Skye Waulking Song - Capercaillie

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Skye Waulking Song - Capercaillie
1 Waulking
1.1 Name given to the process of pounding tweed cloth - work women undertook by hand in Scotland in the 1950s
1.2 Waulking songs helped women to work in time with each other and call-and-response was used
2 Album: Nadurra
2.1 Released in 2000
2.2 The text from this song is taken from a long lament called 'John, Son of the King of Ireland'
3 Instrumentation and Texture
3.1 Layered texture
3.1.1 Rhythmic pattern on drum kit
3.1.2 Bass line played by bass guitar
3.1.3 Chords on synthesiser and accordion
3.1.4 Main melody sung by voice
3.1.5 Countermelodies played by other instruments Fiddle, Wurlitzer piano (electric piano), uileann pipes (similar to bag pipes) and bouzouki (a type of lute that comes from Greece)
3.2 In the score:
3.2.1 'N.C' means 'no chord' - accompaniment drops out
3.2.2 'With modulation' means that modulation is applied to the synthesiser chord, making the pitch fluctuate. A cluster chord opens the song - a chord whose notes are all next to each other
4 Structure
4.1 Four different phrases (each lasting for 1 bar) in a call-and-response pattern
4.1.1 Phrase 1: call (in Gaelic, starts on a high D)
4.1.2 Refrain 1: response (vocables, starts on a mid B)
4.1.3 Phrase 2: call (in Gaelic, starts on a low D)
4.1.4 Refrain 2: response (vocables, starts on a high E)
4.2 Overall structure:
4.2.1 1) Introduction: an instrumental section, after which the voice enters
4.2.2 2) Verse 1: voice and accompaniment
4.2.3 3) Verse 2: voice and accompaniment (includes instrumental break)
4.2.4 4) Coda: short vocal phrases echo the end of refrain 1, after which the accompaniment fades out
5 Melody
5.1 Pentatonic
5.2 Low register voice
5.3 Mainly syllabic
5.4 Alternates between one-bar phrases in Gaelic (call) and phrases that use vocables (response)
5.5 Instrumentalists play short motifs and countermelodies based on the vocal phrases
6 Rhythm and Metre
6.1 Compound quadruple metre: 12/8
6.2 Frequent syncopation
6.3 Hi-hat pattern creates cross rhythms at the start. When the full band enters, it changes and more clearly emphasizes 12/8
7 Harmony
7.1 G major
7.2 Diatonic
7.3 Three main chords: G, Em and C
7.4 The dominant chord is avoided, giving the music a modal feel

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