The “Glitch” Track - Does Anyone Know The Songs In It?

The “Glitch” Track - Does Anyone Know The Songs In It?

I’m completely at a loss for what tune this is, so I’m just putting this here… it’s the track “Glitch” by The SIDH on the album NITRO. You can watch it at this link —> https://www.youtube.com/watch?v=QcEOPM8APNM but they’re also on Spotify, Apple Music, and all the other popular music apps. Anyway, I have no idea what the songs are on this track and I’d appreciate it if you could tell me if you know them… thanks!

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I’d guess it’s mostly self-penned riffing.

A couple of years ago I saw "Pipes Rock" band, CELTICA, here in the town square. It was hugely exciting for a half hour or so, but got very samey after a while (and hurt my ears a bit).

They seemed to draw as much from heavy metal as from anything traditional, and there were strong elements of classical in there too - echoes of Bach, perhaps, or Vivaldi. Some people here may loathe it, and that’s a respectable view too, but imho letting your hair down to something like this once in a while* is also harmless.

*Every few years?

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What a racket! Is it music, I was waiting for the song.

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For once I must agree with goose, the best thing about that track is that it is quite short. That said, I think it is a real tune, though I’d struggle to put a name to it. I think it is one of these written-for-pipe-band tunes with the over-suspended chord progressions.

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Well Goose, that was certainly not helpful. I was looking for something constructive.

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Thanks Calum! I wasn’t really looking for opinions though.

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Also the Peatbog faeries play it in the track folk police.

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Anonymous piper, sorry where is the song you you are referring to?

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That clip is just a jumble , no words, no song!

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Closest I could find with 5 minutes mucking about on folk tune finder… still sounds very little like it.

https://thesession.org/tunes/2645

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Sounds like a studio mash up of various samples.

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I think you’ll find the lyrics to this song go something like:

Aeed deAe edde Bede GddB BdGd dBde gede
Aeed deAe edde Bede GddB BdGd gedA eAAA

I might be mistaken, but I think that’s Gaelic for "make mine a dram of Bunnahabhain".

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The song starts at 1.25. It’s quite short.

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"Well Goose, that was certainly not helpful. I was looking for something constructive."
I think that what Goose pointed out in total is actually very constructive. If it isn’t helpful to you it’s just that you are missing the point.

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Gobby, Goose is expressing his opinion(s). I’m inclined to think it’s less than helpful for any information about the track. You both may not like it but that’s down to different tastes; isn’t it?

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Put it this way, I cannot imagine any traditional Irish musician playing those, whatever they are. I know one thing for certain Paddy Fahy is not the composer.

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I think we all got that it’s not Paddy Fahy, Goose.

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I don’t hear any melody at all. So yeah, it’s not Paddy F.

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Well, it does feature Highland pipes.

But, seriously, isn’t Sidh a fusion band with no claim to being strictly traditional? I hope the tradition is
confident in it’s own repertoire of tunes that no one needs to feel threatened by experiments on the fringe.
Fair play to say what’s not there but innovation only comes with pushing the envelope. Which can involve
many failures and rare success.

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"You both may not like it but that’s down to different tastes; isn’t it? " Yeah Ben, that’s why this is called "discussions’ isn’t it? i.e., so that we can discuss our differences. If one posts, then one should expect more than one asks for and accept it. I remain in Goose’s corner.

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"I don’t hear any melody at all." Really?

Whatever the name of the tune, it’s not the same as the similar sounding, but different one in The Folk Police by Peatbog Faeries, who, incidentally, to my ears do that whole ntz ntz dance thing a lot better and whose music I can appreciate for it’s inventiveness and musicality but it’s not my particular cup of tea (which, incidentally, is on the table beside me and a smacker of a cup it is too - first of the day).

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AB innovation is fine, but when you pull the envelope instead pushing it, do you end up with highland pipes and all types of interferences in the mix. Well its been attempted before in Traditional Irish music and rejected by the tradition in general.

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Does the name tell us anything? Was it truncated by a technical hitch before it really got going?

I doubt I would have listened even that long if it hadn’t been so short.

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Funny how sometimes the most unlikely topics can generate some intense discussion. Personally I find the track referred to by the OP to be a couple of minutes of odious rubbish, but that’s just my opinion - though admittedly an arrogant one and not at all humble. I do, however, have a couple of Qs about the subject matter.

