i am not asking for help on how to do it, i know several methods. i am wondering which method most people use. i am working on all of them, and i like the variety of having different methods incorporated in.i dont think we really need to discuss cuts and taps, pretty straightforward.
the first question is, do you use 5 note, or 4 note rolls? i'm working on the accordian triplets, and i like them, but i also like more traditional rolls. if you use accordian triplets always, that'd be interesting to know, or how much.
i have found a lot of discussion for 4 note rolls, which would be referred to as crann's more technically (but arent crann's 5+ notes? i guess they call them crann's cuz they are ABOVE the note). i have heard about using c row right hand one and 2 for most crann-rolls, and of course doing some "each note catered" rolls, which might sound more appropriate in places.
clodagh ryan (at irish fest milwaukee) taught me to do 5 note rolls, like on the fiddle and flute. these sound more natural to my ears, and i am wondering why i have not heard of them too much. i'm sure maybe concertina.net might be a better place to ask (and i havent poked too much around there to see if this has been discussed).
do the 4 note crann-rolls give the concertina its distinctive sound?
Surely a "roll" is a "roll", no matter what instrument. i.e 5 notes.
Listen to Micheal O Ragalaigh playing the concertina. His playing is superb and his "rolls" can not be bettered.
...unless it's a short roll, in which case it's 4 notes.
A lot of concertina players don't use any kind of roll - I don't recall hearing Elizabeth Crotty, Chris Droney or Mary McNamara using anything other than cuts and taps.
Micheál Ó Raghallaigh seems to use just about every kind of ornament going - and uses them well.
For me, lots of cuts and repeated notes seem to work well to simulate the piping ornaments. I hear this kind of playing extensively in Mary McNamara's playing and it feels right to me, but I'm also an Uilleann piper, so no surprise...
There are basically two schools of concertina technique, I've been told, single-note, and double-note. I'm note sure why they're called that, but the double-note style is more decorated. There is a multitude of ways to get the diddly-di into the instrument and it seems to be up to each player how they go about doing this. Your ability to get highly decorated articulation is dependent on how much dexterity you have developed. But I have seen different players get almost the same effect from different fingering techniques. It seems to me that the best approach is to try to witness as many different ways of doing it, and pick the one that works for you. As your dexterity develops you might find yourself doing things you couldn't imagine doing years earlier. I've always viewed the Anglo concertina as the Rubik’s Cube of musical instruments. In other words -- getting the tunes into it is like solving a puzzle. Have fun!
Anglo schmanglo god youse lot even have online ornamentation tables and tutorials, and people's playing to copy. You have it all handed to you on a plate - why do you even need to discuss it? Now a discussion on EC ornamentation, that *would* be interesting
But seriously, Jack, I think the fact that wombat poo pops out of a wombat's arse as a cube shape is much more interesting than the distinction between your so-called single- and double-note anglo playing and your poncey 4- and 5-note rolls.
well, although wombat poo is very interesting... so is concertina poo. but we are discussing rolls.
right now my favorite are the accordian triplets but i dont like too many of them in a row, so as i said i'm going to learn all of them just to mix it up.
i solved a rubix cube once... i had the instructions tho. it still took me six days! i havent solved the concertina yet (or wombat poo, whatever you want to call it) and i have many instruction sets for it.
I'm trying to incorporate into my technique a variant of the slap triplet where instead of slapping with the fingers you clunk the bottom of both ends of the concertina together. It gives a similar sort of stuttering triplet sound and when you do it right it sounds really cool. I can only do it on the push. What can I call it? A "clunk triplet"? Does anyone else do this?
By the way, I use 4 and 5 note rolls, but my 4 note ones miss the 2nd note out (the cut), not the 3rd, so more like Karen Tweedy sort of thing than anglo 4 note maybe. For a G roll for example I go G{e}G{F#}G and for 4-note I leave the e out. I usually cran low Ds and Es like this D{G}D{E}D and E{A}E{F#}E, 4-note I go DD{G}D and EE{A}E - my "pseudo-cran".
(Don't listen to him, Daiv, he's a brit-boxer. There's no relevance to what you're asking. He's just lonely because no one else made the mistake of taking up English system for ITM.)
northy - its called a slap roll (maybe... i dont knwo there is an official term) and no i cant even get it to work once. oh, and you can roll on a brit box? i thought all you could do was take over countries with it. (haha, jk. thanks for the input! nice to know that other people are overextending themselves and learning several methods)
jack - haha, i didnt even notice he was in the converstion, :p.
