I got a copy of this book about a week ago after Peter mentioned it on a thread.
I’ve been particularly interested in the transcriptions of Julia Clifford, because the man who has been my Tutor for the past year or so, Peter Cooper, learnt a lot from her during her time in London. So there is a link from me to Peter Cooper, to Julia Clifford, back to Padraig O’Keeffe. Sorta. Of course Peter has had many other influences, as have I.
One thing that suprised me, looking at these transcriptions, is how often a single bowstroke is used for 5, 6, 7, 8 or even 9 consecutive quavers (in a reel), by these and other players in the book.
In group classes with Peter (and also Liz Doherty), it’s rare to bow more than three consecutive quavers in the same direction, a common bowing pattern being three separate, three together (on the upbow) and two separate.
Are current day players still using such long bow strokes? I haven’t watched anyone playing for a while, but I don’t recall any workshops or concerts where I’ve been suprised by the length of bow used.
Long legatto strings of notes on one bow stroke are the trade mark of Sligo/Sliabh Luachra fiddling. Perhaps you are thinking of Clare style, which is mainly single-bowed notes, or Donegal style, which is single-bowed stacatto bowing.
A good book to learn this style is Matt Cranitch’s.
Ah go on… :roll:
James Kelly ripped apart the first Volume of these books in a review in Ceol from 1984, claiming that a lot of the transcriptions were highly inaccurate, usually in regards to the bowing.
As far as I remember he didn’t exactly shred it, unfortunately I can’t find the particular issue of Ceol (it isn’t in the 1984 one). He did find some fault withthe treatment of the 78 rpm fiddle recordings.
Holy crap! I thought I was reading one of Bloomfield’s posts – because of the avatar. After about the third read I noticed the author’s name. Things just aren’t what they seem today: with the whistle board getting split up and now this. I need to be more alert. :roll:
Of course Peter has had many other influences, as have I.