First, why is there a request to identify songs? There are none in the clip. I hear no singing. There’s a passage that passes for a tune, though it seems nobody so far has been able to identify it as originating in the Irish, or any other, tradition and I, for one, am not moved to do the research to look into it.

Secondly, we here are mostly interested in material that we might want to play or hear in a session. If we can assume that there are those who like this piece enough to want to include it in a session repertoire, surely the key question (again, one that excites much controversy) is: should they notate it and read the dots, or is it more authentic to listen to it until they have it by ear? Would either approach lend it some claim to authenticity or, come to that, acceptability in any session that you’ve ever been to? Even as a joke?

As to the OP ‘looking for something constructive’ in raising the topic - I think I’d need some guidance as to what form that could possibly take.

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There’s pipes rock and there’s pipes rock. Now I fully understand that most people here will not like this, and I wouldn’t want to listen to it long or often, but doesn’t it make some of you smile?

https://www.youtube.com/watch?v=RqHYAnW6lKY

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Personally, I’m finding the indignant "misunderstanding" when folks from across the pond use the term "songs" for what we might call "tunes" just a tad tiring.
But maybe that’s just me.

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In answer to your question Alex…

NO!

All the best
Brian x

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The clip Alex posted looks like a normal Border Morris band, without the Border Morris.

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And the strangers came and tried to teach us their ways, and blamed us for being who we are
But they might as well go chasing moonbeams
or light a penny candle from a star.

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If you could sing those words to the Glitch riff, I’d be impressed!

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Great playing by Mr. Duncan, Kenny.
Cheers!

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Oh, silly me!
I wrote song instead of tune… yes, go ahead and make fun.
Just a mistake! I know it’s a tune. I don’t even say “songs” out loud! It just happened. Anyway, sorry for causing so much outrage. I thought I might’ve gotten some help, not complaints about a band I don;t have anything to do with.

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Anonymous piper, making fun seems to be the norm here, don’t let it get you down.

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Anonymous_Piper, might it be that the tune you seek, the notes for which I gave in my first post yesterday, is actually called The Glitch?

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Well it just shows how tastes differ. Impressive as those crans of Gordon Duncan’s are, they fall on my ears like the buzzing of a wasp. We hear it in guitar shredding, in bebop - too many flecking notes - in Flook, and so on. It’s clever, it’s high quality, and if you like it then please pay for it. But don’t take it personally if many of us find it both irritating and above all BORING. It’s all a question of personal taste.

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"Anonymous_Piper, might it be that the tune you seek, the notes for which I gave in my first post yesterday, is actually called The Glitch?"
https://www.youtube.com/watch?v=amJ_WLmOKS0

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Re: The “Glitch” Track - Does Anyone Know The Songs In It?

AB, that’s not the same tune.

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First time I’ve ever heard anyone call Gordon Duncan’s music "boring" - and who are this "many of us" you refer to ? Your first and last sentences are true.

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> those crans

I can assure you that Gordon does not play a single cran on that track.

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Thanks, DonaldK. I only listened once & wasn’t sure but had to leave because the place I was using for WiFi was closing. Thank you for clearing that up.
Gordon is not boring. He’s brilliant! Seumas’MMV

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Gordon Duncan was a genius musician who died way too young. I’m not a piper, but I appreciate and play some of the tunes he composed.

Like any artist in a "folk" medium he needed impressive technical chops to get noticed. As a non-piper I don’t especially like that track above either, but it’s something aimed more at pipers and I understand that. I’ll still always play some of his composed tunes on flute and mandolin, because they’re outstanding.

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I like it. I’m a non-piper. I cannot begin to touch anything close to the Gordon Duncan’s full appreciation for the tunes (not just GHB). I see his talent (especially in that clip) as thinking outside the constraints of the ‘impressive technical chops’ which are probably an overstated institution for many pipers who are in competition.

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I must admit I’ve never heard of the Peatbog faeries or Gordon Duncan.

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I would have to say that The Peatbog Faeries are a bit niche (in the trad world) and not everyone’s cup of tea (perhaps appealing to a younger audience) so there is quite a good chance you would never have come across them.
Gordon Duncan was probably the most influential piper in the late 20th century outside of the insular world of great highland bagpiping. He wrote some great tunes, many of which have become standards, like The High Drive, The Famous Baravan and The Sleeping Tune.

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I do hope and assume that you all have the wit to realise that I was to an extent being deliberately provocative above. If I have annoyed anybody, I do apologise.

