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Check it out, a cittern!

Shortly after I put up this excerpt from Victory of the Hawk, in which Kestar gets to see a sketch of his great-grandfather Riniel playing what is essentially a cittern, I decided “well hey, it’d be nifty to actually show the Internet one!”

My plan was to point you all at the joint site of Éric and Simon Beaudry, which they’d put up a few years back to promote their album Le sort des amoureux. There were some loverly pics there of the Beaudry boys, and in particular some featuring Éric with a cittern. That plan, however, failed miserably when I discovered that the site had gone down and the domain had gotten snurched by a registrar in Japan. (That the site is down is known to the Beaudrys, as I discovered in a conversation on Facebook that involved words like “the next album”, words that are highly relevant to my interests, but which digress from the immediate point of this post.)

BUT, my friend Ellen, who y’all will remember is participating in the work on the Bone Walker soundtrack, dropped a bomb on me. In that she does in fact own a cittern. And this past weekend, when she came over to do some recording work, she brought it with her! And told me we could babysit it for a while, since she hasn’t played it in ages! So check it out, this is what a cittern looks like!

Ten-Stringed Twang

Ten-Stringed Twang

And for those of you who are instrument geeks, the instrument’s a Sobell. Made by this gentleman, or so I am informed.

My immediate goal with this: try to figure out how the hell to tune it. Ellen said she had no recollection whatsoever of how it had been tuned before, so I had to turn to the Intarwebz for help. That led to learning that there is apparently quite the range of ways people tune their citterns, including GDADA, GDAEA, GDAEB, CGDAE, DGDAD, DADAD, and more. I thought GDAEB sounded promising, since that’d be adding an extra fifth on top of the GDAE tuning I already know.

Only problem there: B, apparently, was too much for the high course on this thing. It popped one of the strings when I tried to make it up to B. AUGH. And Ellen ruefully admitted that the current set of strings was probably older than her 13-year-old, so the instrument’s long overdue for a restringing regardless.

So Plan B: take it to Dusty Strings, ask for advice on how to tune it and what strings to use, and go from there. (Oh DARN oh DARN an excuse to go to Dusty Strings! Whatever was I to DO? I know you feel the burden this placed upon my soul, Internets.) This proved highly instructive. The guy I talked to at the store promptly took measurements of the strings currently on the instrument so he could identify their gauge, and then measured the length of the scale on it too. That led him to recommend that I tune it in DGDAD.

And I wound up buying individual D’Addario strings of his recommended gauges, which turned out to mean a mix of light and medium strings. So this’ll be an interesting experiment all around.

Once I get it restrung, then I get to figure out how to play it. Hunting for chord charts for a cittern turned out to be a Challenge, as the only chord charts I could find on preliminary Googling were for different tunings and therefore not immediately useful.

BUT! I discovered an app called Fretter, available for both Android and iOS, which I daresay will solve this problem nicely. This app’s a clever little beastie and will let you specify all sorts of different tunings for all sorts of different instruments, including custom tunings. The Android app (which I can now play with, thanks to my new Nook HD!) appears to be cleverer than the iOS version in that it can let you do truly custom instrument settings, as opposed to the iOS one, which just lets you specify custom tunings on the instruments it knows about.

So I’m going to play with this app and see if I can get it to generate enough basic DGDAD chords to cover the various Great Big Sea songs I know. If I can get it to give me G, C, D, Em, Am, and Bm, that should be a lovely start.

This is going to be fun. 😀

(And oh yes, if the Beaudry boys do ever put out another album, buy the hell out of it. Especially if Éric breaks out his cittern.)

June 3, 2014 by
Music

Current side project

For those of you who haven’t already seen me posting about this on the social networks, Dara and I have taken over management of the Emerald Forest Filk site and associated mailing list. This is the Pacific-Northwest-specific filk community site and mailing list, previously hosted by our friend JT Traub. JT needed to step down from being admin of the site and list, and since we had the resources to handle it, we took it over from him.

So now we own the Emerald Forest Filk site, which we set up as a WordPress blog, and we’ve recruited a few volunteers who will be periodically posting things of interest to the Pacific Northwest Filk community. Since it’s WordPress, you can subscribe to the RSS of the posts there via your RSS reader of choice.

We’ve also set up a Facebook account and a Twitter account, and anything that goes up on the site will echo out to there, too. So you can follow the site via either of those means as well.

So if you’re interested in filk music, whether in the Pacific Northwest specifically or just in general, come check the site out. And if there are particular things you’d be interested in seeing posted about there, talk to me or Dara!

January 9, 2014 by
Music

For the record, I have indeed seen this

A couple of people have asked me already if I’ve seen this video of 16-year-old David Thibault in Quebec, covering Elvis’ “Blue Christmas”. So before anybody else does, yep, seen it!

