aberfeldy local mod
aberfeldy local mod
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aberfeldy local mod mod, gaelic, aberfeldy, perthshire, angus, provincial, competition, junior, senior, fiddle, bagpipes, ceilidh, an comunn, gaidhealach, breadalbane, singing, local, entries, syllabus
One of the most prestigious competitions to win at the Royal National Mod is the Traditional Gold, or sean nos competition. There is also a traditional competition at the aberfeldy local mod which is very popular. Sean nos means old style, but it usually refers to traditional Gaelic aberfeldy local mod singing. This usually means it is a form of singing which has been passed down orally through several generations, and still maintains the true aberfeldy local mod and distinctive soul of the regional style in the area of Scotland where it has been passed down. It is usually a very complex form of singing, and although many people try to imitate it, it is full of small nuances, changes in language, ornamentation such as grace notes, and just the style of the aberfeldy local mod song, and they can never be truly learnt by an incomer or learner, to the extent that they can be passed down through generations and learnt by your motherís or grandmotherís knee. Each aberfeldy local mod region has its own style, and many can be identified by someone well educated in the different styles, simply by listening to the changes in ornamentation and aberfeldy local mod pronunciations.
Sean nos is usually performed unaccompanied, and the melody and rhythms often change verse to verse, to suit and adjust themselves to the Gaelic aberfeldy local mod poetry, which always takes precedence. The singerís voice does not need to be trained, but should be tuneful and natural, completely relaxed and unforced. The singer must be comfortable with the song they are singing, and usually with the whole language behind it as well. Their singing style will be part of who they are, not merely something learnt in order to enter a competition. They will have been exposed to aberfeldy local mod the style of singing throughout their childhood and the pattern of the words will come naturally to them. There is huge rhythmic freedom within sean nos, and as said above, all of the verses may vary from one another simply to fit the rhythm of the poetry. This is another reason that traditional singing remains unaccompanied even in this day; it is very difficult to accompany when each verse can be completely different to the aberfeldy local mod one before in timings and patterns and phrasings. On occasion you will hear traditional singers being accompanied, either willingly or unwillingly, by various instruments, but generally it forces the singer into a strict rhythm and the free temp and rhythms are no longer able to flow naturally, taking away from the traditional style that the singer is used to, and losing the overall aberfeldy local mod effect.
The tempo and rhythms are also affected by the ornamentation and grace notes used. Traditional singing from Lewis and Harris has usually got more natural ornamentation in it aberfeldy local mod, but often singers from other places overdo it, trying to replicate the natural feeling by forcing too much onto an otherwise simple song. True melismatic singing is entirely aberfeldy local mod natural and there is no pattern to when the ornamentations happen, nor how long they should last, which can again alter the phrase lengths and tempo of the song. Many young singers have several influences, hopefully to include their older generations in the family and community, but usually also stretching to more modern and mainstream aberfeldy local mod music, which takes away from the traditional localized styles.
Another thing to note about traditional aberfeldy local mod song is that quite often it will be different every time the same singer sings the song, changing not only tempo but also rhythms, ornamentation and even melody, depending on the singerís mood and situation at the time, and what the surrounding aberfeldy local mod atmosphere is like.