@Kenny: you ask, “who are this "many of us" you refer to”. I was speaking, perhaps presumptuously, for fellow human beings in general. You also say that this is the first time you “ever heard anyone call Gordon Duncan’s music "boring". I rather suspect that, like me, you may not have asked many people about it. I appreciate that Scottish Highland piping is a high art, and I realise that it’s one which you are fond, and fair play to you for that, of course. But you will note that I said that people “find it” boring, and I don’t think it’s controversial to suggest that there are lots of people who find almost any art form boring, from ITM, through Scottish piping, heavy metal, opera, ragas on the sitar, taiko drumming, organ fuges… I’m sure that all of this could add paragraphs to this list. The point is that this is not at all the same as claiming that a particular art form (Scottish piping in this case, but really any) actually *is* boring or *is* brilliant – whatever. Technical skill is relatively easy to judge objectively: speed, precision of timing, pitching and so on can all be measured. The rest is subjective.

@Calum: you tell me that there are no crans on that track, and you obviously have expertise in this field. I certainly don’t – Scottish piping (let alone its terminology) is not my thing. All the same, I’m curious. You no doubt realise that I wanted to refer to the little, fast flurries of notes used for articulation/ornamentation. What is the proper term for them?

@AB and @Conical_bore: I should perhaps stress that my potentially contentious comments were addressed to that track and that track alone: I know nothing at all of the rest of Gordon Duncan’s music. I had never heard of him until yesterday. The comments were made, obviously enough, not as a connoisseur but as a run-of-the-mill reader presented with the clip and told that “this is how you do it”.

Let’s face it, for all that ITM has popularity (probably more than Scottish piping, though I don’t have figures), it is one of innumerable niches in the field of music. I take no exception if, for example, somebody tells me that they find Connal O’Grada’s flute-playing boring, and it doesn’t interfere with my enjoyment of that kind of music.

All of which is just a plea to remember: de gustibus non disputandum est.

So are we good now?

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Alex, the little "fast flurries" on low A are called birls. There is a bit of a story behind the tune (and track) "Just for Seamus" which Kenny explains very well here: https://thesession.org/recordings/2856#comment680356

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Back to the track "Glitch", the pipe part certainly has a melody.

What would be called the first part in a pipe tune occurs twice

:25 to :39
and
:55 to 1:09

and is in the modern Highland pipe "hornpipe" idiom.

There was a tremendous fad for these "hornpipes" beginning in the 1990s, their main function in the competition Highland pipe band world was to be the first tune, the march-in tune, to start the Medley.

Dozens, perhaps hundreds, of very similar-sounding tunes like this were composed and often forgot just as quickly. At pipe band competitions you could hear a dozen bands one after another playing tunes in this genre.

If I was to typify the genre it would be that they are 4/4, played even (no dotted or cut notes) and in this pentatonic mode on the pipes:

A B d e g a

True that the "Glitch" track is too fast for marching! But pipers would play the same "hornpipes" at high speeds like that for kitchenpiping etc.

Then there’s the more lyrical section heard once

:40 to :55

Actually some of the competition march-in hornpipes have something like this, a later section having longer notes and harmonies.

So to me, having heard hundreds of these tunes, the "Glitch" track sounds familiar. But so many of those tunes were written, played one competition season, then discarded never to be heard again! They pretty much all sound alike after a while.

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Here’s a recent example of a pipe band marching in to one of these recently composed "hornpipes".

Bump up the tempo and it’s similar to the "Glitch" tune. If I looked longer on YouTube I could find a more similar tune, but you get the idea. Pentatonic A scale, lots of jumping around over large intervals.

https://www.youtube.com/watch?v=BsZW6JpcvU4


To play the specific Glitch tune I would have to write it out, which wouldn’t be hard. It follows the standard format.

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> If I was to typify the genre

I think the other feature that I’d bring out is that they often use quite lengthy chord progressions, with few changes off a I chord substitution, and those tend to revert quite quickly to the I. Or a similar idea with a double tonic, which changes more quickly but there’s still little harmonic variation within the two tonics.

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Masterful playing there Richard Thanks for that, last tune was what do you know ?

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@Richard D Cook
Thanks for all the help!
Exactly what I was looking for.
I suppose I’ll get to work writing it out!

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As an Addendum: gooseinthe Nettles ,The Gordon Duncan tune I most frequently encounter ´in the wild´ at sessions is ´Andy Renwick´s Ferret´.

