Electric Guitars Ireland
Josh Taerk - Anglo-Canadian folk music- the Newfoundland's heritage
The folk music of Newfoundland reflects the cultural heritage from the British Isles, nurtured in the New World into a unique tradition. The relative isolation of out ports and extensive travels of seafaring Newfoundlanders are the basic factors behind a body of music which is at once firmly local and broadly eclectic.
Singing Styles:
Most of the published collections of Newfoundland folk music have almost dealt entirely with the province's vocal traditions. Newfoundland folksinging has unique characteristics and it is characterized by a straightforward undramatic solo performance with little dynamic variation from stanza to stanza. Personal styles may include vibrato and melismatic ornamentation. Usually the tone production will be crystal clear rather than raspy but may be relaxed or tense depending upon whether the upper or lower portions of the singer's natural range are used. Often the final words of a song are spoken. Stress within the tradition is upon words rather than tune.
Categories of Song:
"Ditty" and "Story-song" are the two categories of song used by most Newfoundland singers. 'Ditty' is a not an serious song and has satirical, derogatory, bawdy, or children's lyrics. 'Story-song,' often simply called as 'song,' it's a serious narrative folksong of the type usually called 'ballad' by scholars. The latter is the more important among the two categories, both numerically and in terms of local values.
Recent Trends in Newfoundland's Folk Music:
With the innovation of paved roads, electricity, and TV many of these musical traditions have been altered or become moribund. Younger instrumentalists and singers are apt to perform rock, Irish, or country-western music rather than perpetuate the traditions of their fathers. Dances rarely have the complex patterns of earlier times, although step dancing is quite popular. Increasing enhancements on the instrumental virtuosity in playing traditional dance music has replaced the older concern with the ability to accompany dancing properly. Song-writing and local composition reflecting the fact that Newfoundland's musical culture still is flexible enough to cope with and adopt from mainland influences.
From the 1960's on an indigenous popular music with important connections to local folk music has developed. Based on the synthesis of Irish popular folk, North American country and western, and local traditions, it owes much to the work of Harry Hibbs and Dick Nolan, and by the early 1990's had found its popular expression in the work of the duo Simani (Bud Davidge and Sim Savory). With the accordion in the foreground, it usually includes guitar, drums and bass, some or all of which may be electronic. Now this form is the most popular kind of dance music in rural Newfoundland, draws from Newfoundland's storehouse of traditional lyrics and melodies and contributes new songs on local topics.
In 1970's on folk revival activity centered in St John's has rekindled local interest in Newfoundland's folk music through a folk club, annual folk festivals, and other activities, many of them organized by the St John's Folk Arts Council. It has led to the acknowledgment of older representatives of Newfoundland's traditions such as fiddlers Rufus Guinchard and Émile Benoit, and to important roles as presenters and performers for younger interpreters such as Figgy Duff, Jim Payne, and Kelly Russell. This activity has been considerably influenced by the ideas from the folk revival movements of Great Britain and Ireland. Now considerable amount of attention has been paid to the revival of the complex old dances.
About the Author
I am a singer/songwriter that plays acoustic guitar, and occasionally play with electric guitar players.I have produced my first album to be released shortly called Never Look Back.
various irish folk songs on electric guitar
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