I know that I use triplets (same note and/or different note), cuts, and rolls (crans). The choice for me is always determined by the meter, jigs(3's) or reel/hornpipes(4's), and where the note falls in the measure. Long rolls or short rolls are for longer or shorter notes. As to *exactly* how I do it, it's way to early in morning to try and figure it out. Listen to lots of players and tunes.
Did Clodagh Ryan teach you to do rolls (4 or 5 note) with one of the notes played *below* the melody note (like fiddle or flute)??? If so, that is very unusual. She is an excellent player and I've seen her play many times, but never noticed her performing that type of roll. Just curious...
Jack, I've heard the term 'single row' style (Crotty, Gerdie Commane, other older players) but not single note style.??
And murcu, no a roll is *not* a roll no matter what instrument. Banjo players, concertina players, fiddlers and pipers may all refer to longer ornaments as rolls but the execution of those rolls will be very different. This isn't classical music.
I can't remember who it was that explained the single-note, double-note thing, but it was someone who knew more than me that played Anglo. They said Paddy Murphy developed the double-note style, as I recall. I didn't know enough at the time to understand the differences thoroughly, but they pointed out that Mary MacNamara and Terry Bingham are using the single-note style. I think it might have a lot to do with ornamentation technique.
The first five note roll I played on my Jeffries layout concertina was GAGF#G drawing on the left side but they crop up frequently elsewhere and I'm happy to use them when I find them.
Jack said: "I can't remember who it was that explained the single-note, double-note thing, but it was someone who knew more than me that played Anglo."
Someone who knew more than you? You mean God spoke to you? :: Sarcastic British smirk::
Daiv said: "jack - haha, i didnt even notice he [Dow] was in the converstion, :p."
Don't you start. I'll start picking on you mind.
Laitch said: ""Clunklet" could describe that ornament."
Now, for all of you Anglo players out there, since we're on the subject... (you might want to go to another thread now, Dow, this bit is for Anglo players).. uh... where was I... oh yes... right so... uh.... let's hear how you guys do triplets on the F# button (left hand, wee finger one) and how about the low C, B and A while we're at it? If you can provide a tune as an example of where you would use it too please. I will follow suit. This could be interesting. (to Anglo players anyway... maybe)
I go up to the high G above or the E below. For low C I also use adjacent notes. Low B I sometimes go up to E like this (3B,EB, and for low A, I go up to D like this (3A,DA,.
Jack
G. yes, all on the draw. For instance, on the first G in the third bar of Rambling Pitchfork as played in the first D major setting in thesession database.
Cool, Laitch. How do you do the first D in that tune? And how do you do the first D in a tune like, Jackie Coleman's? (Any other Anglo players can pipe-in with the way you do your triplets too, of course.)
About the first D teatment, I'm thinking of the Glackin/Keenan setting of Rambling Pitchfork when I do this in the second measure. Second measure is what you're refering to, right? On the draw, ded, right left right, cutting the first d from e on the right, but instead of playing the first F# in that measure, I play an A. Is that how you'd do it?
I'm interested in how you treat that first D in Coleman's.
No, the first measure of this tune: http://www.thesession.org/tunes/display.php/89 What do you do to get that roll on the F#? (I play a roll there, and I remember hearing one used there on the recording you're referring to.)
I catch it just as I'm turning from pull to push and hit the E below it briefly so that I get a roll-like stuttering sound even if the E doesn't actually sound.
Jack
Instead of playing the quarter and eighth F#s, I start with 3 eighth notes F#DF#, then alternate with the roll F#GF#EF#, all pulled except the E of course; or that roll with D substituted for the E, all pulled. I'm working on a two finger triplet on the F# but have a ways to go yet. How do you play that roll?
Tusong200 - to my best of my recollection she did. it was a note on the right hand (b or f#). she cut it normally, but she tapped it with a weird sharp or flat. i am positive it was a 5 note roll for 2 reasons:
1. it did not confuse me (which a crann-roll wouldve)
2. i remember the distinctive sound of her showing us them slowed down, and making us do it back: LONG short LONG short LONG.
after she finished showing us how to do them she started swinging them a lot... (nothing to do with what we are talking about, but just showing that i remember it all very precisely).
