Thank you. I will be at the Tionol. Perhaps we can get together for a tune or two?tommykleen wrote:In truth, you are much farther along than I was for a similar amount of time playing!
Hope to see you again at the NE tionol, Arbo.
Thank you. I will be at the Tionol. Perhaps we can get together for a tune or two?tommykleen wrote:In truth, you are much farther along than I was for a similar amount of time playing!
Hope to see you again at the NE tionol, Arbo.
wow.
I disagree with this advice. You should learn how to play that "rickity-tickity nonsense" and then be in a position where you can choose when in a tune to play it, or not. Not playing tight triplets and backstitches because you don't think they fit a particular tune, your mood/style, whatever, is one thing. Not playing them because you never learned how is different. And until you become relaxed and proficient at playing certain articulations/ornaments, they won't "feel right." I personally think the tight fingering work is one of the things that distinguishes the sound of the uilleann pipes from that of other instruments. You don't have to go totally wild with it like Patsy Touhey, but you should know how to play it.CHasR wrote:two & a half years, as in , like, 30 months??
you are my new piping hero Arbo.
you are one focused dude.
& bugger all that rickity-tickity nonsense, "imho"... (not as if im anything special, really, im not) but i say- play it like you feel it & if it doesnt feel right (i.e.: idiomatic) then it isnt, so drop it. & if a tune seems as if it s getting bland, losing its thrust, direction etc...then tart it up a bit with some o all that blingity-bling. ditty boom.
oh, and use your regs. the sooner you get used to these, the better.
oh, and write a tune called "Arbo's Elbow", cause that'd be a cool title.
CHasR wrote:two & a half years, as in , like, 30 months??
you are my new piping hero Arbo.
you are one focused dude.
& bugger all that rickity-tickity nonsense, "imho"... (not as if im anything special, really, im not) but i say- play it like you feel it & if it doesnt feel right (i.e.: idiomatic) then it isnt, so drop it. & if a tune seems as if it s getting bland, losing its thrust, direction etc...then tart it up a bit with some o all that blingity-bling. ditty boom.
oh, and use your regs. the sooner you get used to these, the better.
oh, and write a tune called "Arbo's Elbow", cause that'd be a cool title.
mm -hmmTheSilverSpear wrote:I disagree with this advice. You should learn how to play that "rickity-tickity nonsense" and then be in a position where you can choose when in a tune to play it, or not. Not playing tight triplets and backstitches because you don't think they fit a particular tune, your mood/style, whatever, is one thing. Not playing them because you never learned how is different. And until you become relaxed and proficient at playing certain articulations/ornaments, they won't "feel right." I personally think the tight fingering work is one of the things that distinguishes the sound of the uilleann pipes from that of other instruments. You don't have to go totally wild with it like Patsy Touhey, but you should know how to play it.
) is but one spice among many at the players disposal. I think there s too much emphasis on it, to the scale of making UP instruction as rigid as GHB methodology. Its just not the goalpost, from my perspective. Too much tight & ya might as well play Northumbrian. Too little & ya might as well play Biniou. Give me a good old mordent, nachschlag, variable depth vibrato, or trill any day. 
But take silver spears advice anyway..., he;s an expert player in touch with the pure drop. Yes! that is good advice, and its a bit inconsiderate to advise someone to not bother with an important part of Uilleann piping just because you don't like it. IMHO.CHasR wrote: But take silver spears advice .
Are you a regular on the Gerry springer show.CHasR wrote:whatevs
busted!
