What makes a good slow air ?

[bensdad]

"dissection is more revealing than imitative interpretation"

It may be more revealing, but it's not more revelatory.
You can't put a scalpel to the numinous and expect your analysis to reproduce it.
The numinous resides in the performance.

[CHasR]

o...k...

Thanks to those who took the inquiry seriously

so far,
The most important, essential aspects seem to be:

1.) Vocalism, but not a strict vocalism. Meaning: (for me):
* Effective Range of about a 10th
* Phrases of a manageable length
* Primarily a legato texture.
(id very much like to get into the "freeform vs strophic" question but no one seems very interested in that nor yet what role melodic motives should play)

2.) Context. It is important wether or not the music is an effective impression of a place or event within the sphere of Irish culture.
and/or if it programmatically translates the artists vision of this place or event into music.
(I'll add as a subheading to context, "authenticity"- although this seems to matter more to some and less to others)


3.) Genius of performance through technical mastery.
No doubt the artists mojo can spirit a piece to life, & if they got the chops for it, all the better.

My experience has been- well, there's a song in everyone, and it s only a matter of extracting it intact. To me it seems: some have the ability to extract their song easier than others; and some have more interesting & relevant song-contributions than others. Personally I feel; to assert that a superior product is best left uninspected, and can only be produced by a small number of artists in close touch with context and the vocal tradition, frankly brings us to a creative dead-end. Evidence suggests otherwise.

nowhere near the nub yet.
so.

Lets put the postgrad musical terms to rest.

and pose the question-

What do you, as a practicing uilleann piper, aurally observe in a slow air, that makes it more appealing to you than other slow airs?

[rorybbellows]

The two things that I notice in good slow air playing is first the tone of the notes being produced by the piper and secondly the emotional connection. First you have to be familiar with your chanter and know how to get the best out of it and secondly you have to put an emotion connection on the tune or else its just a series of notes.

The idea that its best if you know the words of the song ,I think are not really helpful because it still does not help you make an emotional connection.
The advice of the singer Jimmy O’Brien is that if you don’t know the words of the song or even if you do ,you should make up some of your own and make them about something or someone you care about. A beloved family member who has passed away or even a loved pet would be good. You may even subtitle the air with their name and when you are playing it, play it for them.
This is what being a musician is about.

RORY
PS the idea of coming up with some kind of formula for producing a good slow air is a waste of time.

[Uilliam]

Ye may find the following link helpful in the pursuit of Slow Air Playing.It is the normal standard adjudged at Fleadh cheoil.
http://comhaltas.ie/music/tag/Slow+Air

Then there is this blast frae the past which has long been buried ...when I was much more self opinionated.My views are the same on the subject but my human interactive skills with other beings was/is totally undeveloped and probably more Neanderthal than Homo Sapiens Sapien.
My apologies to PJ in particular.
viewtopic.php?f=6&t=28563&hilit=slow+airs


Lest Ye forget
viewtopic.php?f=6&t=80152

[CHasR]

"Uilliam" wrote: /.... piece of music with no set metre in the accepted sense (ie.outwith of a song)with definite phrasing to ensure balance and expressive of the performers perceived view of the piece, which can then be conveyed to the listener with clarity, and, importantly,without mistakes in technique, which would distract entirely from the flow and the mood which is being created..../

thank you.
now were getting somewhere.
Can it be concluded that: a defining aspect that seperates a slow air from an expressively played tune, is the importance accorded to balanced phrasing, in lieu of meter & agogics?

I am comparatively studying 27 slow airs recorded over a 60 year period, (and not to devise a 'formula' a la Erno Lendvai {who is that ??} as many have suggested.), and note the following TENDENCIES: tendencies, as in tendencies, meaning tendencies. In other words, tendencies. not hard, fast rules. Have I mentioned Im speaking of tendencies? some can tend to be precise about semantics, as in having a tendency to do so. Ive observed tendencies such as:
(& these are just tendencies I've observed)

Modified Bipartite structure: A, A, B, A'. (often- A, A, B: A, A, B, A')
"C" sections are uncommon.
Stepwise motion prevails during ascending pasages.
Use of, (as someone put it quite well above) "every corner of the chanter".