I have a few different ways of ornamenting the F# (wee finger of left hand, G row)
Key:
L = left hand
R = right hand.
wee, ring, middle, index (all are fingers)
Pu = push
Dr = draw
If a note is between these, i.e. [D] -- it's a grace note
1) F# (L wee G row Dr) D (R middle C row Dr) C# (R index top row Dr) F# (L wee G row Dr)
Sometimes I'll add the A (L index C row Dr) before the last F#
2) F# A B A F#
F# (L wee G row Dr), A (L index C row Dr), B (R index C row Dr), A (L index C row Dr), F# (L wee G row Dr)
3) [D] F# C# A F#
F# (L wee G row Dr), C# (R index top row Dr), A (L index C row Dr), F# (L wee G row Dr)
Note: I add a grace note from the D (R middle C row Dr) before the first F#, (or you can add the D after the first F# too, if you like)
4) [D] F# B F# F#
F# (L wee G row Dr), B (R index C row Dr), F# (L wee G row Dr), F# (L ring G row Dr)
Note: I add a grace note from the D (R middle C row Dr) before the first F#
I like your one using the G on the top row with the E on the push, Laitch. I'm adding that to my arsenal.
If we're talking about the type of triplet you would use for a reel, like Jackie Coleman's, I would only use 1 (without the added A) or 4 (without the grace note) But in a tune like The Maids of Castlebar, there's a long roll on the F# and I use 4 with the grace note.
OK, how do you do long and short rolls on the low D (L ring C row Dr)?
Left hand–DDF#D, all pulled and sometimes gracing the D with the G row F or A; DDDD, all pulled on the G row using the just the ring finger or the ring and middle finger (for a dexterity exercise), [F#]DDAD all pulled. You?
Do you use the ring finger twice in a row? D D F# D and D D D D
I can't get one finger to fire fast enough, so I always use neighboring fingers on the same button. I find that I have the best energy and quickest firing going from ring to middle, or ring - middle - index for a three finger on one button attack. It's probably because that's the way I naturally drum my fingers. On my right hand it's the same deal.
I have a couple of ways of doing the triplets on that D: D B D D (L ring, R index, L ring, L middle)
I use this for the first D triplet in a tune like "Hand Me Down the Tackle."
Sometimes I'll drum my fingers on the D in this order; ring - middle - index - ring I think people are calling this an "accordion triplet" I'll use it for the first D triplet in a tune like "The Little Thatched Cabin" or "Farrell O'Gara's."
If I want a cran sound I do this:
D D C# A D
D (L ring), D (R middle), C# (R index), A (L index), D (L ring)
If it's a little bit shorter cran sound I'll use the D (R middle) as a grace note thusly:
[D] D C# A D
(I'm still hoping other players are going to contribute... hello?)
What about triplets on the G row Left hand B, C, D, and E?
concertina ornamentation
concertina ornamentation
i am not asking for help on how to do it, i know several methods. i am wondering which method most people use. i am working on all of them, and i like the variety of having different methods incorporated in.i dont think we really need to discuss cuts and taps, pretty straightforward.
the first question is, do you use 5 note, or 4 note rolls? i'm working on the accordian triplets, and i like them, but i also like more traditional rolls. if you use accordian triplets always, that'd be interesting to know, or how much.
i have found a lot of discussion for 4 note rolls, which would be referred to as crann's more technically (but arent crann's 5+ notes? i guess they call them crann's cuz they are ABOVE the note). i have heard about using c row right hand one and 2 for most crann-rolls, and of course doing some "each note catered" rolls, which might sound more appropriate in places.
clodagh ryan (at irish fest milwaukee) taught me to do 5 note rolls, like on the fiddle and flute. these sound more natural to my ears, and i am wondering why i have not heard of them too much. i'm sure maybe concertina.net might be a better place to ask (and i havent poked too much around there to see if this has been discussed).
do the 4 note crann-rolls give the concertina its distinctive sound?
# Posted on February 17th 2005 by daiv
Re: concertina ornamentation
Surely a "roll" is a "roll", no matter what instrument. i.e 5 notes.
Listen to Micheal O Ragalaigh playing the concertina. His playing is superb and his "rolls" can not be bettered.
# Posted on February 18th 2005 by murcu
Re: concertina ornamentation
Video Clip of Micheal
http://www.custysmusic.com/mall/CustysTraditionalMusicShop/mícheál_ó_raghallaigh.htm
# Posted on February 18th 2005 by murcu
Re: concertina ornamentation
...unless it's a short roll, in which case it's 4 notes.
