Cape Breton fiddling

Because the indigenous people of Cape Breton only represent a small minority, the traditional music is massive by Western European immigrants, especially the numerically strongest and longest established group, the Highland Scots, embossed.

Origin and instruments

In addition to English or primarily in Inverness District (West Coast ) also sung Gaelic songs (for example Mary Jane Lamond ) dominates the instrumental, Scottish Celtic dance music. Many of the major Western European instruments ( harps, drums, accordion) or North American ( banjo, Madoline, harmonica, double bass) traditional music come to Cape Breton before barely. Even bands with different instruments, there is almost only among younger musicians ( Beolach, Cottars, Slainte Mhath, Barra Macneills ). The traditional instruments of Cape Breton Island is limited to Scottish bagpipes, their importance, however, subsided since the 19th century and were again popular only in recent decades, and especially on the violin ( " fiddle "). Once served to the accompaniment of the harmonium or a second, played violin in unison; since the late 19th century, but almost always the piano and / or occasionally the guitar.

Type and style of music

Until the borne " Pastorals " instrumental music of Cape Breton 's pure dance music and is therefore played rhythm strongly emphasized. In addition to traditional Scottish and Irish compositions has been and is itself composed on Cape Breton lot in the Scottish style. Over the centuries in Scotland lost, based on bagpipes and vocal music anyway ornate Gaelic Highland fiddle music assimilated to Cape Breton stylistic elements of other population groups, such as staccato French -born Acadians bordunig resonating strings American violinist or in Southern Europe widespread vibrato. Thus arose the " Cape Breton fiddle style ", one of the world's most sophisticated and technically most complicated fiddle styles. To the dissemination and transfer to younger talents cares for several decades, the Cape Breton Fiddlers Society with several hundred members. Through their support, it is also possible for guests to gather information at the Celtic Music Interpretive Center ( Judique ) or to take courses for traditional violins.

Traditional Dancing

The demand for traditional music is unbroken on Cape Breton. Frequently, there are concerts ( " Ceilidh ") and / or a square dance. These square dances differ from the U.S. counterpart not only by the musical structure - the sets consist of two jigs ( 6/8) and a long reel ( 4/4) - but mainly by the type of dances. Always tap dance figures are interspersed with the occasional Strathspey sets - particularly accentuated form of Reels - even solo step dancing. Cape Breton step dance is similar to the Irish, but the arms are allowed to swing freely and the feet are hardly off the ground ( "Close to the floor" ). It is assumed herein the original tap dance style of the Gaelic Highlands until the mid-18th century.

Formative musician (selection)

  • Winston " Scotty" Fitzgerald ( 40s to 70s - his style rely most of today's Cape Breton Fiddler )
  • Buddy MacMaster ( 60s to today - got the Canadian Order of Merit for his musical life's work )
  • Jerry Holland (died in July 2009, was the most prolific with over 1,000 compositions Cape Breton composer )
  • Brenda Stubbert ( a symbol of female Cape Breton fiddler, composed several hundred pieces )
  • Glenn Graham ( representative of the younger generation, wrote the first dissertation on traditional Cape Breton music)
  • Beaton family ( for several generations, well-known representative of the " Mabou Coal Mine " - style, are among the most sought-after live musicians on the island)
  • Lee Cremo ( 60s to 80s, indigenous embossing)
  • JP Cormier ( French-Canadian coinage, multi-instrumentalist )
  • Modern arranged: Natalie MacMaster ( commercially successful fiddler, among others received a " Grammy " and the Canadian Order of Merit ), Ashley MacIsaac (combined as the first traditional Cape Breton music with hard rock, hip-hop and punk )
  • Doug MacPhee ( accompanist of numerous past and current CD productions, representative of the "classic" style )
  • Mac Morin ( main representative of "young" style, sought after studio musicians, including on the albums of G. Graham or Beolach )
  • Joel Chiasson ( French-Canadian, extremely rhythmic style, accompanying pianist Natalie MacMaster )
  • Tracy Dares ( most sought after female pianist to listen to many Fiddle CDs as accompanying musician )
  • Ashley MacIsaac (see above)
  • Jason Roach ( to experiment representative of Cape Breton piano )
  • Barry Shears ( reconstructed by extensive field research the traditional bagpipe style)
  • John MacPhee (main representatives of the younger generation, director of the Cape Breton Pipe Band to listen to many CDs of other artists )
  • Ryan J. MacNeil ( of Barra MacNeils, Beolach and earlier Slainte Mhath commercially most successful pipers of the island)
Reel (dance) Strathspey (dance) Grammy Award
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