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    Skye Waulking Song 2

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    SarahMassey
    This document provides an in-depth analysis of the traditional Scottish folk song "Skye Waulking Song" as performed by the band Capercaillie. It describes the waulking process that inspired the song, discusses the band and album, and analyzes elements of the song such as instrumentation, melody, harmony, structure, and cultural influences. The song tells the story of Seathan through a lament by his wife and incorporates Gaelic musical traditions with modern folk rock styles.

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    Download as PPTX, PDF, TXT or read online from Scribd

    Skye Waulking Song 2

    Uploaded by

    SarahMassey
    221 views28 pages
    This document provides an in-depth analysis of the traditional Scottish folk song "Skye Waulking Song" as performed by the band Capercaillie. It describes the waulking process that inspired the song, discusses the band and album, and analyzes elements of the song such as instrumentation, melody, harmony, structure, and cultural influences. The song tells the story of Seathan through a lament by his wife and incorporates Gaelic musical traditions with modern folk rock styles.

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    This document provides an in-depth analysis of the traditional Scottish folk song "Skye Waulking Song" as performed by the band Capercaillie. It describes the waulking process that inspired the song, discusses the band and album, and analyzes elements of the song such as instrumentation, melody, harmony, structure, and cultural influences. The song tells the story of Seathan through a lament by his wife and incorporates Gaelic musical traditions with modern folk rock styles.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    221 views28 pages

    Skye Waulking Song 2

    Uploaded by

    SarahMassey
    This document provides an in-depth analysis of the traditional Scottish folk song "Skye Waulking Song" as performed by the band Capercaillie. It describes the waulking process that inspired the song, discusses the band and album, and analyzes elements of the song such as instrumentation, melody, harmony, structure, and cultural influences. The song tells the story of Seathan through a lament by his wife and incorporates Gaelic musical traditions with modern folk rock styles.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
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    The song tells the story of the son of the King of Ireland, Seathan, through a lament by his wife. It describes the waulking process and uses a mixture of traditional and modern Celtic instruments.

    The lyrics tell the story of the son of the King of Ireland, Seathan. It was a lament by his wife, sharing feelings of grievance and loss.

    A mixture of traditional instruments like uilleann pipes, bouzouki, fiddle and modern instruments like synthesiser, Wurlitzer piano, bass and drum kit are used.

    SKYE WAULKING SONG

    WAULKING
    THIS IS A SCOTTISH PROCESS FOR MAKING TWEED MORE WINDPROOF AND FLEXIBLE SONGS WERE USED TO KEEP EVERYONE IN TIME ONE SINGER WOULD SING THE LYRICS AND OTHERS WOULD JOIN IN WITH NONSENSE SYLLABLES (VOCABLES) TECHNOLOGY HAS REPLACED THE NEED FOR THIS PROCESS, BUT SOME STILL PRACTICE IT

    CAPERCAILLIE
    THEY ARE A SCOTTISH FOLK BAND THEY USE A FUSION OF ELEMENTS FROM TRADITIONAL GAELIC FOLK AND ROCK MUSIC THIS IS DESCRIBED AS CELTIC ROCK SKYE WAULKING SONG IS FROM THEIR ALBUM NADURRA (2000) THE SINGER IS KAREN MATHESON

    FUSION FOLK MUSIC


    THIS IS A MIXTURE OF MORE THAN ONE MUSICAL STYLE OR CULTURE

    FEATURES: MUSIC OF THE PEOPLE-PERFORMED BY LOWER CLASSES WISHING TO EXPRESS FEELINGS OR LOCAL MYTHOLOGY PASSED ON BY ORAL TRADITION, RARELY NOTATED

    OFTEN USED AT INFORMAL OCCASIONS OR AS PROTEST SONGS


    OFTEN USES MIXTURES OF ACOUSTIC AND ELECTRIC INSTRUMENTS

    ABOUT THE SONG


    THE LYRICS TELL THE STORY OF THE SON OF THE KING OF IRELAND, SEATHAN IT WAS A LAMENT BY HIS WIFE, SHARING FEELINGS OF GRIEVANCE AND LOSS THE ORIGINAL WAS OVER 200 LINES LONG