To my ear, the kid sounds like he’s trying just a little too hard to mimic Elvis’ accent and vocal mannerisms, which isn’t exactly his fault–I make that objection about most Elvis impersonators I hear. In his particular case, he’s crossing a language barrier here too. So I cut a lot of slack for that.

And he does have great resonance to his voice, and the overall quality of it is definitely Elvis-like. I’d love to hear him try something backing off just a tad on the accent, then he’d be spot on. Alternately, I’d love to hear him sing something in his natural accent, just to spook me right out and make me wonder when the hell Elvis got resurrected in Quebec. 😉

And if he REALLY wants to combine more of my musical interests, he should play the bouzouki!

+10 as well for the reaction of the lady at the mike. I’m pretty sure I actually understood her crying “t’es incroyable!”–i.e., “you’re incredible”. \0/

December 14, 2013 by
Music

My thoughts on flutes, let me show you them

Today my friend Aron pinged me on Facebook to ask me my thoughts on flutes, since he’s thinking of getting himself one. He’s a newbie to flute playing as well as to playing tunes in general, but is taking well to whistle and likes flute as well, and wanted to know what my thoughts were on his getting a keyed flute.

BOY HOWDY do I have thoughts on this! (And it was rather a relief to see that I was coherent enough to present a cohesive opinion on the topic. Yay, medical recovery!)

Maybe you’re brand new to instruments and don’t know which one to pick. Or maybe you’re like me, and you’re coming out of a school band background, but you’ve found trad music and you want to see if you can take your previous school flute experience and apply it to playing trad tunes.

Here’s the thing though–that flute you played in school band is perfectly capable of producing tunes. It is not, however, exactly a traditional instrument. And if your eventual goal is to play in a session environment, your chances of getting frowned at if you show up with a Boehm-system keyed flute are sadly pretty good. Your mileage on this will vary depending on the session; some sessions may be more amenable to flexibility in instrument choices. But don’t rely on that. You should default in favor of choosing an instrument which will get you taken seriously if you show up at a session with it.

With that in mind, how should you choose an instrument to play?

Suppose you say to yourself, “Okay, I like having keys. I’m comfortable with those. Good clear accidentals are my friend!” Should you try looking at Irish flutes with keys?

Here’s the problem with that–Irish flutes with keys are super expensive. The reason for this, based on my own research across different makers, is because the keys get made out of silver. And that can run you up a pretty hefty price tag with each additional key you put on there. As a concrete example, Casey Burns sells his basic keyless D flutes for $700 each. And each additional key runs you up another $450.

Do the math, and that means a flute with several keys on it, capable of producing whatever accidentals you may need in whatever key you may want to play in, is going to run you a lot of money really fast. This right here will be THE reason I don’t have a proper Irish flute of my own with keys on it yet. That kind of money is up there with the most expensive Apple laptops!

At this point you may now be boggling and wondering what the hell that kind of pricing is based upon, if you’re coming out of a background like mine–wherein you may have paid a couple hundred bucks at most for a flute played in school. It’s very important to keep in mind though that the vast majority of Boehm-system keyed flutes, the kinds of flutes that do get played in schools, are a) mass-produced, and b) specifically targeted for the student market. By contrast, if you’re looking at Irish flutes, the makers of those are not making mass-produced instruments, and they’re not targeting students with them. They’re putting more individual care in the quality of instrument produced, and they’re going to be working with better materials, all with the goal of producing serious sound.

And if it helps lessen the sticker shock, think of it this way–you wouldn’t want to play that flute you played in school if you were joining a serious orchestra, either. If you wanted to be a professional-level player in, say, the Seattle Symphony or something of that scale, you’d be going for concert-grade instruments. And those are going to be running up the price tag considerably as well. I can assure you that I boggled quite a bit at the pricing on some of the concert-grade piccolos I’ve looked at over the years!

In short, if you want to get into playing trad music, go keyless first. The Casey Burns Folk Flute I have is an excellent starter flute, and he sells them for $375. Similarly, I am VERY happy with the carbon fiber flutes I’ve recently acquired from Carbony Celtic Winds. The big D flute I got from them clocks in at $455, and the two smaller flutes I have from them are proportionally less pricy than that. The carbon fibers have great voices on them, and I’d recommend them as a viable alternative to wood if you have concerns about where the wood in a flute may have come from. Also of important note, I’ve been very happy with the exchanges I’ve had with Rob from Carbony, who was very helpful working with me to get a big D flute suited for the reach of my hands and was willing to do custom hole placements for me if need be.

