The Call of the Loons was inspired by the beauty of the different vocalizations of loons, known as divers in Scotland. The gathering of loon birds is called a water dance.
Each of the four sections of Call of the Loons musically depicts the four distinct calls that loon birds use for communication on across lakes. The first is the wail, which is an eerie, mournful call that is used to locate each other for long-distance contact.
The first section Call of the Loons is played hauntingly in the key of D minor. The second call of the loon is the yodel used for territorial claims and consists of rising high pitches as heard in the tune with syncopated rhythm and accents and is in the relative major key of F.
The third is the tremolo, described as a short, laughing-like sound from the loon, to announce its presence at the lake. It is represented in this tune with a modulation to the higher key of G, containing sequential repetitions.
The fourth call is the hoot, which is a soft short call for short-range communication, like between mates, parents, and chicks. This is depicted by harmonics and playfulness, echoing sixteenth notes in the returning key of D minor. Variance in dynamics of Call of the Loons is at the solo harper’s discretion, however, it is suggested that the dynamics, excluding the introduction and outro, be kept at mezzo-forte throughout to depict the volume level of the loon bird. The keys of this tune are quite friendly for other instruments, such as the fiddle, accordion, tin whistle, and guitar, so grab a friend to join in playing Call of the Loons!
