Ok, enough of the politics and ranting.
I have a question about music. (gasp!)…is that allowed here?
In a jig, take Geese in the Bog as an example, the CEE GEE
How do you get it to have more of the ‘feel’ of the jig?
On the C to E and G to E, is there anything you do there? Maybe make the first E more staccato?
Im cutting the two Es with an A.
What about on the C and G…I’ve tried cutting those with the back D to give more emphasis on the ‘downbeat’…
Thanks,
Gary
cutting with A will sound mechanical and monotonous very quickly when you do it all the time in this tune, I would prefer cutting E with G to start with but never mind that now. Try closed fingerings for the Es not so tight they become so separated they hamper the flow of the tune. if you can get them the way Dinny Delaney had them you’ll be just fine [Pat Mitchell emulated that quite well and a variety of different approaches to boot]. Also try playing off the knee [pinkie down for e] and separate the Es with the low d by tapping the open finger. Between the three a good variety to keep the tune interesting.
This is very opportune. I too am learning this tune (Rooms of Doogh), running it into The Walls of Liscarroll (a bit tough on the paint job). I hadn’t thought of playing the E off the knee. Thanks very much for that, Peter.
djm
All great suggestions, I’ll start working on them.
I’m not familiar with Dinny, but I’ll do a search. Can you point me to a specific album?
Thanks,
gary
The Rooms at Dooagh is a different tune altogether, possibly composed by Paddy Canny with a turn very similar to Brian O Lynn.
Dinny Delaney calledthe tune ‘The Kid on the Mountain’ which like ‘The Geese in the Bog’ has anotherwellknown tune connected to it .
Dinny Delany recorded a number of ediphone cylinders at the Feis Ceol during the later years of the 19 th century. Extremely powerful music.
Peter, I was given the Rooms of Doogh to learn. I looked it up on the web and The Session tells me its the same as Geese in the Bog. Do you have a currently available source for the Dinny Delaney stuff? Is this the same piper as Barney Delaney?
djm
the Geese in the Bog/Kid on the MOuntain would be more or less like:
cEE GEE|cEE GAB|cEE GED|EAA A2B|
cEE GEE|cEE GAB|cBA GED|EAA A2B:|
|:cde g2e|gea ged|cde ged|eaa age|
cde g2e|gea ged|cBA GED|EAA A2B:|
The Rooms at Dooagh starts
GEE cEE|GAG G2A|GEE cBc|ded d
They are different tunes, no matter what the session says.
Dinny is obviously not Barney. Dinny was from Ballinasloe, a blind piper who played in what is usually described as a dancehall run by his wife. Breandan Breathnach told me it was in fact a brothel.
Yes, that’s the version I have of The Rooms of Dooagh:
X:1
T:Rooms of Dooagh, The
R:double jig
K:G
L:1/8
M:6/8
A |: GEE cEE | GAG G2A | GEE cBc | ded dcA |
GEE cEE | GAG G2g | fed cAG |1 Ad^c d=cA :|2 Ad^c def ||
gzg ged | cAB cde | gzg ged | e2a a2 f | gea ged |
cAB cde | =fed cAG |1 Ad^c def :|2 Ad^c d=cA ||
Is there an available source for the recordings of Dinny Delaney? Its not much use offering something as an example if the recording is not available to anyone.
Thx,
djm
It of use insofar it is the first recorded version, a classic, the version every other goes back to. I wouldn’t say it’s not available to ‘anyone’. I just listened to it, it’s out there.
I’ll send you the Delaney recordings when I receive the Delaney recordings, Dave. Capeesh?
How do you play a ‘z,’ also? Do they make Z chanters?
I hadn’t heard about Dinney playing in a brothel. Not suitable for publication perhaps? For those who haven’t read about him already, he was a blind furniture mover who had was also an expert judge of cattle, called the “Rebel Piper” due to his run-ins with the Black and Tans. He was still listed in piping competitions up to 1915 or so, when he’d have been very very old. He played the regulators like Rowsome, keeping time on them; thus, whatever its merits musically, this type of playing could be said to be authentically “traditional,” as Delaney would very likely have learned from pipers who were among the first regulator users, period. Perhaps this assisted him with inspiring the clientel at his “dancehall”!
The Maid That Jigs It in Style already has a turn similiar to Bryan O’Lynn’s. How many of these frickin’ tunes do we need?
Kevin, gotcha. I’m at 6 of 11, but still have to go back and clean things up. Then I’ll start the labelling process.
Peter, since you’re determined to be obscure, let me throw another question your way: I have read on the web that Dooagh is also called Kilkee. When is it called the one and when is it called the other? Would the Rooms at Kilkee be valid? 
djm
I would not agree with Kevin’s statement on Delaney’s regulator playing, the way he uses them on The repeal of the Union is unlike anybody who recorded since.
The title the Rooms of Dooagh [according to sleeve notes on Mary Mac’s first CD] refers to a cave system in East Clare. Similar to another tune Paddy Canny composed, the Caves of Kiltannon which is a place right behind Canny’s house and a place unlike any I have ever seen. Mighty.
Kilkee is Cill Chaoi in Irish, there is a townland called Dough just east of the town. So no the Rooms at Kilkee wouldn’t be valid.
One of those wonderful musical moments: Debbie Quigley and I were playing a few tunes at a session at the last East Coast tylenol in Chapel Hill, and as we came out of the first jig Debbie gave me the nod to say “you start the next one,” and I gave her the nod right back, meaning “gone blank right now, you take it.” So we got to the point where one of us had to just forge ahead and think of something: we both went straight into the Rooms of Dooagh.
Lovely tune.
Dad what you doing on this forum? 
You don’t even play the pipes! whose this Debbie woman? I think you may have something to tell me dad! 
When Debbie rattled the tune off for me to learn (by ear, of course) I had the feeling she had played it once or twice before. She often nods at me to start the next tune and when I nod back, she seems resigned to my meaning, “Huh? What? Me?”
I never suspected anything beyond this simple teacher/student exchange. Apparently this nodding business is a lot more complicated than I suspected. 
djm
Next thing you’ll want us to explain where the little babies come from. :roll:
Hmm … maybe I should get one of those thongs from Brian … :roll:
djm
True enough; but his playing on the other two jigs and Bean a 'Ti is close enough to Rowsome’s, albeit with his own take on things. Chords on the first and third beats, non-stop except when the chanter goes very high, he seems to only play the first beat then. Some of Leo’s techniques on marches aren’t heard much anymore too.
I always thought the Repeal of the Union was meant to be a 6/8 march, despite the introduction of it as a double jig. Maybe Delaney told them it could be played as a jig if need be, and the announcer misunderstood. Plenty of those on old recordings - “Gorman’s Hornpipe” got turned into “Shoreham”; “Cavan Reel” became the “Cabin Reel.” Coleman had more than a few sides with the tunes in the wrong order.
Now - I have another tape of cylinders with a jig which is credited to Delaney, but it has no announcement for the player. Sounds just like him, though. More 1+3 reg playing. Em, lots of crans, three parts. Great tune but one of the nastiest of these lo-fi recordings I’ve heard - Touhey’s Tell Her I Am is the runner up, both sound like faulty machinery. Have you heard this Delaney tune, Peter?
Is that the
GEF G2A BGE E3 GEF G2B AFD D3 ?
know that one
That’s it!
Any other tunes of his out there besides these five?