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.
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 Cannavans — see 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.
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.