http://www.tudou.com/programs/view/WJyUBh-6Acs/?resourceId=111250551_06_02_99
I hope to be able to blow out the artistic of Irish rural。
well i am just a beginner and cant tell you, what is good and what is possible to make better
to me it sounds nice (even if i am not such a fan of those fast tunes yet), … so, well done
sounds like a good start, but try to learn more about using your finger movements to separate notes, rather than using your breath/tongue. Kitty’s Gone a Milking has good opportunities to practice cuts/taps and long/short rolls (e.g. on the second part of the tune, there’s a good place to start practising this with the repeated g notes - dggg a-gf dggf d- etc).
Really good effort, Cai-Shao-Yang! I thought your timing - in all but one of those - was great. And nice. steady stempo. Your ornaments are coming along nicely too. Just the third piece, starting about 1:10, was a bit off. I thought the ornament at the start got in the way a bit, and put your timing off.
Mark - I don’t understand what you mean - Shao-Yang is using finger articulations in the places you suggest. They’re really nice, in fact. Lovely, idiomatic rolls, in proper Irish fashion. Is it possible we’ve somehow linked to a different recording? I’m confused though, because the one I listened to does start with Kitty’s Gone A-Milking … 
Overall, great job, Cai-Shao-Yang!
Can’t see why you’re suggesting that here at all, Mark!
So agree with Ben that you’re (cai-shao-yang) trying all the right things. But suggest working on the tightness of the cuts and strikes defining these rolls so they become more main notes separated by rhythmic ‘blips’ (as Ben’s also described them elsewhere) than continuous chains of shorter notes.
Sorry, I was listening with the volume very low, must have been mistaken
I really liked your Rolling In The Ryegrass, one of my favorite reels.
Thank you very much for sharing.
i don’t know the word “blips”,Dictionary without the word.
it is the noise when i fingering hole seal halfway,cause it?
OK, so we need some clarification here when you could take ‘blip’ in a positive (deliberate transient accent) or negative (unwanted irregularity or interruption) sense and I’m advocating positive blips…
it is the noise when i fingering hole seal halfway,cause it?
So it’s not what you’re doing at all, but rather what you’re not quite doing yet. Think, for example, of a short roll on G as two equal Gs started by a cut and a strike and consider two extremes of execution:
- An even, four-note A G F# G, which isn’t really a roll at all but more of a turn.
- An apparent G - G - pair, where the articulating cut and strike are snappy enough to be barely discernible as separate notes.
Now, the second is what you’re aiming for when your execution (not unusually for a relative beginner) may typically be somewhere between the two, and I hope this makes sense because it’s not so easy to explain with just words!
In this case “blip” means a very, very brief sound. It is not so different from “chirp”, but it is even shorter than that.
For example, if you want to divide G with an F# tap, the tap should be so quick that all you hear is a “blip” noise in between (G*G, asterisk being the blip), but you don’t hear a clearly defined note (G F# G). The tap is supposed to be more like a percussion sound (blip), not a note heard as such (F#).
Does that help?
I’d 'a gone with an interruption of the sound… (yeah, he is difficult )
Good Lord. A lot of native English speakers I know would say “What??” at that definition.
it’s a gem, innit!
http://oxforddictionaries.com/definition/english/blip
On that definition, for a sound, it could be either a break in a sound or a very short sound. I suspect most common usage is for a small spot of light on a radar screen or similar.
I would think that’s right. In the States, “a blip on the screen” is a regular idiomatic expression for something that escapes notice, or nearly does, for being short-lived or otherwise unremarkable in a field of events.
But since “blip” is onomatopoeic (forgive this word, but I was unsure of a better, simpler choice. The good news is that it’s probably in everyone’s dictionaries) and not merely suggesting appearance in time, it can serve just as well for our purposes, too. It’s hard to come up with a better one than “blip”, I think.
Wow! How long have you been playing? Very nice!
After almost a year and a half I’ve only got the strike down fairly well and just starting to use cuts. 
That’s a nice Irish potpourri!!!
One has to sit down and just practice those on their own, really, independent of any tune. That way you have a better chance of making them more automatic and refined. If you haven’t been doing cut/tap/roll drills, I heartily recommend them.
I’m almost to the ornamentation/articulation section of the Ochs tutorial. It looks like my practice time will now include some for tunes, and some for cut/tap/roll drills. The advice given by you more experienced folks has been greatly appreciated.
No, I don’t think so. That sounds like something completely different. Are you talking about half-holing on purpose for the note it gives, or are you talking about not sealing correctly? If it’s the second one, that would mean mistakes, and noises that you don’t want.
The blip effect is something you DO want, but it’s not because of accident; it’s a skill, a very accurate and quick touch-and-release of a fingerhole (the tap), or a release-and-retouch (the cut).
Do you have access to YouTube, Cai? If so, there might be tutorial examples out there to show what we are trying to say. The important thing is that you are already doing the basically correct fingering for ornaments; just practice to make your cuts and taps as short as you can so that you don’t hear an actual note from them, but a sound so short it that becomes only an effect.