Dominique Dodge Workshop Summary
Sunday, May 19, 2024
Three tunes: Fead na h-Iolaire (TheEagle’s Whistle), Fear an Dùin Mhòir (The Man From the Big Fort), Fac’ Thu Na Fèidh? (Have you Seen the Deer?)
One of the challenges that our workshop presenters (most of whom play fiddle) face is that we have a variety of instruments playing, and not all play the melody. In the case of this workshop there were fewer fiddles than usual. As a harper, Dominique was not being specific about her instrument, as there were no other harpers. But it was here that her vast knowledge blended with her dynamic and cheerful teaching skills.
We started not by playing, but by singing, in Gaelic no less. Scottish Gaelic is a very different language and cannot be spoken by reading phonetically. The two jigs are a set of puirt-a-beul, or mouth music, which are well known in the Scottish Gaelic tradition. The rhythm of the words creates the rhythm of the dance tunes.
So we worked hard to get the words, then sang them, then played them on our instruments. It was readily acknowledged that learning the tunes vocally first was a great way to get into the spirit of them. (See below for an audio file of the pronounciations).
Indeed, the tunes sounded confident right from the start. Throughout, Dominique frequently acknowledged all of the other instruments, and had suggestions for rhythmic phrasing and ornamentation that could complement the tune.
One response from a number of participants is that having more singing in our concerts would be fun, and would make for a more interesting program. Indeed, we know that in this year's concert the Harry Lauder songs were a hit. (This is a discussion for the music committee.)
Dominique was aware that we would be considering the tunes she presented for next year’s concert set. As a performer herself she knows the importance of adding character to the tunes:
Layering: having different groups of instruments take turns on whole sections, or back and forth between measures (call and response).
Octave changes where your instrument can handle it provides greater depth and interest harmonically even though they are the same notes.
Dropping chords out sometimes. Playing chords as arpeggios. Omitting some of the chord notes. Changing the rhythmic pattern either by leaving out strums, notes, or playing a note on an off-beat rather than on the expected beat. All this provides interest.
Learn the basic tune first and then decide where an ornament would be effective. It doesn’t have to be an ornament every measure. And sometimes less is more. If there are many melody notes, maybe some could be omitted and a note held instead.
For the march, The Eagles’ Whistle, she gave us 3 string parts to be played against the melody. She suggested starting with the 3 parts, then layering later with the melody. These ideas were very intriguing and many in attendance would like to try these at our June gathering.
Throughout, Dominique was able to frequently jump to her harp to illustrate her points, and she was also very good at directing - giving full attention to all players over the course of the workshop.
The result was a very satisfying workshop which exceeded expectations and hopefully set the bar for future workshops.
Dominique recommends this video for further experiencing Fac’ Thu Na Fèidh
Download the Notes (all three tunes, 1 PDF)
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Following the workshop, Dominique presented a delightful concert of tunes and songs, with entertaining stories about the tunes and their origins.
