Workshop dates Winter 2018

FluteFling trad flute and whistle workshops will continue with dates now fixed for January to March 2018. Tickets are not yet on sale, but will include discounts for multiple workshops.

The workshops are usually on the third Saturday of each month*:

  • Saturday 20th January 1-4pm
  • Saturday 24th February 1-4pm*
  • Saturday 17th March 1-4pm

(*Update: The February workshop is now on the 4th Saturday of the month)

The team are meeting after the December 16 workshop (still some spaces!) to decide on dates for the next Edinburgh Scottish Flute Weekend. After the success of last month’s Aberdeen event, there will be another one in November 2018.

Northeast flute gathering success

Davy Maguire with Claire Hawes and Martin MacDonald, headlining the FluteFling Aberdeen concert. Photo (c) John Crawford, used with permission.

First FluteFling Aberdeen weekend fuels appetite for more

Gordon Turnbull with Kenny Hadden

The first weekend of November saw Scottish traditional flute players gather together for the first FluteFling Aberdeen weekend. The event was supported by Tasgadh funding and saw 16 people attend the workshops with others also attending the Saturday night concert and weekend sessions.

Davy Maguire (c) John Crawford

Davy Maguire came over from Belfast and Sharon Creasey from Dumbarton, to teach, perform and encourage others as part of the ongoing Scottish traditional flute revival. Workshop students came from Aberdeen, Stonehaven, Brechin, Stirling and Edinburgh and local tutor and FluteFling colleague Kenny Hadden, assisted by Gordon Turnbull, ensured everything ran smoothly, from sessions to workshop and concert. The event took place almost exactly 16 years after the original one in 2001 that has inspired four years of FluteFling weekends.

An underlying theme connected the music of Northern Ireland with that of Scotland as Sharon’s extensive knowledge of the music of County Fermanagh complemented Davy’s own experience as a musician and flute teacher. The overlapping blends between strathspeys, highlands and barndances dance forms apparent to all and as tunes were shared over the weekend, the variations that emerged seemed to endlessly stimulate the recollection of others.

Friday saw people gather for tunes in The Blue Lamp, which was also the centre of Saturday evening’s activities and a supporter of the weekend’s events.

Saturday workshop

Davy Maguire explaining a finer point of technique (c) Gordon Turnbull

At the Saturday workshop, Davy Maguire taught a Scottish jig, a Highland from Donegal (which one of the Aberdeen students identified as a strathspey originally from Orkney), and a reel composed by Shetland fiddler Tom Anderson. Sharon Creasey taught 4 tunes — a 6/8 pipe march from the Willie Ross collection of 1875, a reel by Scott Skinner, a jig from the Northumberland tradition, and a jig from Co. Donegal. The afternoon ended with a question and answer session led by Davy, which rounded up the loose threads from the day.

Sharon Creasey demonstrates My Love is the Fair Lad #fluteflingaberdeen

A post shared by Gordon Turnbull (@gordontheflow) on


The selection of tunes was fairly wide-ranging, and quite challenging, but the students enjoyed being pushed a bit in their abilities, and also the variety of tunes which were taught and demonstrated. The high standard of the teaching and levels of encouragement from the tutors was commented upon by several.

Saturday concert and session

The Aberdeen Traditional Flute Players led by Kenny Hadden (c) Gordon Turnbull

The Saturday concert upstairs at The Blue Lamp opened with the Aberdeen Traditional Flute Players playing some tune selections. The ensemble was led by Kenny Hadden and comprised of people who have attended his flute classes at Scottish Culture and Tradition (SCAT) in Aberdeen. They were ably accompanied by Claire Hawes (bodhrán) and Martin MacDonald (guitar), who also accompanied others throughout the evening. Watch out for more from the flute group in the future and thanks to Claire and Martin for their support too. Kenny, hard working all weekend, went on to perform a solo set and was joined by John Crawford for a flute duet.

Malcolm and Janice Reavell (c) John Crawford

Local flute player and composer Malcolm Reavell followed, with Janice Reavell on guitar, playing a fine set of rare tunes and some of his own compositions. Gordon Turnbull played a mixture of traditional tunes as well as music by contemporary Scottish composers such as Dougie MacLean and Freeland Barbour.

Sharon Creasey demonstrated the suitability and versatility of the classical Boehm system keyed flute for both Scottish and Irish traditional music, playing tunes in the keys of F and G minor as well as the more common keys. Davy Maguire ended the two-hour concert with inspirational solo sets of flute music mainly from the Northern counties of Ireland.