One more maker you might check out is Sweetheart, who also came highly recommended when I started poking around for session-class flutes for myself. I have one of their Renaissance fifes in high D, which was really cheap at $49, which is pretty awesome for a starter-grade instrument.

You can get by in a session with something in D, either a big flute or a fife-sized instrument, as long as you can get good clear sound out of it in a couple of octaves. That’ll do you fine for a large number of tunes–you can do stuff in D, G, E minor, or E dorian without much effort at all, and with only having to half-hole or cross-finger the C. If you want to get a bit more ambitious, you might consider a large D with a smaller backup instrument in a different key, if you want to increase the range of stuff you can play in a session. (Which is why I got myself the A.)

But if you’re just starting out, you should definitely go for a starter-grade instrument, just to make sure that you don’t sink a couple K into an instrument you might ultimately decide you don’t want to play after all. If you keep at it, you can always upgrade to a more serious instrument later. And hi, this’ll be me eventually wanting to commission a serious instrument with keys from Mr. Burns.

Any other flute maker recs out there people want to share? Drop ’em in the comments!

November 19, 2013 by
Music

New big carbon fiber flute!

The first of my two new flutes has arrived from Carbony Celtic Winds! This is the bigger one in D, since they aren’t going to send me the fife in D until next month. But that’s TOTALLY okay, since this one will be fun to play with until then.

The new flute is just about 23 inches in length, about 58.4 centimeters–just a scooch longer than Norouet, my wooden flute in D. I can’t weigh them both but unsurprisingly, the carbon fiber one feels slightly lighter than Norouet does. Norouet has a slightly wider inner diameter, at just over half an inch; new!flute is just about half an inch.

However, and this is a big however–the spacing on the holes, at least for my left hand, is a bit wider than I’m used to. Not out of the question, but it’s a bit of a stretch; I’m going to play around with it for a few more days and see whether I can comfortably play this instrument. But there are concerns here, I think. I’m okay on this instrument if I try to play something slow, like, say, “La Fée des Dents”. But if I go to something fast, like “Manteau d’hiver”, I start missing holes because I have to stretch to hit them and my hand may not be able to do that for long. This will require some experimentation.

The nice gentleman at Carbony who acknowledged my order in email says that they have another model in D with holes slightly closer together, but which sacrifices a bit of power. So worst case scenario is, I send this one back and he sends me the replacement when he sends me up the fife.

Check out the hole spacing in this comparison pic. This is the new carbon fiber next to Norouet.

Fingerholes on Flutes

Fingerholes on Flutes

This is, I suppose, the risk I take when ordering instruments online–I couldn’t have handled this particular flute beforehand, so I had no way of knowing until it got here if I was going to be able to play it. But hopefully this will be a solvable problem. I’ve sent the above pic to the guy at Carbony and asked him to tell me what the hole spacing is like on the other D model they have. It’d be a shame to lose power but that’s an acceptable tradeoff if it means I don’t risk my hand cramping up when I’m trying to play.

(The tone’s REAL nice on this one, though. Somebody with bigger hands than me could probably rock the hell out of this flute! And even given the uncomfortable hand stretch for me, I can get a cleaner and crisper tone out of it than I can out of Norouet.)

October 20, 2013 by
Music

Album review: Autio Huvila, by Kardemimmit

Let me tell you about Kardemimmit, Internets!

Kardemimmit

Kardemimmit

Kardemimmit are a group of women from Finland who do folk music featuring the kantele, which is apparently Finland’s national instrument. I first heard of them via De Temps Antan, since Éric Beaudry of that band was posting on Facebook about having had the opportunity to learn about this group while De Temps Antan was recently on tour in the States. Then they shot straight onto my listening queue thanks to a kind person giving me their album Autio Huvila as a gift!

So I promptly did the appropriate thing and listened to that album ASAP (well, after thanking that kind person in email, because awwwwww :~) ). Because pro tip: giving me surprise music that features unusual instruments is an excellent way to get my musical attention. I looked up the band, went “ooh” at the instruments in their splash page pic, and then looked up the kantele at the Wikipedia link above. From that, I learned from that that it’s an instrument of the dulcimer family, and from Kardemimmit’s site, I learned that they play it in 15- and 38-stringed versions.

Then I listened to the album itself.

