Correction! In the exitement of posting my first message, I am, of course, having trouble with the .f.g.a triplet and not the g.f.a as in my first attempt.
I have at least cracked the system.
Pipewort
Both have their uses. Try opening up the A (i.e. don’t quite close the chanter after G)
This subject came up in a workshop with Jerry O’Sullivan. His experience was that few chanters would produce the staccato A reliably (maybe some Taylor based designs) so you either let it come out the 8ve lower or as Peter suggests, slur into it.
I can get it about 1 time in 5 on my Gallagher chanter.
You can delete the other post by going to it and pressing the “X” in the upper-right corner.
I have been playing for a number of years. I have been playing the fga (lower octave) triplet with single finger notes. This makes for great speed, but the G is really more of a chirp than a note. It was recently pointed out to me that I really need to use a two-finger G in this triplet. I find it is HARDER THAN HELL to play this two-finger G at anything beyond a really slow tempo. I work at it everyday but it is going to be a long road…
I wonder how many folks use a two-finger G in these lower hand triplets?
T
Not me. My excuse… it sounds fine with the single finger.
Aha! The truth comes out! After harping on me to play this triplet with two fingers open on the G, mister Kleen admits he can only play it at slow tempo. So another, aha! I actually kind of like the chirp that the single finger G gives the triplet. Seems kind of piperly.
Other than that, I’ve nothing to add to this thread.
When it comes down to it, what fingering a piper chooses to use is based soley on the “noise/sound/percussive effect” that piper desires to make. When you really think about it, there isn’t anything written in stone when it comes to producing desired sounds ‘with’ and ‘in-between’ the notes. It’s basically up to the piper, but mostly to their chanters’ demands.
by the way, with the single g finger, the g will almost surely come out in the second octave, even if you’re playing the triplet “in the first octave”. But your ear won’t mind, and probably can’t tell (if you don’t know).
Similarly, if you’re playing the triplet “stacatto” in the second octave, even if you make the g-to-a transition “legato” instead, your ear will probably be tricked into hearing a stacatto sounding triplet if you have crisp chanter closures around the f and after the a.
My thanks for the solutions.
Pipewort