June McCormack in her ‘Fliut’ tutorial refers to an ornament called the ‘elongated cut’. To quote the book, she says “The ornament occurs in the duration of the first note. You play the note, then add the cuts and then you move onto the next note.” Two examples in ABC format below.
|(e2{ag}) d|
|(B2{BA}) G|
Can someone explain how to play this - i’m a little confused as to the fingering. (a version in xxxxxo xxoxxo format would be very much appreciated).
PS: I realize June’s book is flute tutorial, but I like to practice the tunes on the whistle first.
Double cut doesn’t seem right from the above description and ABC. If someone can send me the Elongated Cut track (Track #8) from the accompanying CD, I’ll be able to tell. And I’m curious. PM me for contact info.
Added: Track received, thank you so much. You know who you are!
OK, got it. It’s what I (and Grey Larsen) would call a Mid-Cut. You divide the 2 beats of the crotchet (quarter note) into 2 quavers (eights) and separate them with a cut. Larsen notates this with a cut sign over the crotchet.
Thus:
E2 D => (E{A}E) D | G2 E => (G{A}G) E
and so on. Mid-cut the E2, then play D. Mid-cut the G2, then play E. Etc. I think conceptualizing it this way is much clearer than the explanation in the Fliut book.
Note!: On page 11 of the book, the last two notated examples under the heading “Elongated Cut Exercise” are wrong. That is, they don’t match what is played on the track.
The correct last two figures in June’s notation would be: B2{cB}A and B2{cB}G with the c’s being sharp. Or in my notation: (B{c}B) A and (B{c}B) G .
June also seems to be implying to delay the cut slightly by lengthening the quaver before the cut, and shortening the quaver after. That’s fine, too, as a timing variation. In my notation that could be written: (E>{A}E) D | G>{A}G E etc.
NB. In his book, Larsen uses the term “elongated cut” to refer to something entirely different from the above (it’s what I call a “lazy cut”). So beware …
BTW, a double cut is something quite different. It involves playing 2 separate cuts where you would normally play 1 cut, and usually cutting with 2 different notes.
For example, a long roll on G involves a cut and a tap: ~G3 => G {A}G {F}G
To play a double-cut long roll, you substitute 2 separate cuts in place of the {A} cut: G {cGB}G {F}G … or more graphically, G {c}G/{B}G/ {F}G . Here I’m double cutting with fingers T1 {c} then T2 {B}. But the order and choice of cutting notes are flexible.
A timing variation of this would be to start the double cut a bit earlier: G/ {c}G/{B}G {F}G
Thankyou, thankyou, thankyou MTGURU
The two final examples on page 11 had me stumped. I had wondered if they were correct or not but just wasn’t confident enough to make that call.
Maybe I should have just trusted my ears! I had listened to the examples on the tutorial CD and just couldn’t make them fit with what was printed. I was straining to hear 2 separate cuts but could only pick up one. I just assumed the examples were written correctly, and my ear wasn’t good enough to hear the difference. I like the term ‘mid-cut’ - much more descriptive of whats happening. Now I can get back to learning “The New Broom” with a whole lot less confusion.
