On February 23, 2002, the Barn Owl Band was featured on the Tunes that were composed by members of the band.
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This album captured some of the best medleys that the Owls haveĪrranged for dances, plus a couple of vocal songs, and included several In 2000, the Owls released their first CD, Dance Owl Night. Namesake, the Barn Owl Band tends to remain home in central Iowa for Is known for sticking to its home territory, though, and like its Wherever plenty of fresh mouse is on offer. Register's Annual Great Bike Ride Across Iowa), or
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Sighted at coffee houses, concert stages, farmer's markets, weddings,Ĭelebrations, Irish ceili dances, TV shows, sound tracks, RAGBRAI (the Iowa Barn Dance Association in Ames, Iowa. Playing for a monthly barn dance for the Central Since its inception in 1991, the band's mainstay gig has been Songs, as well as new compositions that add to the tradition. It's good old-fashioned, toe-tapping, foot-stomping entertainmentīrought up to date with fresh renditions of time-honored tunes and Give new wing to the exciting sound of the traditional American stringīand.
Mighty Barn Owl Band! The nationally recognized Owls are powered byįiddle, guitar, mandolin, bouzouki, and upright bass and Hoot it up with barn dance music from the There are many lullabies in these groups, which suggests that an old layer of Central Asian Turkic folk music can be discerned here.The Barn Owl Band Hello! Please head over to our new website at (February 1, 2020)įollow us on Twitter!! Become a fan on Facebook! Join us on MySpace! Both groups display strong resemblance to major Anatolian, Azeri and Turkmen tunes of Phrygian character.
There are different forms here, but each one can be retraced to the two-lined AB scheme. An earmark of the second group is the E closing note of the first line. Two short Phrygian lines with E cadence (ex.6b, №30-33). The tunes of this group resemble the tunes of short lines ranged with the two-core laments, which however close a note deeper, on B instead of C.ġ.2.5c. Short sectioned melodies with C or D cadence (ex.6a, №27-29). Most of these tunes move on the E-D-C-B tetrachord, the note F rarely occurring.ġ.2.5b. They are ranged here on account of their similarity with the Bekbekey tunes, although they could be categorized with two-lined melodies as well. Two groups of mostly two-lined tunes are to be discussed here, which are performed giusto and moving on Phrygian scale. (Sipos 2004)Įxample 5 Single-line twin-bar tunes rotating on the middle note of the B-C-D trichord 4 Let me note here that although the most important trichord of Azeri folk music is this one, the Azeri musical lines are not rotating but descending or hill-shaped. The importance of this tune scheme in Kyrgyz folk music is proven by its frequency among the lullabies, as seen earlier (№21-22). 4b, №18-24), which also displays links with the twin-bar tunes rotating round the central note of the B-C-D trichord (ex.5, №25-26). The two-lined B ekbekey tune has a Phrygian version closing on the note B (ex. The Phrygian Bekbekey tune and twin-bar tunes rotating on the B-C-D trichord (ex.4b, ex.5, №18-26). This explains why it is ranged with the motivic tunes.ġ.2.5a. The basic form of the Bekbekey tune still of great popularity in Kyrgyzstan moves on the B-C-D trichord, and since its two melody lines can be retraced to the a=B-C D | B C basic motif, its pattern is: a a c || a a c (ex. Two-lined Bekbekey tunes (ex.4a, №12-17). This was the only example found of this type.Įxample 3 Twin-bar tunes rotating on the C-D-E trichord 2ġ.2.4. Twin-bar tunes rotating on the D-A-C trichord (№8). The separate motifs descending on G-E-D-C-G, are to be presented later.ġ.2.2. The lines spinning on the D-B-C core often end with a line descending on the E-D-G, or D-B-G, trichord (ex.2b, №5-7). Though with a smaller weight, this motif can be found in the music of other Turkic peoples, too, e.g. This kernel is frequent in the recitation of the Manas epic it is one of the basic motifs of Kyrgyz folk music (ex.2a). The most frequent rotation occurs on the notes of the D-B-C trichord. Twin-bar tunes rotating on D-B-C trichord (ex.2a-b, №4-7). The intonation of the notes is often uncertain and changes during a performance, thus rotating on Minor thirds may alternate with twirling on Major thirds or with recitation on two notes.ġ.2.1. Compared to the previous group, this form is essentially different from pentatonic music. The genres of these tunes are often archaic: in Anatolia or in Hungarian areas the songs of children’s games, rain-making songs, etc. Rotating tunes around the middle notes of tri- and tetrachords are also relatively frequent in the music of several Turkic and non-Turkic peoples. Twin-bar tunes based on rotating motifs (ex.2-6, №4-33)
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