I always use cuts for this sort of thing, but not always with the finger directly above the note. e.g. playing G D D , I’d cut with the F or G finger rather than the E.
You could use a tap instead to separate the notes, though not with D of course.
To get up to speed it’s really just a matter of practise, and it’s probably harder trying to unlearn the tonguing first.
Strangely enough I think that most Irish flute players avoid tonguing this kind of figure.
Among whistlers however tonguing is kosher. One way to get a good jig sound however is to tongue only the second and third notes in each pair, the repeated notes, then slurring into the next note (first of the next group).
This technique is very widely used - by Mary Bergin, Paddy Moloney, Sean Potts and many others. Mary teaches it systematically, referring to the figures as “ha-ta-ta ha-ta-ta” to indicate slur-tongue-tongue.
Many other top players prefer taps and/or cuts, of course, but I find this method the best way to bring out the jig rhythm that I like. The trick is using your tongue not only to attack notes but to stop them short when required. For example you can stop the first note a nanosecond before you attack the second, thereby delaying (by a tiny fraction) and shortening the middle note of the group.
Very tricky to describe but once you hear what’s going on it becomes easy. Listen to Mary, Paddy or Sean.
[ This Message was edited by: StevieJ on 2003-02-28 09:02 ]
g-e-e b-e-e
Should be played
xxxooo xxxxxo (xxoxxo) xxxxxo xooooo xxxxxo (xxoxxo) xxxxxo
with the notes in prentices as grace notes. The way to achieve speed at this is to practice your scale with using the (xxo***)for gracing the notes below g and using the (o*****) for gracing notes above g. A low D roll is xxxxxx (xxoxxx)xxxxxx (xxxoxx)xxxxxx. A high d roll is oxxxxx (oxoxxx) oxxxxx (oxxoxx)
Jerry O’Sullivan teaches this method and says that he practices the scales running up and down several times each day. He recommend that any student should practice the scales until it is so automatic that you do it without thinking. Then the speed will come by itself. If you have ever heard Jerry play you will follow his advise.
It appears I can tongue them but also that I need to practice the scales using the grace notes as shown. It always comes back to practicing scales doesn’t it?
For variation, I also will change something like f#aa gbb to (help me here…I may not have the ABC idea right)
f#(2)a gbb or f#aa g(2)b or drop the middle note of one of them for a breath, or f#ga gab…
I don’t know how ‘authentic’ it is, but it works for me.
On 2003-02-28 09:44, Wizzer wrote:
g-e-e b-e-e
Should be played
xxxooo xxxxxo (xxoxxo) xxxxxo xooooo xxxxxo (xxoxxo) xxxxxo
with the notes in prentices as grace notes. The way to achieve speed at this is to practice your scale with using the (xxo***)for gracing the notes below g and using the (o*****) for gracing notes above g. A low D roll is xxxxxx (xxoxxx)xxxxxx (xxxoxx)xxxxxx. A high d roll is oxxxxx (oxoxxx) oxxxxx (oxxoxx)
Jerry O’Sullivan teaches this method and says that he practices the scales running up and down several times each day. He recommend that any student should practice the scales until it is so automatic that you do it without thinking. Then the speed will come by itself. If you have ever heard Jerry play you will follow his advise.
wizzer -
thanks for this. i have also been over to colin goldie’s place & colin has also advised me to practice my ornamentation with scales and arpeggio’s. i’m still not very good at it, but i enjoy practicing.
i was wondering if anyone has ever compiled exercises (études) for the whistle. i know i would really appreciate this - and i bet there are a lot of other whistlers out there who would to.
I want to cast a vote for getting a feeling for the tune rather than imprinting this technique amidst this discussion.
For example, I play Swallowtail similarly as described, tho I actually do a “soft” tongue on the first note. “Soft” tongue meaning that a rush of air accents that note rather than a tongue but its not as smooth as a purely untongued note would be.
But, I play Scatter the Mud completely differently in opening figure. I stress the first note (would have a little line over it in classical notation), then roll the succeeding repeated notes. Not everysingle time on the roll becuase it gets monotonous and sloppy.
The reason is that I hear these jigs very differently in my inner musical ear. Scatter the mud is like a battle tune almost and the high first note is bold and the phrasing very direct.
In Swallowtail, I feel that the first note “yields” to the succeeding two (hence the Bergin style of tonguing) but that the first note of SECOND grouping in first measure is the more prominent note and could be tongued. The tension is resolved within the phrase by certain other accented notes and the whole tune is more of a dance of balance. The B section is smoother and just kind of advances the tune.
Regarding these accents, I always imagine a set of drums and the accents are when the drummer hits a different toned head and you can hear the contrast.
I am just uncomfortable with “rules of thumb” for this reason. I find jigs fascinating because they have such variety.
If you hear people say that “all jigs sound alike” (like some of the personnel in the current band I am in), then I think they are missing out on a lot.
Tom, I’m working out of a fife exercise book called ‘Better Stronger Faster’ by Bill Hart, who is also my whistle and flute tutor. He has it out for a new printing, but I have 3 on order for other C&Fers, and if you’d like, I’ll pick you up a copy too. $10 plus shipping. Drop me a note.
i tried to send you a pm a couple of times, but keep getting a delivery error.
i’d like to take you up on your offer to get a copy of bill hart’s fife exercises. i will pay ($10 + shipping) in advance if you tell me what the shipping to germany will be.
best regards and thanks for the offer!
tom
my address:
tom french
mutter-terese-str. 19
41352 korschenbroich
germany