I want to learn this tune by ear. Which recorded (readily available–preferably downloadable) version do you like best?
I have a version in the key of D from Joanie Madden’s “Song of the Irish Whistle” album that I like very, very much. I used this version to learn it, myself. 
The Dubliners did a lovely version on two mandolines. It’s on the first or second album..the name of which escapes me but I think it was recorded live in the Cecil Sharpe House, London.
Slan,
D.
hi John
where do we start with this one - mmmmm
No no no we don’t do that in trad music or any music for that matter - learn someone else’s version that is, its not karaoke.
listen to the tune played by as many different people / instruments as possible.
Learn the tune then express it as you feel it and bare your soul.
try Finbar Fury on whistle or pipes for starters also I love the way Cormac Breatnach interprets music.
best of luck
Un.
Thank you, Un, but I’m pretty sure I was asking for versions to listen to so I could do exactly as you said–learn the tune then teach myself to play it.
What do you mean we don’t do that in trad music?
In my experience, that’s exactly what a lot of musicians do, including myself – learn a version of a tune from another musician – especially when someone is first learning to play an instrument. I dare say, there are many who learn a tune with written music. I do it all the time, but I have got to hear it played by a musician also. I don’t even agree that the more versions you hear, the better off you are. It only confuses me. I’ve got to learn one version of a tune, get it down (that might take weeks), then I can start listening to other versions and begin to make my own version. For me, I’ve got to slow a tune down and figure it out. I haven’t been able to hear a tune and remember it in my head well enough to play it.
We don’t do that in trad music… am I the only one who thinks that’s a wee bit crazy?
Michael
no
hi FJohn Sharp, mahanpots
and any one else I may have upset, this was not my intention.
off course your right - each to there own way and the more ways the better.
I’m way to demanding on myself as are my expectations of what I listen to from others (v/ low boredom threshold).
Sure its a great tune and I trust once learned should present a challenge to then “make your own” if you should do things that way.
This raises another good point that could be helpful to John that is what ornamentation would you advise and would you learn that with the tune or learn the tune “bare bones” and then add the ornamentation ?. Then there’s the pace of the piece where would you deviate from a constant tempi or would you advise him to go all out ad libitum.
Again apologies to those who took my well intentioned comments out of context.
yours Unregulated 
Unregulated,
I’m not sure what you mean by “those who took my well intentioned comments out of context.”
You made the statement: “We don’t do that in trad music…”
I disagreed and basically said we do do that.
I didn’t take anything out of context.
I did get a little upset.
To me, you seemed to be admonishing FJohnSharp for seeking help in learning a tune by ear from a recording of another player (“No no no we don’t do that”).
Michael
oh ho hum
OK lets start again.
John
try Finbar Fury on whistle or pipes for starters also I love the way Cormac Breatnach interprets trad music.
best of luck
Un.
PS nice pots there Michael yer great sport yerself.
nice pots there Michael
Thanks Un.
Michael
What a load of old hole. Almost all jazz players start learning to solo by learning others’ solos note-for-note. Classical music is music in your world, isn’t it? What do those folks do? You see, people who don’t bother to learn the right way, for which you can substitute the way that cats who are already established players in the style you’re into do it, before launching off on their own world-fusion abortions are creating more problems in this world than are the honest strivers who learn through imitation, initially at least.
Furthermore, your magisterial use of the word “we” when referring to traditional music seems to imply that you yourself are a member of an elite club, the members of which know better, an assertion I was unable to confirm by listening to the clips on your site. Where’s the trad? Where’s the identifiable trad influence, aside from the noodly, melody-free alternate-tuned guitartulance? From what position of authority are you presuming to speak? I don’t get it.
Far as I can tell, in one fell swoop you’ve managed to insult everyone in the tradition as well as everyone outside it, which includes most of the people who might ever visit this forum. Nice one! Cheers,
Rob
hi John
here’s some to be getting on with
see if you like any of the versions
I think Caitlín Maude sings a great version here.
http://www.youtube.com/watch?v=hdskdLV4MWY&feature=related
Matt Cunningham on whistle here
http://www.youtube.com/watch?v=hzh5uq8rkN0&feature=related
good luck
Un.
PS great flute playing there Rob
hi John
here’s some recordings
from
http://www.ibiblio.org/folkindex/r08.htm
• Roisin Dubh
- Burke, Joe. Tailor’s Choice, Green Linnet SIF 1045, LP (1983), trk# B.04
- Conway, Pat. Conway, Pat / Soodlum’s Irish Tin Whistle Tutor, Soodlum, Sof (1980), p14
- Dubliners. Songs from Ireland - Greatest Hits, Sounds of the World SOW 90108, CD (1990), trk# 14
- Heaney, Joe. Joe Heaney, Philo 2004, LP (1975), trk# A.05 (My Dark Rosaleen)
- Murtaugh, Joe. Off To California, Advent 3601, LP (1977), trk# 7a (Little Dark Rose)
- Rosheen. Rosheen / Musique Celtique, Compass 7 4401 2, CD (2005), trk# 5
- Tansey, Seamus. Breeze From Erin, Topic 12T 184, LP (1969), trk# A.04a [1967]
- Tunney, Paddy. Lark in the Morning. Songs & Dances from the Irish Countryside, Tradition TLP 1004, LP (195?), trk# 9
- Tunney, Paddy. Man of Songs, Folk Legacy FSE-007, LP (1962), trk# B.05
- Wolfe Tones. Foggy Dew, Fontana STL 5244, LP (1965), trk# B.08
•
yours Un.
I’m glad others spoke up about the royal “we” used to describe how trad is learned, not to mention the nonsense about learning lots of tune variations before re-inventing your own… Such condescending, inaccurate bunk had me fuming for days…
Most of us learn tunes, by choice and desire, in specific settings that grab us, in regional styles that appeal to us, or from players we might admire, know personally, or are fortunate enough to find beside us at a session - this sort of learning defines the very idea of something being “traditional,” doesn’t it?
I think it is valid, however, to say that it would be inappropriate to learn note for note say, Mary Bergin’s Monaghan Jig and then try to pass it off as your own or to record it.
Comhaltas performances are full of tunes that people play which they learned from someone. They always say, “I learned this one from a great fiddle player from County Meath named _________,” and I don’t imagine their mentors being angry with that. In fact they’re doing two favors: keeping the tune alive and keeping the mentor’s name out there in people’s memories.
We have decided that henceforth in all correspondence on this forum, we will refer to ourselves in the first person plural. We think it’s kind of spiffy.
Thanx Ro3b
we like your humour
as for the rest, its had us rolling about for days.
Imagine if we’d spoken our mind’s it might have crashed the WWW
oh on we still might.
Un. that’s Un. get it?
In France Un mean one, so it follows that you’re Keanu Reeves.
hey John
I suppose it’s a Mczen thing
cancellation of action or state
thanx for the compliment though well spotted
I’m actually
Unaek Seveer