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Wishing all on the forum a peaceful and happy holiday
Beir Bua
Conal O Grada
Thanks, Conal, for stopping by. Check out the stuff that is being posted here, especially the transcriptions.
http://www.rogermillington.com/siamsa/brosteve/tunetoc.html
I think you’d be interested, and we would love to have your imput!
As for announcements and commercial posts, we try to keep those in the main Poststructural Whistle Board, so we can concentrate on the Music here. Thanks for understanding.
oops! apologies if I have offended the board. It was not intentional and won’t occur again.
I have looked at some the transcriptions and indeed they are interesting. However I always felt that if one were to really transcribe a tune as played (particularly when played by a good musican) that the end result would be too complex to read accurately..which leads me to question the usefulness of the exercise. Having said that, I am only too aware that some folks prefer to learn from notation (or at least use it as an aid) and if this is the case more power to them.
I have particulary looked at the transcriptions of Patsy Hanleys playing. The notation seems accurate (a few quibbles but relatively minor and maybe I need to clean the aul ears out myself!) but the real value to a student (who did not have access to the audio) would be in showing where the breaths, glottals and emphasis was happening. I’ve tried doing this for my own classes and it is fairly difficult to accomplish. Combine this with an exact transcription of the notes being played and you can imagine that the end result would be a fairly busy page. Grand for academic analysis maybe but not much use for learning purposes…the point being that if you could learn to play this level of complexity from notation, that you would probably be able to hear it in the playing anyway and not need the notation. Am I making sense ?
Beir Bua
Conal
You’re making perfect sense, Conal, and I for one agree completely. A total transcription would be unreadable and ultimately pointless, as well as taking hours and hours to perform.
The aim of the transcriptions is to give people something to look at while they’re listening to the clip and, with the (hopefully helpful) comments, get them listening more critically - and not to learn the tune from the sheet. We make this point on the contents page. (And we’re all forever telling people on this board that you can’t learn Irish trad. from sheet music.)
We’re not trying to provide a tutorial - we leave that to people more qualified, such as yourself.
Steve
On 2002-12-05 05:37, Conal O Grada wrote:
oops! apologies if I have offended the board.
No worries. It’s great to hear your views.
…but the real value to a student (who did not have access to the audio) would be in showing where the breaths, glottals and emphasis was happening.
I think the reason why Peter, Steve, and Teri started with the transcriptions was to help those wanting to learn by listening. The point wasn’t to enable learning from sheet music alone.
You hear it all the time: Listen, listen, listen, you can’t do it without listening to the good players. But the question arose: What am I supposed to be listening for? What does it mean to use ornamentation to enhance the tune rather than to muck it up? How do I hear a phrase? If it is not just the tune that matters, but what a player does with a tune, how do you hear that? I find it helps me tremedously to look at the page while listening to a clip, and to ask myself, for example, now why does he put the roll there, but not here?
StevieJ was perhaps to modest to mention it: But in his transcription of Mary Bergin’s Over the Bridge, he marked her breaths.
And this may just apply to me, but I am also grateful to hear clips from people like Joe Bane or Cieran Collins: I don’t think I ever would have, otherwise.
Best,
\
/bloomfield
[ This Message was edited by: Bloomfield on 2002-12-05 10:40 ]