Eivind wrote:
Se for instance this tune ("Teampall An Gleantáinn"):
K: Dmaj
|dcAG EF~F2|AG~G2 EF~F2|1 dcAG EF~F2|A2GE EDD2:|2 AG~G2 EF~F2|A2GE EDAD||
|:(3EFG AB =c3B|Add2 efed|dcAG EFGE|1 A2GE EDAD:|2 A2GE EDD2||
It depends on the tune and your tastes. Glottal stops will give you a more distinct rhythm; rolls will give you more flow.
But in this particular tune, I would use glottal stops to separate those repeated Gs and Fs in the first line of the tune, since in each case they're part of a short roll sequence. The first F in the F~F2 sequence should be stopped cleanly at the end, followed by a short roll (F2), which starts with a cut on A or G, then F#, then a tap on E, then back to F#, like so:
xxo xoo
xxx xoo
xxx xxo
xxx xoo
Putting in that glottal stop just before the short roll is what gives it lift; listen to Catherine McEvoy on flute or Mary Bergin on whistle, for example, to hear this in action whenever they play a short roll. Using a cut instead of a glottal stop here won't give you enough separation.
I'd also use a glottal stop to separate the two Ds in that EDD2 sequence.
A great recording of this tune is Mick O'Brien and Caoimhin O'Raghallaigh's "Kitty Lie Over." It's a highly rhythmic tune and the articulation with glottal stops feels right here.
Here's a demo of the first part of that reel, first without glottals (except for the two D's at the end, I just can't bring myself to separate those with a cut, it sounds too lame!), and then with glottals throughout.
http://www.firescribble.net/templestops.mp3
In actual practice I'd probably play it somewhere between these two extremes, but would almost always put in the little stops before the short rolls. Mick and Kevin seem to put the stops in before the G short rolls but not as clearly on the F's...it might be harder for Mick to pull that off on the pipes and he tends to play in a more open style anyway.