A lot of concertina players don't use any kind of roll - I don't recall hearing Elizabeth Crotty, Chris Droney or Mary McNamara using anything other than cuts and taps.
Micheál Ó Raghallaigh seems to use just about every kind of ornament going - and uses them well.
# Posted on February 18th 2005 by CreadurMawnOrganig
Re: concertina ornamentation
For me, lots of cuts and repeated notes seem to work well to simulate the piping ornaments. I hear this kind of playing extensively in Mary McNamara's playing and it feels right to me, but I'm also an Uilleann piper, so no surprise...
# Posted on February 19th 2005 by Michael Eskin
Re: concertina ornamentation
There are basically two schools of concertina technique, I've been told, single-note, and double-note. I'm note sure why they're called that, but the double-note style is more decorated. There is a multitude of ways to get the diddly-di into the instrument and it seems to be up to each player how they go about doing this. Your ability to get highly decorated articulation is dependent on how much dexterity you have developed. But I have seen different players get almost the same effect from different fingering techniques. It seems to me that the best approach is to try to witness as many different ways of doing it, and pick the one that works for you. As your dexterity develops you might find yourself doing things you couldn't imagine doing years earlier. I've always viewed the Anglo concertina as the Rubik’s Cube of musical instruments. In other words -- getting the tunes into it is like solving a puzzle. Have fun!
# Posted on February 19th 2005 by Phantom Button
Re: concertina ornamentation
Rubik's Cube?.. more like wombat poo!
(Wombat poo is cubic)
# Posted on February 19th 2005 by Dr. Dow
Re: concertina ornamentation
Somehow I knew you'd show up in this thread sooner or later, Dow.
# Posted on February 19th 2005 by Phantom Button
Re: concertina ornamentation
Anglo schmanglo god youse lot even have online ornamentation tables and tutorials, and people's playing to copy. You have it all handed to you on a plate - why do you even need to discuss it? Now a discussion on EC ornamentation, that *would* be interesting
# Posted on February 19th 2005 by Dr. Dow
Re: concertina ornamentation
This is an Anglo concertina thread, Dow, be off with you Brit-box fanny-whappers. Go find your own ilk to commiserate with and leave us in peace.
hahahaha
# Posted on February 19th 2005 by Phantom Button
Re: concertina ornamentation
*Fanny-whappers*?! Ermm...
# Posted on February 19th 2005 by Dr. Dow
Re: concertina ornamentation
But seriously, Jack, I think the fact that wombat poo pops out of a wombat's arse as a cube shape is much more interesting than the distinction between your so-called single- and double-note anglo playing and your poncey 4- and 5-note rolls.
# Posted on February 19th 2005 by Dr. Dow
Re: concertina ornamentation
well, although wombat poo is very interesting... so is concertina poo. but we are discussing rolls.
right now my favorite are the accordian triplets but i dont like too many of them in a row, so as i said i'm going to learn all of them just to mix it up.
i solved a rubix cube once... i had the instructions tho. it still took me six days! i havent solved the concertina yet (or wombat poo, whatever you want to call it) and i have many instruction sets for it.
# Posted on February 19th 2005 by daiv
Re: concertina ornamentation
I'm trying to incorporate into my technique a variant of the slap triplet where instead of slapping with the fingers you clunk the bottom of both ends of the concertina together. It gives a similar sort of stuttering triplet sound and when you do it right it sounds really cool. I can only do it on the push. What can I call it? A "clunk triplet"? Does anyone else do this?
# Posted on February 19th 2005 by Dr. Dow
Re: concertina ornamentation
By the way, I use 4 and 5 note rolls, but my 4 note ones miss the 2nd note out (the cut), not the 3rd, so more like Karen Tweedy sort of thing than anglo 4 note maybe. For a G roll for example I go G{e}G{F#}G and for 4-note I leave the e out. I usually cran low Ds and Es like this D{G}D{E}D and E{A}E{F#}E, 4-note I go DD{G}D and EE{A}E - my "pseudo-cran".
# Posted on February 19th 2005 by Dr. Dow
Re: concertina ornamentation
(Don't listen to him, Daiv, he's a brit-boxer. There's no relevance to what you're asking. He's just lonely because no one else made the mistake of taking up English system for ITM.)
