I’ve wondered about how folks actually feel about this, as I see much less foot tapping then in the Scottish/Cape Breton music. Do most people feel the way Rory does, that they would rather no one tapped their feet while playing?
Do most people feel the way Rory does, that they would rather no one tapped their feet while playing?
I think foot tapping as you hear it in Irish music only adds a layer of noise. Podorythmie in the Cape Breton sense may be a different matter but , by and large, you don’t really find that in Irish music and I don’t believe it would be a practical option anyway when you have the body of a set of pipes sitting across your lap.
I took Leo’s advice to heart, tapping just seemed to get in the way of playing the regulators anyway. Then I got that Rita Byxbe tape from the 1964 Oireachtas, where Leo takes the stage and you hear this “BOMP! BOMP! BOMP! BOMP!”
Still don’t tap. I think I can pound out a good beat - on the banjo, that is. The sean-nos dancing teacher I play for on occasion never has any complaints about my tempo, anyway. When I put on the pipes - at home - I like to revel in Reck-style rubato. “For the head and heart not feet and floor!”
So, this Mick Conroy is Andy’s brother, right? Did he clog ala Canadian musicians? When I took up an interest in trad music I found an old Folkways LP of Quebec music with some cuts of melodeon + clogging, I always thought was great stuff.
Also - who “invented” tapping the foot double time? Older players don’t do that all, including most baby boomers, but it seems de rigeur amongst youngsters these days. People tell me Jerry O’Sullivan was doing that over 30 years ago so perhaps it comes from Yonkers. Good thing he didn’t popularize having the eyeballs rolling back into the head… Very intense fellow, Jerry. Onstage, anyway.
Of course, but I just like the way his whole body is involved when he plays… He’s also a joy to watch, and not just to listen to.
If foot-tapping is done to keep time, it’s a bad idea, feet are by no means a metronome…
To me foot-tapping’s like anything else, it’s ok when it’s well done… which implies not spoiling the music.
I find the same thing is happening with me! I am starting to tap. My Rhythm still needs some errr… Refinement though. Gotta whip out my metronone.
And with foot tapping, I don’t mind it at all. It may be weird of me (I am generally a weird person, lel) but I actually enjoy the occasional stomp of the foot. Makes it all the more organic and authentic. IMHO
I did a quick search of the first six pipers to pop into my head on youtube and clicked on the first video I saw and all of them are tapping their feet.
I don’t think there’s much wrong with foot tapping. I 100% agree with Peter, that when it becomes a feature it’s a total distraction (at least for me). It’s the double foot stompers that drive me mad, personally.
I’ve seen both Robbie Hannan and Maire Ni Ghrada switch between tapping on 1&3, and 2&4. Robbie tells me he got the 2&4 idea from Jimmy O’Brien Moran.
I’ve heard audience members be amazed at how rock-solid a player’s time was. What greatly influenced there observation what the sound of the tapping. In actually, when I heard the play-back (of the recording I made), their time was no better or worse than someone who had good time. It was just where the LOUD thumping was happening that gave the experience that the rhythm was somehow better.
Hey… if such a thing get such a reaction, perhaps I should adopt that to my act?
The only reason I tap my foot is so the audience can understand the tune! Most of the time people, unfamiliar with Irish music, have no idea where you are.
I saw a poster once that said, “friends don’t let friends clap on one and three” (not sure about the feet though!)