Okay, so I posted this on the posting clips site and nothing…
just curious… would like some feedback. I have my own assessment of the playing , etc. I would appreciate others opinions. Be honest… I don’t care if you think it sucks, just tell me why. Good to go?
Alright then!
http://www.box.net/shared/86nosfc3bf
Arbo
Nice tone, it’s in rhythm. There’s something about it that bugs me though.
The ornamentation and phrasing seem out of whack, but on the other hand
it’s a distinctive style. Let’s see what others think - don’t take my opinion too seriously.
OK, I’ll take a run at it.
o Using dotted swing to lift a tune is fine. But swing can be overdone, and this goes too far for my ear. It’s relentless, and almost sounds like triple meter or a fast hornpipe, losing the feel and drive of a reel. Back off straighter on the swing, and mix up straight and swing for a less monotonous sound.
o Related to the above … You’re pulsing 4 beats to a bar throughout the tune. This gives it a rather square, choppy, hornpipey feel, and kills the forward drive. Decide where you want your pulses to fall in particular phrases - sequentially, on front beats or back beats. And mix it up to avoid sounding so mechanical. Even the huffy-puffy northern style doesn’t pulse every single beat.
o Rolls: There ain’t none. 
It’s odd to hear a ranty tune like this with no rolls at all, especially in places that suggest themselves naturally. The few spots where it sounds like you’re going for a roll come out sounding more like classical mordents or cut/tap substitutions. True, there’s no rule requiring rolls. But your clip gives the impression of someone who is unsure and uncomfortable with rolls, and simply avoiding. Maybe some back-to-basics woodshedding on rolls is in order?
o There’s a lot that you’re doing here that I do like, Arbo. But for me the above 3 issues are what put things a bit “out of whack”, as Hup says.
Hope that’s helpful.
I’m not sure how long you’ve been playing - keep at it.
Two distinct things that I’d say are:
There are some fine elements in your tone - just keep working at it.
This is the first thing I noticed.
I still like your style very much 
If I may ask (since it is related to the sample clip), why is this prefered?
Is this typical of ITM style?
I’ve always liked your playing, Arbo. Sounds like it would be fun to fiddle along with - nice drive.
That said, from a flute perspective I do wonder what you’ve got against sustained notes! Part of that may be the fact that you’re always breathing at the ends of phrases, right where a tasty sustained note would go. Nothing like a nice quarter note every now and again to tie things together.
There are also mid-phrase opportunities in a tune like that to get off the octave jumps and play a legato variation. I know it’s a rhythmic tune, but stepping out of the rigid framework of the same jumps in the same place, every time, not only sounds nice on its own but adds impact when you get on the jumps again.
Rob
I agree with others of the most part. Your tone is quite good.
The one thing I would add is what seems to be tonguing rather than glottal stops. Although this may be a sound you are going for, using it on nearly every beat seems to excessive. Also… you have a strong pulsing happening in your rhythm. I’m not a big fan of heavy pulsing, but that’s just me. Having said that this type of tune lends itself better to that style of playing.
Thank you all…that was helpful…yes, I know about the lack of rolls…will work to put them in clearly. Breathing, shouldn’t be a problem if I am conscious of it in the beginning. Hanging on the ending note of a phrase, likewise.
First take, not warmed up…but that’s not an excuse. Thanks again all.
Arbo
P.S. Been at it long enough to know better! 
To Clarinetcat:
Watch how Catherine McEvoy breathes in this clip:
http://www.youtube.com/watch?v=j-UQuRKtXVU
She’s alternates breaths from the frontish side of the phrase, to the middle, to the beginning/end - and does it very naturally.
Most would agree that she’s an excellent example of ITM.
That’s great for that tune…
Why don’t you play me an example using the tune I recorded… or play it yourself?
Arbo
Interesting, thanks for the link! 
o “There’s a lot that you’re doing here that I do like, Arbo. But for me the above 3 issues are what put things a bit “out of whack”, as Hup says.”
Thanks, MT! So, what is it that you DO like?
Mind you, I know this is not my best playing, but, let’s work through the issues…
Arbo
I would like to hear this same song a couple of months from now.
Won’t take that long… I shall give it some attention for a week or so and see what I can pull together.
As I said…cold, first take, carried away with the pulse thing, worth another shot anyway.
That’s great for that tune…
Why don’t you play me an example using the tune I recorded… or play it yourself?
Arbo
I’ll consider it.
I like your nice, focused tone with a hint of primal growl and honk and push. I like your rock-steady rhythm, though it sounds like a horse tethered to a stake and jumping up and down instead of being allowed to run forward and free. The potential is there. I like the way you play around and in-between the octaves, a huge part of the Irish flute sound to me. I like your sense of ornament placement, though you need to work on the ornaments themselves. And I like your willingness to put yourself out there for other people to hear and ponder.
Thank you MT. I shall take you suggestions and work on them and give it another try at some later point.
Like the horse tethered to a stake analogy: I had that image in my head when playing. I think I have other examples of a more fluid, running/galloping type of tune. Keep in mind: one tune, on one day, in one mindset, in one take… I know I wasn’t on, yet, there it is. Thank you for taking the time to listen and comment. That goes for the rest of ye as well!
Arbo
Many of us would love nothing more than to be playing on Arbo’s level, but these comments are useful, too.
Lots to think about and learn from here. Thanks.
Hey Arbo, as ever, I wish I could get your tone… besides that, I’ve no verbal comments to elaborate on ones already made - the “issues” are old ones. However, I didn’t know and rather liked the tune, so,
while Flexismart considers… I thought I’d have a bash at it. This is from the dots (setting from The Fiddler’s Companion), after a good few runs through to more-or-less get its quirks under my fingers and multiple duff takes. I still sped up a bit through this take despite trying to keep steady and mid-paced. 
This tune seems to want a good lick to it! I’m afraid my minidisc recorder seems to have made a ticking noise through part of what was otherwise my best take… so apologies, but we’ll have to live with that. Ditto my grunts and some traffic noise! I hope it will help a bit (and better than words) to suggest rhythm/flow and some ideas of possible phrasing etc. I’m not comfortable enough with it yet to do much in the way of variation - need to get off the dots for that, really. All feedback welcome!
The flute used is Ben Hall’s H Fentum that I recently finished doing up. Piccies.