Sharon Creasey with Claire Hawes and Martin MacDonald (c) John Crawford

Gordon Turnbull (c) John Crawford

A member of the audience remarked on the variety of flute styles being performed, a comment which echoed similar observations at Edinburgh performances. This response highlights one of the reasons for events like this — to hear and pick up on different ideas to take away to your own music. For traditional flute players, who are relatively thin on the ground in Scotland, the opportunity to come together with like-minded musicians is a key motive behind FluteFling events.

Sunday farewell session

Flute session conversations (c) Gordon Turnbull

Just as Saturday evening ended with another fine session and a chance for everyone to be involved and share their tunes and music together, Sunday lunchtime picked up the threads and the tunes and conversations continued where they left off.

This time in the snug of Ma Cameron’s with its fine acoustics, people shared tunes, ideas and tried out different flutes. Making connections and arrangements before having to head home.

Davy and Alice in Ma Cameron’s, Aberdeen

The Sunday sessions are always more relaxed and often sees the emergence of rare musical gems that have surfaced over the weekend.

Thanks again to everyone involved for their hospitality and time. Thanks too to Tasgadh, for helping to fund the event — a memorable weekend to fire everyone up over the winter.

FluteFling weekends 2018

FluteFling Aberdeen will return next year, but before then, the FluteFling Edinburgh weekend will celebrate its 5th year in 2018 and plans are being laid for that already.

There was also enthusiastic discussion of events in other locations and we will also explore those possibilities.

Into the slip jigs

Bog cotton on Owenreagh Hill - geograph.org.uk - 201316

Davy Maguire included the slip jig Na Ceannabháin Bhána in his concert set in Aberdeen and this became the inspiration for looking at this and other slip jigs at the FluteFling November workshop.

Recordings and sheet music for the workshop can be found on the Resources page. This includes music in ABC notation. For more information on this, see the ABC Notation web site.

Na Ceannabháin Bhána

Na Ceannabháin Bhána (roughly, “na kan-a-van won-ya”) is in G (“The people’s key!” – Davy Maguire) and so fits nicely onto the flute. The title translates as The Bog Cotton, but is often erroneously referred to as The Fair Young Cannavanssee a discussion on The Session. As with many slip jigs there are words associated with the melody and these are to be found in that link as well.

We looked at ways of varying the breath, tonguing issues, use of diaphragm, glottal stops, vibrato (or not), flattement (or “ghost trills” as I call them) and simple decoration on the beat, accompanied by a little more air to help accentuate the rhythm.

I mentioned the Irish band Cran and here is their version of the song alongside other slip jigs:

A Fig for a Kiss

A Fig for a Kiss is a fairly well-known tune that can be found in many collections but the version I play has come out of playing it with Absolutely Legless Irish Dancers for many years. I first heard it on a cassette of music by Leeds fiddler and box player Des Hurley. It has evolved to be a little different, but the two versions can be played alongside each other with no significant issue. To compare, again see The Session.

Another flute-friendly tune, it lends itself to variations, particularly in the first part and these were demonstrated in the workshop. Some of these were melodic, but others were rhythmic and produced by varying the breath — punchy and staccato one time round, subtle and legato another.

It needn’t take very much to explore and bring out interest in a melody. Playing a tune many many times over was also a theme and something that Davy mentioned in Aberdeen. Let’s drop the play it twice and move on thinking and instead do the music some service. Three times is good, but why not four times or even five or six? It builds up the rhythm, lets you explore the tune and others then get a chance to pick it up.

Slip jig variants

We had a digression in which I talked about and demonstrated 9/8 slip jigs, which of course feature in the Scottish tradition, hop jigs and other variants, such as Barney Brallaghan. Also there was a look at 3/2 hornpipes, common in the Scottish Borders and Northumbrian traditions (and occurring elsewhere in England), as are 9/8 tunes. Malcolm and I duetted on Aly Anderson’s Dog Leap Stairs and I played Go to Berwick, Johnny (3/2) and The Berwick Jockey (9/8) side by side for comparison.

The 3/2 hornpipe is clearly an old form, which Händel famously used for the Alla Hornpipe in his Water Music of 1717.

