-F#-G
Key of A:
Key of E:
Key of B:
Key of F#:
Key of Db:
Key of Ab:
Key of Eb:
Key of Bb:
Key of Fb:

In the next lesson, I’ll talk about the circle of fifths. So if you’re interested in learning more sign up to receive email updates of these posts or just keep checking back.


A trip to Boston for some Irish music

February 10, 2010

Club PassimAs you probably know Boston has a huge Irish community, so seeing great Irish music is commonplace around Beantown. This past weekend was no different. Last Sunday I headed down south and visited one of my favorite parts of the city to enjoy some music from some of my favorite Irish musicians, John Doyle and Karan Casey, who flew in from various places after performing at Glasgow’s Celtic Connections.

They played at Club Passim, a very intimate folk music club in the basement of this cute little building in Harvard Square. The house was jam-packed with not an empty seat to be found. It looked mostly like a large basement surrounded by walls with uniquely painted instruments hanging on them. And though it felt like I was a human sandwich squished between unfamiliar bread it was still quite the amazing venue for such an intimate concert.

As you know, both John and Karan were part of the original band Solas and have been playing together for quite some time. What I loved most about watching these two perform, was that it was evident that they both seemed excited to be playing with one another. Karan had this sense of  “he’s got my back, I’m just going to sing my heart out,” as John lead and followed on the guitar (and sometimes bouzouki) creating rhythms and harmonies that complimented her poignant voice.

Most of the music they played came off their latest duet album, Exiles Return. Sprinkle in a few sea shanty’s and one of my Solas favorites Newrytown Highwayman and you got yourself a kick-ass show.

John Doyle

John Doyle and me at his show!

They were quick with the jokes, and rearranging the set list and it was clear they were having as great a time as we were. At one point they both were laughing so hard that they had to restart a song 3 times. To me that shows, humanness. It shows that even the best can have blunders and still perform an outstanding show. Karan ultimately ripped up the set list and I literally felt like they were in my living room just having a good time and playing music.

Though the venue was tiny and the waiter completely forgot to deliver our wine, it was truly a night to remember.


Music blogs, are they want you want to read?

February 5, 2010

I started this blog back in November to offer information about Irish sessions in Vermont.  I’ve tried to keep it strictly related to Irish music and music in and around Vermont. As I ponder each week about what to write about, I wonder what it is you’re interested in reading. Let me know so I can be sure I’m writing what you want to read. It will only take a few seconds:


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