Ùrachadh mu Dheireadh 15/08/2017
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TIOTAL
Phil Coineagan mu dhèidhinn Aly Bain
EXTERNAL ID
GB232_MFR_PHILCUNNINGHAM_09
LINN
1990an
CRUTHADAIR
Phil Cunningham
NEACH-FIOSRACHAIDH
Rèidio Linne Mhoireibh
AITHNEACHADH MAOINE
1770
KEYWORDS
bogsaichean-ciùil
ceòl tradaiseanta
claistinn

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'S e fear den luchd-ciùil tradaiseanta as ainmeile ann an Alba a th' ann an Phil Coineagan MBE. Fhuair e oideachadh clasaigeach air an fhìdheall agus am bogsa-ciùil a chluich. An dèidh sin bha e fhèin agus a bhràthair nam buill dhen chòmhlan 'Silly Wizard', agus chluich iad mar sin fad deich bliadhna (1976-1986). O chionn ghoirid, chuir mòran eòlas air mar thoradh air obair còmhla ris an fhìdhlear Shealtainneach Aly Bain. Tha Phil fìor thàlantach mar stiùiriche-ciùil, mar neach a bhios a' toirt thugainn phrògraman agus mar riochdaire. Rinn e dà shreath de phìosan-ciùil airson làn-orcastra agus ionnstramaidean Ceilteach. Anns an earrainn chlaistinnich seo, a chaidh a chlàradh o thùs airson 'Moray Firth People' tràth anns na 1990an, tha Phil a' bruidhinn ri Robina Goodfellow mu obair còmhla ri Aly.

Interviewer: You've worked with Aly Bain a lot. Does he give you the freedom when you go on stage to improvise?

Yea. Working with anyone a lot, you know, the more you get to know a player, you get to know how they think, how they play. And, you know, we have a vast kind of repertoire of tunes that we play, and the kind of set that Aly and I do is based around tunes that we like. And, you know, we never really decide - We have a format written out that we'll do but if we get to a point in the night where we think, well, 'Here's a tune that I, we haven't played for ages', you know, Aly'll just shout across 'g'. This is a big hint but nine times out of ten - it used to be the same with my brother - that they would, if you were playing a type of tune, and they shouted a key to you, you would know what they were going to go into, based on the tune you were playing, and their kind of - what you know they like to do. And, you know, so it was quite good fun sometimes; it takes the drudgery out of gigs sometimes, is not really knowing what's coming up next. But, you know, it's not a set thing. We like different types of music; we play a lot of kind of Cape Breton tunes, and a lot of American tunes, and Cajun tunes, and just depending on the audience, you know, and you can gauge from the audience pretty well in the first five sets what they're going to get into and then you change the set accordingly. We play a lot of slow stuff - slow airs - because Aly is such a master of, you know, feeling, when he's playing slow tunes and I've seen us, you know, it's down that we're going to play the tune like, twice through, and we're getting into it so much, you know, we're playing the same tune for ten minutes and forgetting that the audience is there sometimes. You've got to be careful with that

Airson stiùireadh mu bhith a’ cleachdadh ìomhaighean agus susbaint eile, faicibh duilleag ‘Na Cumhaichean air Fad.’
’S e companaidh cuibhrichte fo bharantas clàraichte ann an Alba Àir. SC407011 agus carthannas clàraichte Albannach Àir. SC042593 a th’ ann an High Life na Gàidhealtachd.
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Phil Coineagan mu dhèidhinn Aly Bain

1990an

bogsaichean-ciùil; ceòl tradaiseanta; claistinn

Rèidio Linne Mhoireibh

MFR: Phil Cunningham

'S e fear den luchd-ciùil tradaiseanta as ainmeile ann an Alba a th' ann an Phil Coineagan MBE. Fhuair e oideachadh clasaigeach air an fhìdheall agus am bogsa-ciùil a chluich. An dèidh sin bha e fhèin agus a bhràthair nam buill dhen chòmhlan 'Silly Wizard', agus chluich iad mar sin fad deich bliadhna (1976-1986). O chionn ghoirid, chuir mòran eòlas air mar thoradh air obair còmhla ris an fhìdhlear Shealtainneach Aly Bain. Tha Phil fìor thàlantach mar stiùiriche-ciùil, mar neach a bhios a' toirt thugainn phrògraman agus mar riochdaire. Rinn e dà shreath de phìosan-ciùil airson làn-orcastra agus ionnstramaidean Ceilteach. Anns an earrainn chlaistinnich seo, a chaidh a chlàradh o thùs airson 'Moray Firth People' tràth anns na 1990an, tha Phil a' bruidhinn ri Robina Goodfellow mu obair còmhla ri Aly.<br /> <br /> Interviewer: You've worked with Aly Bain a lot. Does he give you the freedom when you go on stage to improvise?<br /> <br /> Yea. Working with anyone a lot, you know, the more you get to know a player, you get to know how they think, how they play. And, you know, we have a vast kind of repertoire of tunes that we play, and the kind of set that Aly and I do is based around tunes that we like. And, you know, we never really decide - We have a format written out that we'll do but if we get to a point in the night where we think, well, 'Here's a tune that I, we haven't played for ages', you know, Aly'll just shout across 'g'. This is a big hint but nine times out of ten - it used to be the same with my brother - that they would, if you were playing a type of tune, and they shouted a key to you, you would know what they were going to go into, based on the tune you were playing, and their kind of - what you know they like to do. And, you know, so it was quite good fun sometimes; it takes the drudgery out of gigs sometimes, is not really knowing what's coming up next. But, you know, it's not a set thing. We like different types of music; we play a lot of kind of Cape Breton tunes, and a lot of American tunes, and Cajun tunes, and just depending on the audience, you know, and you can gauge from the audience pretty well in the first five sets what they're going to get into and then you change the set accordingly. We play a lot of slow stuff - slow airs - because Aly is such a master of, you know, feeling, when he's playing slow tunes and I've seen us, you know, it's down that we're going to play the tune like, twice through, and we're getting into it so much, you know, we're playing the same tune for ten minutes and forgetting that the audience is there sometimes. You've got to be careful with that