What a nice tune.
Don’t view the triplets as triplets. View them as long rolls and you’ll do fine. Frankly, each three-note combination would do well noted instead (for flute) as a quarter. Then either cut (or tap/strike as my preference) the final B that begins the next 4-note run.
so…
for the dB-(3BBB-B run…
merely huff/glottal the beginning of the B triplet and long roll it, then cut/strike the final B
very simple, really
hopethat helps
and thanks for another neat tune. Love them B-minor reels
can’t ever have too many of them (my favorite is still one I learned from Vinnie Kilduff, called John Brosnan’s…which fits beautifully after Jackie Coleman’s)
the C# I will either “tongue” as a triplet (say: di-ge-de for flute; on whistle, it’s tut-tuk-kut)
or I would use the whistler’s “roll” on C#, which is merely to flick the three fingers on the left hand (roll them like drumming fingers onto a table), which gives something.
Or…my favorite…keep RH3 down, tap LH1-2-3 together, and tap RH1-2 right behind it before the first three are lifted. Makes a nice “gurgle” sound.
Still…nothing says you can’t change the triplet C# into a C#-D-C# triple…or turn two notes as a pair of eighths to accommodate the flute.
No, I was teasing Eivind. C# is much harder to grace than is B in my opinion, so I was just surprised that he’d asked for help with the B and not the C#.
I tend to strike C# for triplets (LH1 taps), but that’s because I default to piperthink rather than fluteorfifethink.
Well, you see guys, I still have to consider myself a novice almost a year after buying my delrin Seery…sob… Too little time to practice…sob more..
But I have come a point where I cant keep avoiding the rolling B’s (humm..nice title for a tune?) anymore. So I needed/need tips on how to practice these darn techniques…triple sob…
BTW, glad you liked the tune. I ABC’ed another one for you:
I found it on Kevin Crawford’s “in good company” (track 3), but he possibly plays it in Cminor. Works really well in Bmin on a D flute. It also was transcribed for Emin on thesession.org, but I did not fall entirely for that version
Try this one as well. Since you already have the chops, its a really simple and effective tune; its mostly triad-based and falls quite natural into the ear.
John Brosnan’s? I know a polka in Dmaj by the same name. Humm.
Well,
though you can always (almost) find nice ways to get around tough phrases; that wont always be satisfactory you know
For instance, if you have ever listened to Solas’ recording of The Primrose Lass, you’d want to roll those B’s… At least, I would. So I better get to it!
But thanks anyway; I agree that one should always try and improvise to some extent, at least to get better aquainted with the music oneself. I always felt that this kind of music would not be the same without a continuous morphing of its building blocks. Any good tradition is still alive, right?
Oh, roll the Bs, definitely. I was just working around those C#s. Even if you could roll them, I’d want to do something else in that phrase anyway – as a rule I don’t like doing two rolls in a measure.
Cuz Teahan wrote many fine tunes. One of his students published a book of those tunes a few years back. Nice stuff, for the most part.
Also overlooked at times are tunes by Vincent Broderick. On paper they seem somewhat stale. But listen to a recording of Vincent and you start to understand them a bit more. Suddenly the tunes take on some life when you “get” what he was thinking/playing when he wrote them.
That’s probably what Cuz tunes are a tad stuffy without the benefit of hearing him play.