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About the suspended chords, that’s something I hear in quite a few of the modern Highland pipe tunes, be they "hornpipes" or jigs. They have a never-quite-settled-in feel that I don’t care for.

About the extended chord progressions, I hear it in Irish music as well as Highland pipe music.

There’s a thing, which was really cool the first ten thousand times I heard it, where you take a minor-key Irish reel or Highland pipe "hornpipe" that, by the structure, give the impression of this

1 > 7 > 1 > 7 > 1

but the backing players play this

1 > 7 > 6 > 5 > 1

in other words walking down the scale.

Nowadays it jumps out at me when a band DOESN’T do it.

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Hi there Kenny

I knew the story behind the video you posted, and what a stunning piece of music.
What a genius of a musician!
Er…you couldn’t enlighten me as to the flute player in the video at about 3:40 could you?

Hope all’s well over there,
All the best
Brian x

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@DonaldK
Oh, thanks!
That one looks just about correct except for the little bit in the 3rd part that’s off.
It’s missing the slow bit but that should be relatively easy to figure out.

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Reminds me of being in middle of wicked set at awesome session at festival when some yolk walks in with highland set and shuts the whole place down.
I thought the stretched out notes were like, he got lost and was waiting for band to catch up. I hear police pipe bands do that stretchy note thing. Only place I’ve heard it. But who am I?
I think if it was elbow set ppl would be more receptive.
Someone said earlier, they make up tunes like this and forget them just as quickly

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@Postie: "The Gordon Duncan tune I most frequently encounter ´in the wild´ at sessions is ´Andy Renwick´s Ferret´"

In local sessions here in the PNW I mostly hear Duncan’s "The Sleeping Tune" and the "High Drive" in Irish sessions once in a while.

In a mixed Scottish/Cape Breton/Irish session in the Before Times, a piper friend and I challenged each other to learn Duncan’s "Ian Greene of Greentrax" — an easy tune until you get to the syncopation in the third part that’s basically burned-in muscle memory to learn it. Then we learned Duncan’s "Zito the Bubbleman" together, another great tune.

If you’ve only played Irish trad, you need to get your head inside pipe music (i.e. listening to a lot of it), to appreciate the syncopation as a substitute for no dynamics and a limited scale. It’s a very different style, but fun to play if you can cross over that bridge. I still play more Irish than Scottish music, but I like dipping my toe into it, and some of Gordon Duncan’s tunes are killer even if you don’t play the pipes.

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Not sure where the "little bit in the 3rd part that’s off" is (I checked it again) but I’m sure you, Anonymous_Piper, can correct it to what you hear.
Anyway, here it is with the middle "slow" bit:

X: 1
T: Glitch
M: C|
L: 1/8
K: Amix
Aeed deAe|edde Bede|GddB BdGd|dBde gede|
Aeed deAe|edde Bede|GddB BdGd|gedA eAAA:|
|:A6 e2|e6 d2|g3 f-f2 d2-|d4 A2f2|
[1e3 c- c4-|c6 AG|cd- d6-|d6 e2:|
[2e3 c- c4-|c6 A2|deee deee|deee eeee||

or notes to that effect.

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Hi Brian - the flute player in the photo is Iain MacDonald from Glenuig, formerly of "Ossian" and "The Battlefield Band". I think the fiddle player may be Gabe McVarish, but not 100% certain.
Stay safe, Kenny

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Willie Clancy Leo Rowsome Tommy Reck Patsy Touhey Sean Reid Tommy Keane.

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Peter "Bawn" Hagerty, John Conners, John Hicks, Bernard Delaney, Patrick Touhey, James Early, John Ennis.

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Paddy Malony Finbarr Furey Paddy Keenan Leon Rowsome

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Ah! Thanks for that Kenny!

I recognised the face and couldn’t recall the name. Now there’s another musician who for me is a great mentor.
I met and played with him many times, but if not mistaken, the last time would have been at Jimmy McHugh’s wake.
There was a wonderful occasion way back at the Alwinton Border Shepherd’s Show when Iain and company were playing in the pub, The Rose and Crown I think…I thought the walls were going to burst!
I do remember the last time that you and I played together, here in Hobart, you said he wasn’t too well.
Please do pass on my regards, and keep safe yourself
All the best
Brian x

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@DonaldK

oh sorry- I was rushing to type that message.
I meant 3rd bar. Oops!