    ONLY A FEW LINES ARE USED IN THE SONG, INTERSPERSED WITH VOCABLES USING CALL AND RESPONSE
    CHUIR MATHAIR MISE DHAN TAIGH CHARRAIDEACH (THE FULL TITLE OF THE SONG) TRANSLATES AS MY FATHER SENT ME TO THE HOUSE OF SORROW

    INSTRUMENTATION
    A MIXTURE OF TRADITIONAL AND MODERN INSTRUMENTS ARE USED: SYNTHESISER WURLITZER PIANO BASS DRUM KIT ACCORDION UILLEANN PIPES BOUZOUKI FIDDLE (THE VOICE IS NOT COUNTED AS AN INSTRUMENT)

    UILLEANN PIPES
    This means pipes of the elbow in Irish They have a different harmonic structure, making them sound softer and sweeter than bagpipes They are most often tuned in D, but can be tuned in other keys

    BOUZOUKI
    GREEK PLUCKED STRINGED INSTRUMENT PLAYED WITH A PLECTRUM

    THERE ARE TWO TYPES, DEPENDING ON WHETHER THEY HAVE THREE OR FOUR PAIRS OF STRINGS
    A MEMBER OF THE LUTE FAMILY (TAMBOURAS) OFTEN USED IN SCOTTISH AND

    IRISH FOLK MUSIC

    GAELIC FEATURES
    COMPOUND TIME SIGNATURE PENTATONIC VOCAL LINE

    USE OF A REFRAIN AT THE END OF EACH VERSE


    USE OF VOCABLES (NONSENSE WORDS) NARRATIVE ELEMENTS-THE STORY OF SEATHEN

    SCOTCH SNAP RHYTHMS

    TEXTURE
    A CONTRAPUNTAL TEXTURE IS CREATED BY A RHYTHMIC PATTERN ON THE DRUM KIT COUNTER MELODIES AND PLAYED ON THE MELODY INSTRUMENTS CHORDS ARE PLAYED ON THE SYNTHESISER AND ACCORDION INSTRUMENTS DROP OUT TO THIN TEXTURE AND MAKE VOCAL PART MORE PROMINENT HETEROPHONIC TEXTURE AT TIMES MONOPHONIC TEXTURE OFTEN USED TO AS A LINK TO THE NEXT SECTION ACCORDION OFTEN DOUBLES THE VOCAL LINE

    RHYTHM
    PIECE IS IN 12/8 (COMPOUND QUADRUPLE TIME), ALTHOUGH THIS IS AMBIGUOUS AT THE START

    THERE IS FREQUENT SYNCOPATION IN BOTH THE VOCAL AND INSTRUMENT LINES


    HI-HAT CREATES CROSS-RHYTHMS ESPECIALLY AT THE BEGINNING OF THE SONG DOTTED RHYTHMS GIVE A LILTING FEEL EMPHASIS PLACED ON 2ND AND 5TH BEATS IN THE INSTRUMENTAL

    TONALITY AND HARMONY


    MAINLY USES CHORDS OF G, E MINOR AND C ENTIRELY DIATONIC

    KEY ONLY ESTABLISHED AT THE END OF THE INTRO BEFORE THE VOICE ENTERS
    MODAL-AEOLIAN MODE OF E MINOR AND G IONIAN MODE OF G MAJOR (DOMINANT CHORD IS AVOIDED) HARMONY IS RELATIVELY SIMPLE THROUGHOUT

    MELODY
    MAIN MELODY HELD BY THE VOCALS WIDE RANGE, QUITE LOW NOTES FOR A FEMALE SINGER

    MELODY USES WIDER STEPS BETWEEN NOTES WHEN TAKEN OVER BY PIPES AND ACCORDION
    USE OF E MINOR PENTATONIC AND G MAJOR PENTATONIC

