My sounds is improving steadily with daily practice and I’m decently fumbling through some tunes I couldn’t attempt not too long ago while refining others that are sounding rather nice. There’s one transition on a fast-paced tune that is getting me, though.
It goes:
xooooo
oxxooo
xooooo
Every time I play it, I get a little overlapping G (xxxooo) thrown in. Is this because my fingers aren’t fast enough yet or is there some skill I should learn? Any tips?
I think you should practice it.
That seems to be easy. You can try to switch those notes BCB quickly many times as an exercise, without playing it in a tune.
You should improve it in a few days I think.
Good luck!
Bothrops
Just a thought: if the tune is fast, B-Cnatural-B and B-Csharp-B may not sound much different.
Still, I think it’s worth mastering the movements involved.
Here’s one thing that may help.
Play B-C-B-C-B-C-B-C. Find a speed where you can play it cleanly without the extra note cutting in.
Practice it a bit every day at that speed. Concentrate on keeping it clean.
After you’ve done that for a week, start working on playing it slightly faster, and do that for several days.
With luck and diligent practice, by the end of the second week you’ll be well on your way to being able to do it cleanly even at a pretty good clip.
–James
Yes practice.
Ironically, when you progress to playing melodic staccato triplets, e.g., ABc or Bcd, you’ll be practicing to get that G blip back in. 
Like James says, I’d see how it sounds with a natural.
But I think I know the problem. I think I recognise it from “A Farewell to Whiskey”.
I also advise: sticking out your left elbow and bringing it as far forward as you comfortably can. Waggle your elbow up and you’ll find you have a lot more “play” in your left hand.
Now this may be really bad advice. But it works. Use your wrist. When you flip from B to C# to B, keep your fingers stiff(ish) and rotate your wrist, so it does the work. It’s hard to explain, but give it a try.
It is a rather challenging physical feat for the fingers. It might be worth trying rolling that top finger half way off the note (half holing the Cnat) when playing that combination instead of lifting it up and off the hole. If you’ve got a good and quick ear, you should be able to reliably get a nicely tuned Cnat with half holing after a bit of practice.
Jef
Thanks!
I’ll keep at it and try all your advice.
It is from a song I found online called Aiken Drum. The little one liked it so I’ve been working on it. I’m still a little slow, but doing pretty good, except for that one place.
As Jeferson said - you can rather easily half-hole it.
Or you can just try a little longer and you´ll sure make it.
Half-holing isn’t a “rather easy” practice for me yet! I’ve been able to do it ok in two songs - America, America and The Huron Carol - and all the rest with half-holing I’ve skipped for the time being. Covering and uncovering them is enough to work on for right now! 
I am able to do the BCB transition in Planxty Fanny Power, but that goes slower and has a longer time between the C and following B than Aiken Drum has. In Aiken Drum they somewhat speed up compared to the surrounding notes. Not knowing any music theory, I don’t know what that’s called. But I recognize that it is harder for my fingers to master!
Here’s a “cheat” way to do it. Sounds OK at full speed, but not on slower tunes.
from:
X00-000
to
0X0-000
No secret to it (unfortunately). Just keep doing it slowly over and over.
For tunes like Rights of Man I find I can half hole it pretty easily. I try to practice both methods.
That’s ok! But I think it will happen the same but instead of doing a G she’ll do an A.
She just need to practice
Greetings!
Bothrops
The easiest way is the half hole for Cnat, like mentioned before. The nice thing about that is, if the tune/song is a good speed, a precise half-hole isn’t necessary. Just roll the T1 finger up a bit and down quickly and it’s BCB. Practice will improve the tonal quality.
The next easiest way is to get a whistle with a C natural thumb hole, or put a C natural thumb hole in yours. (This is fairly easy on a plastic or pvc whistle … not so easy on a metal one without a drill press or experience IMO).
If you think tunes with BCB phrases are tricky, wait till you get to reels such as Repeal of the Union, Road to Lisdoonvarna (reel) Killavil Fancy, those’ill make you think twice about calling a BCB phrase tricky!!
Seriously though, just practice, and as someone else stated, you don’t have to practice those BCB’s in a tune, just play those 3 notes over and over and over… but remember to start off slow, so that you develop the control to doing this sequence cleanly, just as you’re desiring. I’m chiming in, because I too remember when those BCB’s were giving me the same hardship as you’re describing Katiebell, and I did just what I mentioned, and within no time, problem solved.
However such as Guinness mentioned, that G overlap as you call it, can also be considered a techique for tapping C natural, (such as when playing a B or an A note first then briefly depending on the feel you’re wanting to achieve, hit the G then on up to C natural. Or as I like to do, I’ll bend the C natural doing all the above for even more color especially in slow airs) and when used efficiently can add some color to your playing. But one thing at a time… You can’t learn everything in one day!
Best,
-Eric
So, here’s my two cents worth
Try tonguing the C when playing BCB. Or tonguing all the notes, or the BC or the CB. That is, add a little “Tuh” before playing the note.
Well you want to be careful about using tonguing in order to hide your false fingering… Make sure your fingering is clean first, then add the tonguing.
-Eric
Tonguing doesn’t come naturally to me (I’ve seen other beginners who say they seem to tongue between every note). What I seem to naturally do is what I assume was meant when I saw someone refer to ‘throating.’ I close my throat with the back of my tongue between notes, which I’m trying to break myself of. It isn’t very easy on this tune considering the vast amount of repeat notes.
If someone were to listen carefully, he’d hear uh-uh-uh-uh coming from my throat as I play. Concentrating on that while trying to keep up the speed isn’t helping with the fingering, so I’m concentrating on the fingering alone right now and have seen improvement in the transition when going slowly. I figure if I can do it slowly, I can learn to do it quickly. We’ll see if I’m right, huh?
Well Katiebell, someone once told me, slow in the right, is better than wrong in the fast… Very words to live by in ITM music as far as I’m concerned when it comes to learning.
-Eric
Hm, I don’t think anyone mentioned this, so I guess I will…
Try lifting the top finger just a tiny bit BEFORE you put down the two for the C-natural. If that finger is late, then trying to make it early may very well make it simultaneous. And if it is a little early, the C# “blip” that you may get is much less noticable than a G “blip.”
I’ve found this is a good trick for many passages, even when going from an F to an A, for example, it’s better to be a bit early on the top finger than late with it. Actually, if the music is fast enough, a very convincing “FAF” can be done by just lifting the one finger.
Thanks, Bone.
I’m still about the same. I’m OK going very slow but getting the blip when I speed up. It’s what I get for not starting with things like Dawning of the Day.
I’m trying it out and practicing! Will let you know how it goes. I’m getting decent enough with some of the tunes that I could actually let others hear me, so I know it is getting better overall.