Hug the Bundle

Uilleann Pipes
1

Any of you out there learning/learnt any tunes from Brian McNamara’s Fort of Jewels.

With my repertoire sadly lacking in single jigs I’m having a go at the set:

Hug the Bundle/Maloney’s/Thomas Reilly Clerk of Fore.

More or less got Maloney’s going.

Also what do you think of that Cnat thing he does, I’ve not come across it before?


David

2

A little explanation would help here… what is it you’re hearing?

3

It’s difficult to describe, it’s a bit like a trill or a crannish sort of sound, it could be a particularly brash and defined vibrato.

I cannot clearly hear what he’s doing even when I slow it down.

I’ll pin point some example and you can have a listen.

When he plays Thomas Reilly Clerk of Fore (3rd tune, track 6) the last long cnat in the very first A part. Then again, second time through the tune, A part, second long cnat .

He does it on several other tunes as well.

David

4

That’s what it sounds like to me - a fast vibrato from drumming the E and ghost D fingers while playing a C natural, perhaps even while lifting the chanter slightly off the knee. And do I detect a hint of raspberry and just a flutter of white pepper?

5

Sounds like a hard vibrato on B to me, not a C, or maybe I’m not understanding you.

Have you thought of writing and asking him? I don’t know what his response times are like (if any) but it wouldn’t hurt to try - info@piperbrian.com

djm

6

It’s definitely a Cnat.

The particular phrase in the tune goes: EAABc

The tune is in Am and this phrase repeats 4 times in the A part. Usually he stops the Cnat and come back in with a cBA open triplet (first c cut with a back d) and then uses this “funny” long Cnat as a variation.

He did a few Tionols in the USA last year, did anyone hear him talk about this.

I’ll maybe email him when I finish work today and see what he says (unless the problem is solved by then).

Chadd, I’ll give your suggestion a try and see if it sound like it. Thanks.

David

7

David,

I hope I’ve got you right, but that reminds me of a way of accenting C that I learnt from Nollaig McCarthaigh (sp). (e.g a tune that I use it in is Maid in the Cherry Tree) It’s possibly a C# off the knee and a trill or wiggle or drumming or what you will with the index and middle finger. The fact that you have only one finger off the chanter to create a note (discounting the big hole at the bottom when off the knee :wink: ) means that subsequent drumming/tapping of fingers has a more pronounced effect (obviously). All done during the’pull off’ causes a nice ‘explosion’ and bend. (must add that some chanters do this bettr than others, some don’t do it at all!!)

I might, of course, be waaay off mark!

Cheers

Alan

8

I’m now fairly certain I’ve worked out what Brian is doing (thanks to Alan for putting me one the right track).

So for those that are interested this is what gets closest on my chanter (Williams D):

Play a Cnat off the knee with three fingers off the chanter: the c, F# and E. Lower hand has index and little finger on, upper hand has only index finger off.

By cutting with the G finger (index lower hand) you get a c# cut on the cnat. (Chanter must be raised). Because it is a cut you get a crisper c# than that produced by tapping the two lower hand fingers.

Brian appears to use the cut rapidly, several times, almost like a cran.

It is also possible to produce the c# cut from the A and B fingers (individually) but each of these have a much harsher tone than that produced by the G finger.

I’d be interested to hear if this works on other chanters and if anyone here uses anything like this already.

I will email Brian and see if he will confirm any of this.

Sincerest apologies to my neighbours who put up with some unpleasant noises as I worked this out.

David