    DYNAMICS
    GRADUALLY BUILD AT BEGINNING BY THE INSERTING OF INSTRUMENTS DROP DRAMATICALLY AT VERSE 7 A LONG FADE OUT ENDS THE PIECE

    WORD SETTING
    THIS IS MOSTLY SYLLABIC HOWEVER, THE NONSENSE SYLLABLES ARE OFTEN MELISMATIC

    STRUCTURE
    NO OFFICIAL CHORUS IS USED BECAUSE THIS WAS SEEN TO BE UNLUCKY TO REPEAT A WHOLE LINE SOME VERSES ARE TREATED LIKE A CHORUS, SUCH AS VERSE 4 WHEN FULL BAND ENTERS SUDDENLY AND BACKING VOCALS ARE ADDED STROPHIC FORM

    INTRODUCTION
    BARS 1-8 BEGINS WITH SYNTH PLAYING A SUSTAINED CLUSTER CHORD, HINTING AT E MINOR THE FIDDLE THEN PLAYS A TREMOLO D CHORD SEQUENCE EVENTUALLY ESTABLISHED AS EM-G TIME SIGNATURE IS AMBIGUOUS BUT THE DRUMS GIVE THE IMPRESSION OF TRIPLE TIME

    VERSE 1
    BARS 9-11 SAME ACCOMPANIMENT AS IN INTRODUCTION

    VOICE ENTERS USING E MINOR PENTATONIC SCALE OR G MAJOR PENTATONIC SCALE THROUGHOUT
    VOICE HAS A LILTING RHYTHM, MAKING THE TIME SIGNATURE REMAIN AMBIGUOUS

    BREAK
    BARS 12-15 THE BACKING INSTRUMENTS CONTINUE, BUT THE FIDDLE IS MORE PROMINENT NOW

    VERSE 2
    BARS 16-20 VOICE ESTABLISHES TIME SIGNATURE OF 12/8

    VERSE 3
    BARS 21-24 CONTINUES STRAIGHT FROM VERSE 2

    LAST LINE IS UNACCOMPANIED

    VERSE 4
    BARS 25-28 THE ACCORDION JOINS IN WITH THE ACCOMPANIMENT PROVIDED BY THE BOUZOUKI BACKING VOCALS JOIN IN TO SING THE VOCABLES DRUMS CLEARLY SHOW TIME SIGNATURE OF 12/8 BASS PART DEVELOPS AND BECOMES FULLER CHORD SEQUENCE CHANGES TO C-G-EM-G

    VERSE 5
    BARS 29-32 MUCH THE SAME AS VERSE 4

    ACCORDION PROVIDES COUNTER-MELODY TO VOCAL PART

    VERSE 6
    BARS 33-36 SAME AS BEFORE

    INSTRUMENTAL
    BARS 37-43 PIPES AND FIDDLE HAVE A HETEROPHONIC TEXTURE

    ACCORDION PROVIDES OCCASIONAL MELODIC DOUBLING


    EMPHASIS OF BEATS 2 AND 5 PROVIDES RHYTHMIC INTEREST

    VERSE 7
    BARS 44-48 CHORDS CHANGE TO AM7-EM-EM-G FOR THIS VERSE ONLY DRAMATIC DYNAMIC DROP MAKES THE VOCALS MORE PROMINENT INSTRUMENTS DROP OUT FOR LAST LINE DRUMS BUILD UP LEADING TO LAST VERSE

    VERSE 8
    BARS 49-52 ALL INSTRUMENTS RETURN

    CHORD PROGRESSION RETURNS TO C-G-EM-G

    OUTRO
    BAR 53-END VOCAL IMPROVISATION ON VOCABLES

    INSTRUMENTS PLAY A COUNTERPOINT


    CHORD SEQUENCE IS ALTERNATING BETWEEN C AND G FADE OUT TO END

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