Older recordings exhibit a TENDENCY to stay within the mode, put greater weight on silences, and are much heavier on the regs.

Newer exx TEND to use more auxillary tones, (often using them to transition into another mode and/or melodic direction) insert rapidly repeated tones in an otherwise tenuto teture,
and are formally a little more complex.

Much of this may be "well, DUH"; but I find it very enlightening, especially in regard to contrasting the older exx with newer ones.
Further, it is interesting to note the commonalities that have tended to be continuous in 60 yrs of recorded slowairs

[Uilliam]

Further, it is interesting to note the commonalities that have tended to be continuous in 60 yrs of recorded slowairs

... for example.... continue please, so far I agree wi ye.

[CHasR]

Further, it is interesting to note the commonalities that have tended to be continuous in 60 yrs of recorded slowairs

... for example.... continue please, so far I agree wi ye.

Well most obviously, context. Havnt found any pieces reflecting a Carribean theme.
& of course, technical mastery. I would... humbly...and cautiously... assert that the B section has continued to TEND to favour the upper register, AND stress a fewer number of tones (in other words, circling around high F#, G, A, or B); as opposed to introducing newer, more contrasting, or aditional melodic ideas.
But these are all merely surface observations; exceptions are expected.
On a deeper level, (sorry if losing some) the 'golden mean' porportion TENDS to becomemore important in recent interpretations. Concious or uncoicious choice, inherent or artificial, I cant say. Just a casual observation of tendencies.

[Uilliam]

Well most obviously, context. Havnt found any pieces reflecting a Carribean theme.
& of course, technical mastery. I would... humbly...and cautiously... assert that the B section has continued to TEND to favour the upper register, AND stress a fewer number of tones (in other words, circling around high F#, G, A, or B); as opposed to introducing newer, more contrasting, or aditional melodic ideas.
But these are all merely surface observations; exceptions are expected.
On a deeper level, (sorry if losing some) the 'golden mean' porportion TENDS to becomemore important in recent interpretations. Concious or uncoicious choice, inherent or artificial, I cant say. Just a casual observation of tendencies.

Given that tens of thousands of Irish where transported there after the War of the Three Kingdoms and the Jacobin rebellion (Hell Connaught or Barbados) I would be surprised if'n ye didnae discover some Caribbean Slow Airs
ye are not wrang in your observations.
I think the Golden Ratio is a valid point to raise given it would point to perfection in both hearing and appreciation.I think it is probably more or less intuitive,possibly genetically embedded, on the part of the player which then transposes to the listener who will pick it up intuitively.Your observation on glissando and a rising B part would point to a Golden Ratio or at last a part influence of same

[bensdad]

"I am comparatively studying 27 slow airs recorded over a 60 year period"
Tell me, is this for your own edification, or are you writing a paper?

[reedmasters]

Cabbage!!! Lots of it!

[Pipey]

For what it's worth if, while playing a slow air, I experience a physical symbiosis of body movement with the various phrases, rising and falling with a natural rhythm, catching a musical breath here and there, gliding along naturally, unconscious of technique that, for me, would be a "good" slow air.

[Uilliam]

That twould be your body reacting quite naturally to the Golden Ratio methinks...tis the same if ye listen to a particularly evocative piece of classical music eg Pietro Mascagni Cavalleria Rusticana - Intermezzo
note the body movements of all those involved..pure simpatico with the Golden Ratio...beautiful.
Now then if ye can play a slow air and evoke the same feeling then ye can safely say ye are playing a slow air and not think ye are.

http://www.youtube.com/watch?v=7OvsVSWB4TI&feature=fvw

To not experience some emotional connection with the piece would mean I am afraid that ye are dead....or simply not human
Uilliam