I hear this “blip” sound alot in Séamus Ennis’ recordings, but don’t hear it much in any other recordings. I listened to Mick O’Brien play The Flags of Dublin, and he did something that sounded a lot like it, only it wasn’t in the second octave.
Was this strictly an Ennis Technique? If not, what is it called? Does anybody use this?
I hope you know what I am talking about…
post a sound sample…
http://www.youtube.com/watch?v=lnRJS76ohQ0 I you can see and hear him doing it at around 6-7 seconds in.
http://www.youtube.com/watch?v=Liv8-iYQrcY Mick O’Brien doing it at around 42-43 seconds in, though I am not sure if it was intentional or not…
You can listen to virtually every Ennis recording out there, you’ll always hear it.
The lower octave F# is played so tightly that it jumps up an octave. It just ‘nips’ in.
It’s not an unusual phenomenon, and certainly characteristic of Ennis and his pipes. It could be considered musically incorrect but I like it. Punches in the rhythm a bit more than a low F# would.
I like how it makes the uilleann pipes sound kind of like some sort of mechanical machine.. 
Hello ennischanter,
for me it’s simply that he plays the f# with closed fingering and slighly higher pressure as necessary for the lower octave which forces the f# into the second ocave. Simply like the g-f#-e-triplet in the lower octave with closed fingering which also jumps to the 2nd.
Simply like the g-f#-e-triplet in the lower octave with closed fingering which also jumps to the 2nd.
Hm, it’s not at all a given that a first octave gfe, or a fgf for that matter, will necessarily jump the octave.
“and slighly higher pressure as necessary for the lower octave” Beginning from a closed chanter it then always jumps to the higher octave. Beginning with an open chanter that might not happen jumping up
yeah…depends on hole size
I thought it was an actual thing, so I actually use it!
It’s very easy to do on my chanter too.
so was this something ennis did on purpose?
sorry to be a nuisance, but I thought earlier that ennischanter had made a quick response to my question but I can’t see it now - was I imagining it? just trying to ascertain that i’m not losing what’s left of my mind…
Hahahaha!! 
I did, but I removed it because I am starting to find I post on my own threads too much. Not to worry, you are sane!
But yes, I do suspect that he may have intentionally did it.
Not necessarily done on purpose, but given the nature of the instrument, the odd unintended foray into the second octave can be considered acceptable and not neccesarily a mistake or poor form but rather one of the idiosyncracies of piping.
Edited to add a degree of speculation
I’d disagree completely! A piper on this level like Séamus Ennis at his time did or a piper today will do everything by intention, nearly nothing accidently. It’s simply: playing the open f# safely to stay in the lower octave - two fingers off - or playing it closed with higher pressure to jump up at each time when it appears or more difficult, playing it closed with lower pressure to stay below with the danger to jump up.
Or do other pipers have instruments on which this does not work so? On those I’ve tried beginning from the closed chanter opening to “g” or “f#” with only a little pressure they always jump up. Only very low pressure or open fingering from another note let them stay in the lower octave.
Well sure, who am I to say what Seamus Ennis did or did not intend to do on purpose. But the point is, little unintended momentary forays into 2nd octave are quite normal even amongst the best of pipers. The only thing we know for certain is Seamus Ennis chose to play a staccato F#. Did he intend it to pop up into the 2nd octave? Who knows.
Hmmm, with the fact that it was a flat set, would that might have been a factor?
Well, I’ll add a ‘disagree’ to your disagree! I find your perspectve peculiar because it a perspective that is more associated with classical approach to music, rather than that traditional music embodies, and one Seamus had, which was flexible, and based on variation. There are many things that you can hear in all of Seamus’ recordings that sound unplanned, and of course brilliant!
There is a problem (for many pure drop listeners, and listeners of the old recordings, too), that there are no accidents in todays recordings. Too much sounds scripted, without chance-taking, and yes, BORING! Of course, it’s technically flawless, because everything has been executed with precise intention. That’s admirable, but it’s just ‘push-ups.’ Learn the piece, perfect it, record it, the end! No grit, no chance taking, no “mistakes,” no critiques (because of which).
That note in question (blip as it was described), is idosyncratic to most if not all small holed flat chanters. For example too, sometimes, there was a growl in the ‘Ennis cran’ e.g. that Seamus did so often. That is idosyncratic of a particular reed (or something else). Not planned…it just “is!”
I hate to use this expression, but “it is what it is!” And, it’s great…and more than likely not pre-planned.
So here’s to (for the experienced players) NOT pre-planning anything more than an outline of the tune, and perhaps where your next meal will come from!
OH! YES ! YES YEEEESSSS!!! 
BRA. VO. !!!
im curious.
Did Ennis ever play on a Cahill chanter???
I’ll second that!
One of todays players who I find plays extemporaneous like Ennis did, is Dickey Deegan. 
Edit: I like playing Sixpenny Money in a tight style, but it is very easy to jump the octave F# in the first part.