Ive tackled the task of rolls, cuts and cranns, but in a tune where double gracenotes are tabbed, Im not exactly sure of how to go about executing them, usually i just do a single cut instead. Anyone have any little tips or tricks they could share about this neat little ornament?
I do a thing you might call a doubled grace, but what I’ve heard it called is either a “treble” or a “thrill.”
You bounce your finger on the tone hole, kind of like an ultra-rapid, ultra-short trill.
I guess you could call a short cran a kind of doubled grace, as far as that goes, too.
I hope this helped but I feel like I’ve probably only muddied the waters. Sorry 'bout that.
Hint: Scoiltrad.com is a great way to clear up your ornaments.
–James
I dated double Graces once. Identical twins, both named Grace. Then I discovered it was just the Whiskey in the Jar… 
No peeplj not a trill, the double graceNOTES that has to do with cuts, I cant get the timing right. OutofBreath, terrible joke, yet witty and clever at the same time haha.
cheers
Sniff. Well, anyway, when I discovered there was only one of her we shared A Parting Glass.
(Ya gotta love IRT, when you’re in the right mood you can pretty much carry on a conversation with song titles )
Thats because i stole the other grace away i asked her “give me your hand” and she just cut to the chase and said “come upstairs with me”
jajaja
Are you hearing the sound that you want to achieve? That’s important I think.
My uninformed impression is that in a double-cut you’d have a statement of the note first, then the cut, then then note. {GA}G.
A (single) cut would be {A}G, that is you don’t hear the G before the cut.
BUT there is some stylistic preference involved here, I think. I know some excellent whistlers who always play their cuts by starting on the note {GA}G and some who will say that you cannot even discern the differences at speed. To my mind that means that I am working on getting my cuts rock-solid and snappy, and that I am not bothering with anything that I can’t hear. Also, if the point is to give the cut some additional punch, just tonguing the cut might serve you well.
I do think there’s a vast and very much noticable difference between the single and double grace
examples eB B2 {g}e2 at the opening of the Humours of Lissadel is very much different from eB B2 {eg}e2
the second approach has, to state the obvious, a lot more grace.
I do agree that there is a noticeable difference, and I just recently invested quite a bit of effort into clearing up my cuts, hoping to get control over when I grace and when I double grace.
Seems to me that all this is thrown into much sharper relief on the pipes than on the whistle.