James Byrnes’ Slip Jig

In the sessions I tend to play at, (Monday nights, Sandy Bells — less often recently due to work; Captain’s Bar, third Saturday of the month), Donegal and Scottish influences feature and we tend to follow A Fig for a Kiss with James Byrnes’ Slip Jig.

We didn’t have time to look at this, but I demonstrated a breathing variation in the second part, which emerged out of playing in sessions (we occasionally go under the name of Cauldstane Slap; Facebook page here). Here again, a relatively simple melodic part can be enhanced through breathing — in this case leaping octaves to create a counter rhythm. I have included this in the resources and then remembered that The Mooncoin Jig features something similar in the last part and may have been part of the inspiration.

December workshop

Next month’s workshop will take place on Saturday 16 December and there are plans for Kenny Hadden to come from Aberdeen to co-teach. We may make the Dalriada session afterwards (ends at 6) and then the Captain’s Bar in the evening and you are welcome to join us.

If you made the November workshop, you should have a discount code for the next one. If not, please get in touch. I am currently looking at dates for January-March 2018 and will announce these first in the FluteFling Newsletter.

Autumn news roundup

It may be the Edinburgh Fiddle Festival this weekend, but there is also something for flute and whistle players as Saturday 18th November sees an afternoon workshop at Tribe Porty in Portobello 1-4pm.

Davy and Alice in Ma Cameron’s, Aberdeen, November 2017

Inspired by Davy Maguire’s performance at the FluteFling Aberdeen Weekend earlier in the month, the focus will be on Irish slip jigs, breathing and phrasing.

So if you fancy a break from the strings for a few hours and maybe a stroll by the sea, this could be for you. More details are on the Workshops page. There are still spaces left, so you can let me know if you plan to come but online booking has closed.

I’ll be writing up the FluteFling Aberdeen Weekend very soon, but there was a great turnout and thanks to everyone involved who helped make it so memorable. We will certainly be doing it again and are already beginning to think about the Edinburgh one in 2018.

Saturday 16th Dec will be a jointly taught workshop by Kenny Hadden and myself. Kenny teaches regularly in Aberdeen and while we collaborate on the FluteFling Weekends together with Sharon Creasey, we rarely teach together, so this will be one not to be missed.

Sharon Creasey and Kenny Hadden leading the set #fluteflingaberdeen

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FluteFling Aberdeen Weekend 3-5 November

FluteFling goes on the road this November as traditional flute playing in Scotland focuses on Aberdeen. Following 4 years in Edinburgh, the successful format of weekend workshops, concert and informal sessions over 3-5 November will give you and your music a boost ahead of the winter months. Come and join us on the excursion to the first FluteFling Aberdeen Weekend and be part of the traditional flute revival in Scotland!

The weekend’s tutors will be Davy Maguire from Belfast and Sharon Creasey from Dumbarton. Davy has a wealth of music from Ireland, including the northern tunes that cross over into Scotland and music from the distinctive Breton tradition.

Davy is in great demand as a teacher, from Belfast to Brittany and Italy — he will arrive immediately after teaching and playing in Brittany — while Sharon is one of the foremost exponents of traditional music on the Boehm flute in Scotland and returns with her Fermanagh, Irish and Scottish repertoire. Regardless of the type of flute you play, you will be in excellent hands.

A concert on the Saturday evening will be headlined by Davy Maguire with support from many others including Kenny Hadden, Sharon Creasey, Malcolm Reavell and Gordon Turnbull. And there will be plenty more music too with sessions on the Friday, Saturday and Sunday — a great opportunity to let your hair down and catch up with everyone. We hope to see you there.

Tickets for the weekend and the concert will go on sale in the next day or two. The event’s web page has further details, including links to tickets.

Davy Maguire has taught with Belfast Trad since its inception and teaches and performs regularly both in Ireland and abroad with various groups and as a solo performer. A frequent visitor to Brittany, Davy has toured and played at the Festival Interceltic de Lorient and the Festival de Cornouaille in Quimper with several different line-ups, including Dealán Dartha and Commonalty as well as in duo with Jamie McMenemy. In Ireland he has been adjudicator for several county Fleadhanna Cheoil and has recorded a CD of music for traditional set dancing along with the cream of Northern musicians.

As a taster, here he is (extreme right hand side) with Harry Bradley, Michael Clarkson, Tara Diamond and Brendan O’Hare at the Gradam Ceoil Irish Traditional Musician of the Year Award 2014: