I have got some pipe (GHB) music with D being played with taps of C separating the Ds (second octave D). Cutting the Ds just doesn't sound the same, especially since the first two Ds are followed by a third which IS articulated with a cut.
The best I can come up with is lifting the two left hand fingers to sort of tap with a c sharp, but it isn't really very crisp and doesn't really sound like a tap. It might become better with practice though...
I guess this is related to how to "roll" a D - descriptions of which were where I got the suggestion of using the c above.
Other options that I am aware of are cranning it, i.e cutting the D, but with two different fingers, and possibly doing a tongued cut on the second on?
Or, transpose the whole tune so the the Ds become As and play it on a flute with a low C natural to cope with the low G-naturals on the pipe chanter. Unfortunately all my simple system flutes have D-feet... And, no one would play it with me in a session then Or transpose it so that the As become Es, but then I need a G-Sharp (and possible a D-sharp too? - need to check the tune closely...) And still, no one would play it with me in a session.
Chris,
The "roll" on a GHB is actually called a "D throw" and is a specific sequence of notes. It's not the same as a flute. The GHB D is played with the top three fingers of the left hand. The D throw sequence goes G D G C D and on the GHB chanter, it is
XXX XXX
XXX 000
XXX XXX
XXX X00
XXX XXX and the whole thing is extremely fast.
On my flute I'd play D E D C D. That works best for my homemade flute, which is decidedly not standard.
(for accuracy) I left this out- in that D throw I posted above , the right pinky stays down the whole time.
It must be spot on, if you are in a pipe band or competition. Thankfully, we are not required to be so meticulous on the flute. The throw suggested by tradpiper is a really good one.
The tune was jig of slurs, but Jeremy moved my previous post to the comments section for that tune and I only got one response. This is actually a question that isn't specifically related to the tune, but rather to the problem of playing pipe music on the flute, so I thought a general discussion would be good and so didn't mention the tune.
The Jig of Slurs is an interesting example of how a Highland bagpipe tune can become quite altered when taken into the Irish session world. The title is referring to the "slur", which is what many older Highland pipers called what the Irish call a "pat", a pair of notes seperated by a lower gracenote. This jig, like many Highland pipe jigs, tends to progress by pairs of notes as opposed to Irish jigs which tend to progress by groups of three notes. Being a Highland piper who was quite familiar with the tune, I was astonished to hear Matt Molloy's version in which most all of the note pairs (articulated by "slurs") were replaced by groups of three notes (articulated by being treated as long rolls). It was in fact, the Jig Without Slurs. Anyhow, I would not try to use Highland pipe ornaments on the flute. I play both, and each has the system of ornamentation which suits it already.
Patting/tapping Ds on the flute.
Patting/tapping Ds on the flute.
I have got some pipe (GHB) music with D being played with taps of C separating the Ds (second octave D). Cutting the Ds just doesn't sound the same, especially since the first two Ds are followed by a third which IS articulated with a cut.
Or transpose it so that the As become Es, but then I need a G-Sharp (and possible a D-sharp too? - need to check the tune closely...) And still, no one would play it with me in a session.
The best I can come up with is lifting the two left hand fingers to sort of tap with a c sharp, but it isn't really very crisp and doesn't really sound like a tap. It might become better with practice though...
I guess this is related to how to "roll" a D - descriptions of which were where I got the suggestion of using the c above.
Other options that I am aware of are cranning it, i.e cutting the D, but with two different fingers, and possibly doing a tongued cut on the second on?
Or, transpose the whole tune so the the Ds become As and play it on a flute with a low C natural to cope with the low G-naturals on the pipe chanter. Unfortunately all my simple system flutes have D-feet... And, no one would play it with me in a session then
Suggestions anyone?
Thanks,
Chris.
# Posted on August 14th 2007 by Crackpot
Re: Patting/tapping Ds on the flute.
Chris,
The "roll" on a GHB is actually called a "D throw" and is a specific sequence of notes. It's not the same as a flute. The GHB D is played with the top three fingers of the left hand. The D throw sequence goes G D G C D and on the GHB chanter, it is
XXX XXX
XXX 000
XXX XXX
XXX X00
XXX XXX and the whole thing is extremely fast.
On my flute I'd play D E D C D. That works best for my homemade flute, which is decidedly not standard.
# Posted on August 14th 2007 by Greg the Piano Tuner
Re: Patting/tapping Ds on the flute.
(for accuracy) I left this out- in that D throw I posted above , the right pinky stays down the whole time.
It must be spot on, if you are in a pipe band or competition. Thankfully, we are not required to be so meticulous on the flute. The throw suggested by tradpiper is a really good one.
# Posted on August 14th 2007 by Greg the Piano Tuner
Re: Patting/tapping Ds on the flute.
The tune was jig of slurs, but Jeremy moved my previous post to the comments section for that tune and I only got one response. This is actually a question that isn't specifically related to the tune, but rather to the problem of playing pipe music on the flute, so I thought a general discussion would be good and so didn't mention the tune.
Chris.
# Posted on August 14th 2007 by Crackpot
Re: Patting/tapping Ds on the flute.
The Jig of Slurs is an interesting example of how a Highland bagpipe tune can become quite altered when taken into the Irish session world. The title is referring to the "slur", which is what many older Highland pipers called what the Irish call a "pat", a pair of notes seperated by a lower gracenote. This jig, like many Highland pipe jigs, tends to progress by pairs of notes as opposed to Irish jigs which tend to progress by groups of three notes. Being a Highland piper who was quite familiar with the tune, I was astonished to hear Matt Molloy's version in which most all of the note pairs (articulated by "slurs") were replaced by groups of three notes (articulated by being treated as long rolls). It was in fact, the Jig Without Slurs. Anyhow, I would not try to use Highland pipe ornaments on the flute. I play both, and each has the system of ornamentation which suits it already.
# Posted on August 15th 2007 by Richard D Cook