Now, I don’t speak a lick of Finnish, though I’ve gotten pretty good at coaxing halfway coherent meaning out of Google Translate (coupled with judicious actual Googling) if I’m trying to figure out bits of a language I don’t know. But since the band has no lyrics posted on their site, not even in Finnish, I have no earthly idea what any of these songs are about. These girls could be singing the names of all the streets in Helsinki, in alphabetical order, for all I know. But I did note with interest that iTunes tags several of the tracks on this album as “Explicit”, which made me make the O RLY? face. And if there’s anything I’ve learned from Quebec trad, it’s that the most innocuous-sounding song can have very bawdy lyrics. (Le Vent du Nord’s “Les métiers”, I’m looking at you. 😉 )

Just by sound and style alone, though, this isn’t stuff you’d think would earn that particular rating. The women of the group all have lovely voices, and between their harmony and the chiming of the kantele they play (note: kantele is both a singular and plural noun), the album’s all very bell-like and beautiful. There’s energy, make no mistake. Right out of the gate, listening to the lively first track, I decided this was very compatible with my rampageous affection for Quebec and Celtic trad. I was particularly amused to hear the singers break into something that sounded a lot like a turlutte, even–though I suppose they call it something else in Finnish! And I kept finding myself totally wanting to give them a podorythmie rhythm track, or maybe a bodhran.

I’m not a hundred percent convinced the album’s instrumentation is all kantele–I could have sworn I heard a bass or extra percussion in there every so often, but if there were any other instruments at all, they were scarce. Mostly, this album’s all about the women’s voices, and about the kantele they play. And I found it highly enjoyable. I’ll be exploring the rest of their work.

Kardemimmit live over at kardemimmit.fi, and you can find them on Facebook as well! If you like Finnish folk music and/or the kantele, or even just think you might, go give ’em a listen.

October 17, 2013 by
Music

My next Quebec tunes challenge

I have identified the next Quebec tunes set I wish to learn: the recording “Gigue à trois”, which appears on the Le Vent du Nord album Les amants du Saint-Laurent!

The first tune in this set is locatable in sheet music form right over here. However, checking it out, I note a problem in that very last measure: i.e., it’s going down to low B and G, and those are notes below the bottom end of my range on ANY of my flutes, really. My silver goes down to middle C. My piccolo goes down to D just above middle C.

(And I can’t really play the piece on any of my keyless flutes either–the first tune I linked to is in G, but the other two are in F and A minor, and you know what I’m not doing on a D or A flute? Playing stuff in F and A minor. I DO still suck at half-holing!)

So in order to play that tune I’m going to have to do one of two things: either a) I will need to kick the whole thing up an octave, or b) doink around with that measure and play notes instead that’ll work okay as chords with that B and G. Option B is more likely, and this is why!

The latter two tunes of that set, according to my initial explorations (aided by an Extremely Awesome Person Who Shall Remain Nameless, but Merci Beaucoup, Awesome Person!), have a part that goes up to the C that’s two octaves over middle C.

And that is a problem. Because if I try to kick the piece up an octave, that means I’d need to play the C that’s THREE octaves over middle C, and that is not happening on my piccolo. It’s barely going to happen on my flute. Hell, I don’t even remember successfully hitting that note on my piccolo in school, although I got up there a few times on the flute.

For those of you who don’t know what I’m talking about re: middle C and octaves and such–an octave is scale in music, basically. Think of the “Do, a deer, a female deer” song in The Sound of Music. Go all the way through do, re, mi, fa, so, la, ti, do, and that’s an octave.

Middle C is the C that’s right smack in the middle of a piano. It’s kind of the landmark note around which most standard musical notation is centered. Wikipedia has a good description of it over here, including some midi files of what various octaves of C sound like.

If you look at their “Designation by octave” chart, middle C is C4. That’s the low C I can hit on my flute. The lowest C I can hit on my piccolo, on the other hand, is C5. I can do C6 easily enough too. C7 is the problem.

And here’s the really fun part. A piccolo is pitched an octave above a flute–meaning that if I use the same fingering to produce a note on both my instruments, the flute will have the low “do” note, and the piccolo will have the high one. And if that wasn’t complicated enough, piccolo music is actually written an octave down, on purpose. So a piccolo C5 looks like a flute C5, when written out in music. But the piccolo C5 is going to SOUND like a C6.

Which means that that C7 I’m trying to hit on my piccolo is actually a C8. I get woozy just THINKING about trying to hit that note. ;D

(The reason piccolo music is written an octave down on purpose is because if you’re writing notes that go too high to fit on the staff, you have to use extra lines called ledger lines to notate them. And there are only so many ledger lines you can comfortably use in a given piece of sheet music before you pretty much have to ctrl-alt-fuckit, write everything an octave down, and mark it 8va, which translates to ‘kick this up an octave because SERIOUSLY, I’m not sticking 15 extra lines over the staff, are you NUTS?’)

In any event, this is going to be quite, quite fun and I look forward to playing with this piece more. BUT FIRST, I gotta finish pulling Vengeance of the Hunter out of my head, and then work on Bone Walker soundtrack stuff! More bulletins as events warrant!

August 9, 2013 by