…
[/quote]
Laurel Tree? Tarbolton? (If I remember, in the DM Willie, there is a passage with 3 short roll e’s in succession?) To name but 2!!
Cheers
Al
…thanx
Boyd
A short roll on F sounds a lot clumsier than a trill…is it just me?
[try it on “I buried my wife…” for instance]. There’s a G where the short roll works nicely.
The F short roll is easier to do than a trill there, but not quite as nice.
Boyd
[wish I had the facility to post clips]
Boyd, instead of trying to push short rolls into tunes, perhaps it would be easier to just practice short rolls in scales, not only to get used to playing them, but to get used to their rhythm. It is the inherent rhythm in the technique that will determine where best to put them.
djm
Thanks djm
I’ve no problem with the technique, just the aesthetics of the sound on the lower hand, which is why I use it a lot on whistle and hardly ever on pipes.
But obviously there are folks out there who use it a lot more than I do and who therefore like the sound.
I’m throwing them in here and there for variation, but I’m not wholly convinced.
[This is one of the drawbacks of the net…if we were in a pub or a tionól we’d just get the instruments out and play a bit and take it from there.]
The guys I play with are either extreme purist flat-style or else Keenan-like but without triplets or short rolls [often playing GHB also].
Its probably easier to carry the subject further by posting some clips…something I can’t yet manage…
Boyd
"Robbie Hannan says you should always cut E with G… he thinks the A cut is too harsh on a flat set.
[he also insists that G rolls should be cut with B, to add tone and character] "
Yow! I do that sometimes to kill an unwanted hard D, if I play the D and then try to play G, rolled or otherwise. I’m never happy about it, though…Cutting the G with a B is what I call harsh. Maybe he uses that for a similar reason? I was told Robbie uses pretty heavy reeds, too.