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IRTRAD-L  March 2002

IRTRAD-L March 2002

Subject:

Re: Cut Rolls (was: Castle Kelly)

From:

Royce Lerwick <[log in to unmask]>

Reply-To:

Irish Traditional Music List <[log in to unmask]>

Date:

Tue, 12 Mar 2002 23:12:04 -0600

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (81 lines)

At 09:34 AM 3/12/2002 +0100, you wrote:
>And I haven't heard of "cut rolls" before, either. Could you please
>explain what you mean by that by giving some abc example.

That's pretty funny from my perspective. The people who find ABC the most
wonderful are the very people who really have no idea how inadequate it is
at notating embellishments even close to the way they're actually played.

>I've heard of long rolls, short rolls and delayed rolls. I've heard of
>cuts. But never "cut rolls". Of course a roll consists of a cut and a
>tap, if that's what you mean.

No, it's a cut and a roll. A cut is a gracenote that cuts into the note
from above. A roll is a gracenote that rolls down and back to the note
being divided. And I emphasise that it is a gracenote, not a melody note
wandering down and back. It just makes more sense that way, and a tap or
"tip" is a different technique.

The "Jig O' Slurs" is in fact an exercise in rolls or "slurs" which GHB
players still haven't really come up with a regular word for. Those of just
plain rolls separating the last two 8ths of a triplet group all through the
tune. (Though on ITrad instruments this may not be possible or practical,
it is a cakewalk on the Highland pipes, as you just keep flapping your
right hand from a melody note that changes, to a D with a cheap and easy
roll to C and back to D most of the time, the two D's formed making a pedal
rhythm, over which you just change the first note of the group for melody.

A cut roll is made up of a melody note broken first by a cut to the same
melody note and a roll breaking the same note immediately after it. It
forms more or less an even double of the same note, any note you feel like.
You'll find it used in even 8ths in reels on the last two of a group of
four 8ths, or you'll find it used through a jig with a lean note followed
by the cut roll for instance forming most of the whole triplet rhythm of
the tune.

A double cut or doubling is two cuts on a melody note breaking it into a
double note, sometimes very quickly as a one-shot accent to a longer note,
the total doubling having no exact timing other than approximating 32nd
notes, and sometimes breaking an 8ths into even 1/16ths for more open note
articulation.

A double cut roll is an open doubling, usually very evenly played, followed
by a roll to form snappy quick triplet.

There are obviously a number of lobotomized fiddle approxiamations of these
hard-core Irish techniques that come originally from whistle and pipe
playing, and even more lobotomize box versions. These are usually
euphemised generically as long or short rolls and that may even vary from
player to player. What most people call a "roll" is really both the cut and
the roll, and a long roll would be an affected double-cut roll without the
doubling and just a big sloppy loose cut roll making up an open triplet. A
short roll is usually a tight cut roll played as a one-shot embellishment
and very short. The fiddle is however quite capable of matching the pipes
or whistle pretty much lick-for-like on these embellishments and the notion
that some other specific note migh have to be used on a fiddler rather than
the pipes or whistle rather than fiddle or pipes etc, it largely
irrelevant, as the the question of the rhythmic effect can as I say, be
almost directly translated on all three of these platforms.

You'll find the cut and roll terminologies I believe in the original,
probably 30 year-old- Comhaltas Celtori Eirrann (sp probably is way off)
whistle tutor, which is where I first ran into it. Some girl borrowed it 20
years ago in college and I never saw it again. It is also scattered through
various UP tutorials, though is not entirely standard there either, even
though the techniques themselves are pretty much universal, whatever
terminology is used. I just find that understanding how the components as
defined clearly by those terms, are assembled from the parts makes the
family of movements easier to master and understand.

Royce

(Have a browse through the Willie Clancy collection or the Leo Rowesome
tutor for Gilbert Clancy's reel and you'll see it notated correctly. I
don't know how to do that in ABC.)


http://royceworld.dyndns.org
Pipe Major's Handbook Zetland Pipes Brian Boru Irish Pipe Band
http://www.mp3.com/Phantompipeband
http://artists.mp3s.com/artists/118/sfu.html

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