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Subject: Re: Newbie Question
From: kalle liberts <[log in to unmask]>
Reply-To:kalle liberts <[log in to unmask]>
Date:Wed, 14 Jul 2004 22:23:10 +0930

text/plain (70 lines)

i don't know about you guys BUT........
i don't think it is bad thing necessarily to play a few cents shy of being
in tune.While when everyone is in perfect pitch with each othermay sound
good and professional but is that not  also somewhat sterile? i grew up with
eurovision and euro pop in germany and technically the music is brilliant ,
perfect and well put together but it is somewhat sanitary even the
Volksmusik is spot on and perfect-(ever taken a car to a german
mechanic.?...need i say more...)
when i listen to some of the chieftain's stuff and copies of some of early
78's i've got there appears to my ear someone slightly off note here and
there- but the overall effect is that while everyone is close enough to be
in pitch each instrument generates it's own character and voice and really
make a piece of musiccome alive
just my $0.05 worth

----- Original Message -----
From: "Michael A. Dow" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, July 14, 2004 9:43 AM
Subject: Re: Newbie Question

> Benedict once said to me: "Show me a man who is playing a chanter with no
tape on any hole and I'll show you someone who is playing out of tune."
> Right by me.
> Date:    Mon, 12 Jul 2004 13:40:47 -0700
> From:    John Walsh <[log in to unmask]>
> Subject: Re: Newbie Question
> Phil Sexton writes:
> >>
> >>I have personally eyeballed Paddy Keennan's, Liam O'Flynn's, Jerry
> >>O'Sullivan's and a few other pro players chanters, and I haven't seen a
> >>single chanter without something stuck up it or tape stuck on it.  I
> >>tend to imitate players I like.  Poster putty won't harm the chanter,
> >>but any tape I have tried eventually moves and makes a sticky spot which
> >>I can't stand.
> >>
> >
> >
>         One anecdote to add to this: I was in David Quinn's shop
> this winter, looked over a number of chanters he had there, and
> noticed that most of them had a drop of glue---pardon, an
> intonation-adjusting device---placed in one or two of their finger
> holes. I chided him about that, and he said, "Never trust a chanter
> with nothing stuck in the finger holes." David has been known to
> indulge in deadpan humor, so I leave it to you to interpret that.
>         In another thread, someone asked about Larry Redican's
> Hornpipe.  Here's a rough transcription of Jerry O's playing. A
> couple of remarks:  the Bcd triplets are open, but the cBA's are
> tight. The tight fgA triplet deserves some comment: the f and g are
> tight, and are played in the second octave. The chanter will
> naturally drop down to the first-octave A when you close it between
> the tight g and the A. It can also be played (3.g.fA with about the
> same effect. It's backstitching, in the middle of a triplet. Don't
> worry if you miss the octave and the F and G sound in the first
> octave, not the second, since it sounds good that way, too.  And if
> you miss the chanter closure and play a second-octave A it still
> sounds good. A win-win situation, really.
> Cheers,

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