Arbo, I’ve not listened to your clips (I don’t listen to anyone’s; my head is already full) but in playing with you in person, I just think you’re a highly creative guy who hears things a little differently (and like you yourself said, you listen to lots of players on a variety of instruments; how can you not cross-pollenate?). Anyway, maybe your style doesn’t always fit into the standard session format, but hey – it’s a lot harder to put together a creative version than it is to learn a straight version!
Anyhoo, you’re grand. And if you want to try the immersion in the “right traditional stuff” route, you already possess a FANTASTIC phrasing resource … those Angelina Carberry tunes from last summer. Listen constantly until you can sing them just like she plays them, and then maybe just play them straight for a while (don’t even allow yourself rolls or anything) until they soak in. Then start transferring.
Me, I am loving those ever so much; they’re brilliant. I even listen to them for fun. Thank you!!!
Thanks, I really appreciate your response. I will go back and revisit Angelina’s tunes. Are you going to the Catskills this summer? I’ll be there.
Arbo
Speaking as a beginning fluter here, but I’ve been doing a lot of listening and practicing and maybe my advice can be helpful.
Good timing/rhythm is definitely important, and from listening to your clip, that seems to be the main issue. I’ve been practicing with a metronome, starting at rather slow tempos and gradually working up speed. This has been very helpful for me in trying to achieve a steady, solid rhythm.
I also noticed that sometimes your ornamentation kind of throws off the rhythm - for example, it’s hard to tell whether something I’m hearing is supposed to be a “triplet” or is a cut that’s a bit too long. I think of cuts and strikes as different ways of executing the attack a note, so they should fall right on the beat of that note. I’ve found practicing getting these right on the tick of a metronome to be helpful (or rather, in the case of the cut, getting my finger back on the hole right on the beat while making it as brief as possible).
As far as phrasing, I noticed that most of your breaths are two beats (eighth notes) long, while in most of the traditional playing I’ve heard, breaths are usually one beat long. If the issue is not having enough time to get enough air back in your lungs, you could try opening your throat when you take a breath, which will allow you to get more air in less time. I was pretty amazed when I tried that, but I’m still working on remembering to do it that way.
As I said, I haven’t been playing for very long, so take my advice with a grain of salt, but I hope it helps.
IMHO, it does sound like some minor timing issues, which may only be self-confidence and comfort level. Working with a timing device (metronome, digital drum, etc…) as suggested above, will not only serve to improve your timing, but help to increase your confidence.
As always, the more you play - the more comfortable you will get on your instrument. Do disciplined analytical practice - but also do plenty of playing for the sheer joy of the sound and vibrations of the instrument.
Of course, I’m not Irish either - my bloodline is 75% Scot, 20% Welsh (which means I’m a Yankee mutt) and 5% Glenlivet. But I knows what I likes.
Your second attempt at those two jigs sounds much smoother. I like it better than the previous one, although there were some nice moments in the earlier version, too.
Someone suggested earlier that you take a breath for two eighth notes instead of one. I realized I was doing this, too, a while back and thought it was okay. But I kept hearing other players adding just a blip of the next note after the first breath-taking note was skipped, and it sounded so much better. When timed right, it’s a nice introduction to what follows, and seems to help with the flow of the tune. I still take a breath in place of two eighth notes sometimes for effect, and sometimes because I’m running out of breath (I’m tired or I don’t know the tune well enough). When I decided to take the quicker breath and add the following note, I had to relearn how to play those parts of the tune, but the more I did it the more it became more like second nature on other tunes.
I thought that was quite good…thanks for sharing that!
Tone and timing seem pretty solid to me…the only real criticism I can come up with is the rolls, especially in the first tune, seem to distract from the tune.
One thing that might help…practice the tune slowly, and at the start of the roll, hang on the note for just a second before starting the roll.
Here’s a quick-n-dirty example, and please ignore the place where I grunt! If I’da known I was going to be recording, I wouldn’t have eaten so much supper.
On the other hand, the short rolls you play in the A part of “Off She Goes” are just wonderful, crisp, snappy, and they really add some bite to the tune. You’re unusual, all right: usually folks get long rolls down pat and still have trouble with short rolls. You’re bass-ackwards!
Seriously, though, well played.
If you’re ever in this neck of the woods, we would love it if you (and your flute) would visit our session!
James, Thanks for that comment and the clip. The tune I played first however is Whelan’s jig. I don’t know if you meant Morrison’s as an example of an Em tune with similar beginning, or just had the tunes mixed up.
I think we are (money permitting; it’s a bit tight at the moment)! I’m so excited; I can’t wait to see the Mulcahys again!! (speaking of more brilliant phrasing; even Mick phrases like a wind player)
(And of course, it would be great to see you, too )
James, Thanks for that comment and the clip. The tune I played fist however is Whelan’s jig. I don’t know if you meant Morrison’s as an example of an Em tune with similar beginning, or just had the tunes mixed uo.
Well, I don’t yet know Whelan’s Jig–but the tunes are similar and I thought it would work to make the point of the timing on the rolls.
I like Whelan’s–I’ve added it to my list of tunes to learn.
It’s a good 'ern, innit?! Sometimes I play it with Whelan’s Old Sow; don’t know whether it’s the same Whelan or not but you know what they say about a man and his pig … (especially if you move Whelan’s Old Sow to G)
Slainte agus sonas. Jamondude.
If I’da known I was going to be recording, I wouldn’t have eaten so much supper. 