On 2002-01-10 17:51, StevieJ wrote:
Peter, Bloomfield, here’s a Martin Rochford story…
Steve, thanks for sharing that. I love stories like it. I am very curious about Martin Rochford now and will see if I cannot find recordings. When I first listened to Martin Hayes recordings, it was like a new perspective on IrTrad opened, a little revelation. I’d like to know the source of his inspiration.
I’ve said these things before, but they seem appropriate to this discussion and still seem valid to me.
First, you must listen to a lot of well-played music. In my case, I have access mainly to recordings. (I have quite a few.) I listen for the whole structure of a tune, how the parts are separated, whether by pauses, ornaments, change in duration of a note, etc. I listen for runs that express a musical idea before shifting to another one. And, I listen for how those breaks are accomplished. I don’t have any coaches, so figuring out how to use the ideas in my own playing has been difficult and painful. It is very gradually paying off, however. I think I’m starting to get an inkling of a clue, foggy, maybe, but, you know.
I love to harp on self-recording for evaluation of your own playing. You can learn things that are simply not apparent listening to yourself play. Ornaments you think sound cool while you’re playing them sometimes sound lame when you listen back to yourself. A tune I felt I was playing fairly well and intended to post to Clips was a new tune, and I was working hard at holding it steady. I thought it was okay until I listened and realized I was pausing for breath in exactly the same place every time and ornamenting the same places repetitively. I was aghast. I slowed down and made some variations to it and was more satisfied.
I’m big on advocating listening to Martin Hayes’ fiddling. Some people don’t like his style or personality, or whatever. Personally, I love his playing, but I recommend listening to him for his clear, crisp, very “hearable” phrasing and ornamentation. I’ve found it very instructional. Any of his cd’s will do it. Another one I’ve learned a lot from listening to is Laurence Nugent’s whistle and flute playing. It’s very enjoyable for its own sake as well.
Tony
(edit for crappy spelling)
Clips](http://nwparalegalcom.readyhosting.com/clipssnip/newspage.htm%22%3EClips) and Snips Tunes
“When you make it to the top of the mountain, keep on climbing.” -Zen saying
[ This Message was edited by: TonyHiggins on 2002-01-11 15:16 ]
On 2002-01-10 17:51, StevieJ wrote:
Peter, Bloomfield, here’s a Martin Rochford story.
After which he went and fetched his fiddle and played for us for a mere 15 or 20 minutes. I couldn’t believe what I was hearing - this burly farmer played reels like they were slow airs, full of tenderness and aching melancholy. It was simply magical.
[ This Message was edited by: StevieJ on 2002-01-10 21:41 ]
He was something else wasn’t he. About feeling, we played at the funeral we gave him the big blast of his favoutite reels when the coffin left the church. Liam Flynn Maire Ni Ghrada and Jimmy O Brien Moran played pipes, Eamonn McGinvey and Peter O Loughlin played fiddle Paddy Donohue played flute Ronan Browne Sean Potts and myself played whistles Josephine Marsh accordeon, Claire Keville concertina and Geraldine MacNamara flute. Quite a band. It was a worthy send-off I can tell you.
To get back to Lee’s original question, more or less…
There are times when the tune sounds as if there is so much life in each note that one pitch can’t possible contain it all.
Whatever the ornamentation, that is the purpose–to add more life into the music. Like many things, it’s a bit different for everyone. For me, it’s a bit different everytime I play, and sometimes the fancy stuff still gets in the way of what I want a tune to say. That’s when it’s time to simplify. But to do it well, to reach the point where technique is so natural that I can simply forget it and play the emotion…sometimes. Hopefully, someday, always…
Tom