I would appreciate some feedback on this tune. Only a first take… I have been at the pipes fairly consistently for 18 months now… just curious, if you wouldn’t mind. I don’t mind the criticism. Just like to know if there is anything that works, and conversely, what doesn’t. Thanks, arbo.
That’s a nice tune, I’ve been intending to learn it myself too.
I think the best thing you could do to improve it is to play it with a metronome. Doing that helps keep the rhythm steady. The ornamentation was versatile and it worked well, only the rhythm/beat was unsteady at times.
I’ve been often practicing to this online metronome here: http://www.metronomeonline.com/
Thanks for listening! I am sure those rhythmic issues were where I was trying to do some variations, but I shall endeavor to pay more attention in the future.
arbo
A metronome is a very good idea. You’re timing isn’t bad at all but a little bit of practice with a metronome would help steady you up a little bit too.
Also when you are starting to employ triplets, for example, play the tune that little bit slower so that your timing isn’t effected by having to slow down to get that triplet right.
Also it’s no harm to just practice your ornamentation techniques for a couple of minutes at the start of every practice session.
Actually what I do is play a warm up piece first. Thats usually a bunch of scales like d,f#,e,g,f#,a,g,b,a,c#,b and so on and then a few variations on that. Then I spend 2 or 3 minutes with rolls, cranns and triplets to loosen up a bit more and then I start practicing or learning tunes.
I do that as a warmup to every gig too.
Keep up the good work Arbo!
Tommy
Thanks Tommy. I shall give your warm-ups a go indeed! I think I need a metronome that has the sound of one of those large drums one plays with a big stick, like the Japanese drummers. Then I would be able to hear the the beat/pulse!
Nice piping and a nice tune. Keep on you’re doing alright 
I remember watching a documentary about Nigel Kennady the violinist , in the programme he talked about the time he was not able to play his violin because of the nerve bundle thing that grew on his neck.After he had the thing removed he started playing again but he said it took six months for his fingers to regain the flexablity needed to play to the standard of before. I remember thinking at the time what level of flexability and control must he be talking about ,that it took him, who has been playing all his life ,six months to regain ? I think its the kind of flexability and control that the likes of Liam OFlynn and paddy Keenan and those pipers that have been playing since they were children have.
Arbo, considering you’ve been only playing 18months you’ve made great progress but I think those of us who started later in our life ,(me included) we are at a distinct disadvantage and that is at much as we try and as much as we desire it ,our fingers just wont move the way we want them too.
RORY
Well said Rory!!! (not to hijack the thread…) I’m returning to pipes at age 51 (shhhh, I don’t look that old, really) and finding that there are a few new bone shapes in me ol’ digits that are a bit of a challenge. I think though, that piping is more than half brain training, in comparison to fiddle. Playing both, I can attest that fiddle takes more flexibility, and now its the more challenging instrument. My shoulders move easily to the bellows and bag, but bowing and holding up the fiddle can leave me a bit overdone if I get too carried away. Fingers - each finger has its hole on the chanter, but on the fiddle, there is a lot more for each to do. All that said, FOCUS FOCUS FOCUS. I also find that playing along with recordings really points out my timing flaws and helps me relax about learning.
Arbo I found your playing of the tune quite charming and sentimental, keep up the good work! Something I found helps with timing is playing stacato very deliberately, doing scales with grace notes on as many notes as I can manage. For crans, I often stop and practice the stacato fingering with chanter on leg (no D, just the wee notes) and get that timing right no matter what cran pattern I am playing… then hope like heck I can mange back in the tune! haha. Someone once told me years ago that a tune should not be practiced at a timing/speed any faster than you can correctly play the ornaments (triplets, crans, rolls) so work your timing out on those. That advice helps me the most.
Sorry mate, despite the age I am not going to succumb to the physical obstacles. I will just have to endeavor to make the best best of what I am able to do, and however that turns out, I hope it is musical! catch me in a few years! I may just surprise you!
Thank you! I am trying, in an accelerated manner…
Arbo
Work on getting the flow going. Never too fast and practice regularly. Even if just for half hour if that’s all you have. Practice a few different tunes with a variety of ornaments and go over the difficult passages slowly until the cuts rolls crans triplets etc sound clean and precise.
Hey Arbo,
Good to see you at the tionol, although we didn’t get a chance to chat.
Question: what’s your source for the version of the tune? I have never heard it going up to D for that 7th note of the first measure. Going to D makes for an interesting variation.
t
Fantastic progress!
I think the years of playing ITM on other instruments tells in your piping.
Nice. On that topic, which other ITM instruments do you play and how long have you been playing them? Do you find one more accommodating with regard to transitioning to pipes? I would suspect that knowing the phrasing and timing in general is a big help.
I was trying to make sense of Brian Bigley’s performance on his flat set… this is what I took away from his playing so far… lot’s more to listen to! Granted, some of the hanging on the Hard D’s threw me off as I couldn’t figure out how to get out of that and back into the tune…same for the low E crans/rolls… hence the timing issues. Also, I know I have to clean up the rolls in the second part. Nothing like hearing your self recorded!
Arbo
Thank you for the kind words! Yes, I have played whistle and flute for more years than I care to acknowledge. Not sure about transition instruments…also put some time in on banjo, but I wouldn’t spread that info around!
Arbo
Right Arbo, glad to see you weathered the storm mate. The tune sounds good. You just keep improving mate. Rapidly. You’ll be out at sessions soon enough.
One other thing: you can’t hurry the bounce on the D.
I mean you do, consistently, so you need to work on that.
Apart from that, and your cranns being a bit too fast for the pace of the tune, it’s quite a nice piece of playing.
A simply played piece with perfect rhythm and lift is infinitely preferable to one jammed with ornaments that don’t quite work yet (not addressed to you).
Hi. Thanks for the comments. I don’t know what you mean about the ‘bounce’ on ‘D?’ The hard ‘D’ at the beginning of the phrases? Also, are you talking about the ‘E’ crans, my poor variation? I shall have to revisit the tune slower, and steadier, a bare bones attempt and see if that helps clarify things.
Arbo
I meant the bit when you finish a part on bottom D, and then start the next part on a bottom D, separated by the A.
Not strictly a “bounce” (which in a jig would be DAD replacing a crann on the D), though the movements are the same.
If you rush it one of those notes is cut short.
One other thing (you did ask!) is to take care that you complete your rolls. In the second part A rolls especially, where the tip of the roll is played by the same (top) hand as the cut. If you miss the tip, there’s a large hole into which your listener falls…