Ah, but I never said that was the ‘right’ way! It’s not even normal for me, but just something I liked in that place in that tune, posted here as an example and wondered if you’d missed when you appeared ‘particularly intrigued’ by Richard’s subsequent listing of fingerings with that supporting B3.
You misunderstand me, Peter. Taking your example, I was just affirming the many ways in which a tap can be played . . . which is all I was after really in this thread, getting confirmation that the way I do a tap is no less valid than any other.
Enjoyed Atholl Peter. Thank you, makes me think.
I use ‘2 finger taps’ when I have two C#s in a row.
OOO XXX
OXX XXX
OOO XXX
And sometimes in reverse for articulating two D’s.
I also often use a ‘sort-of’ closed fingering, if I was playing an A and want to tap I often leave my B1 on and tap the T3 - effectively doing a ‘two-finger tap’ but with only using one finger - but that’s on flute and whistle. You can also do them G & F#. It’ll flatten a B too much though, at least on most whistles I’ve played.
I don’t see it making a difference, esp since I keep my taps and cuts to a mere blip.
I’m working on my taps and cuts being ‘mere blips.’ Brian Finnegan’s are amazingly tight.
I think that for me in my playing then it depends more on the speed that i’m playing at. If i was playing, say a reel, at a fairly slow and steady pace, I’d put a little more thought into the notes that I was tapping on. I.e. If I have 2 Gs to play, but the reel had no Fsharps in it, I’d tap an E rather than an Fsharp. However, if I was playing at a faster pace, then I try and play my taps, cuts and rolls as more of just a blip, so I don’t put so much thought into what fingering i’m using, and focus more on the speed and efficiency of my ornaments.
But it can make a difference when you’re intentionally going for something a tad longer. Not because your cuts and strikes are too sloppy to be mere blips, but because you’re looking for emphasis à la Bergin ‘exaggerated’ or Ó Gráda ‘yelping’ cut…