# Posted on February 19th 2005 by Phantom Button
Re: concertina ornamentation
northy - its called a slap roll (maybe... i dont knwo there is an official term) and no i cant even get it to work once. oh, and you can roll on a brit box? i thought all you could do was take over countries with it. (haha, jk. thanks for the input! nice to know that other people are overextending themselves and learning several methods)
jack - haha, i didnt even notice he was in the converstion, :p.
# Posted on February 19th 2005 by daiv
Re: concertina ornamentation
I know that I use triplets (same note and/or different note), cuts, and rolls (crans). The choice for me is always determined by the meter, jigs(3's) or reel/hornpipes(4's), and where the note falls in the measure. Long rolls or short rolls are for longer or shorter notes. As to *exactly* how I do it, it's way to early in morning to try and figure it out. Listen to lots of players and tunes.
Did Clodagh Ryan teach you to do rolls (4 or 5 note) with one of the notes played *below* the melody note (like fiddle or flute)??? If so, that is very unusual. She is an excellent player and I've seen her play many times, but never noticed her performing that type of roll. Just curious...
Jack, I've heard the term 'single row' style (Crotty, Gerdie Commane, other older players) but not single note style.??
And murcu, no a roll is *not* a roll no matter what instrument. Banjo players, concertina players, fiddlers and pipers may all refer to longer ornaments as rolls but the execution of those rolls will be very different. This isn't classical music.
# Posted on February 19th 2005 by Tusong200
Re: concertina ornamentation
I can't remember who it was that explained the single-note, double-note thing, but it was someone who knew more than me that played Anglo. They said Paddy Murphy developed the double-note style, as I recall. I didn't know enough at the time to understand the differences thoroughly, but they pointed out that Mary MacNamara and Terry Bingham are using the single-note style. I think it might have a lot to do with ornamentation technique.
# Posted on February 19th 2005 by Phantom Button
Re: concertina ornamentation
The first five note roll I played on my Jeffries layout concertina was GAGF#G drawing on the left side but they crop up frequently elsewhere and I'm happy to use them when I find them.
NTI
"Clunklet" could describe that ornament.
# Posted on February 19th 2005 by ∅
Re: concertina ornamentation
A "Clunk Triplet ?" Northumbrian Pipes info ?
Sounds like the story of how "Whack the Frog on the Bolster" was written !o
# Posted on February 20th 2005 by Guernsey Pete
Re: concertina ornamentation
What note are you decorating, Laitch? And, is it all on the draw? Could you put it into the context of a tune?
# Posted on February 20th 2005 by Phantom Button
Re: concertina ornamentation
Jack said: "I can't remember who it was that explained the single-note, double-note thing, but it was someone who knew more than me that played Anglo."
Someone who knew more than you? You mean God spoke to you? :: Sarcastic British smirk::
Daiv said: "jack - haha, i didnt even notice he [Dow] was in the converstion, :p."
Don't you start. I'll start picking on you mind.
Laitch said: ""Clunklet" could describe that ornament."
Love it! You are very inventive.
# Posted on February 20th 2005 by Dr. Dow
Re: concertina ornamentation
PS Before you start Jack, yes, God plays Anglo; Satan plays Britbox. I bet Satan's parties and sessions are way more interesting than God's.
# Posted on February 20th 2005 by Dr. Dow
Re: concertina ornamentation
You don't get out much do you, Dow.
# Posted on February 20th 2005 by Phantom Button
Re: concertina ornamentation
Erm no; correct. I never go out. I don't drink. I don't smoke. I stay indoors and study. Arr.
# Posted on February 20th 2005 by Dr. Dow
Re: concertina ornamentation
Now, for all of you Anglo players out there, since we're on the subject... (you might want to go to another thread now, Dow, this bit is for Anglo players).. uh... where was I... oh yes... right so... uh.... let's hear how you guys do triplets on the F# button (left hand, wee finger one) and how about the low C, B and A while we're at it? If you can provide a tune as an example of where you would use it too please. I will follow suit. This could be interesting. (to Anglo players anyway... maybe)
# Posted on February 20th 2005 by Phantom Button
Re: concertina ornamentation
I go up to the high G above or the E below. For low C I also use adjacent notes. Low B I sometimes go up to E like this (3B,EB, and for low A, I go up to D like this (3A,DA,.
# Posted on February 20th 2005 by Dr. Dow
Re: concertina ornamentation
Jack
G. yes, all on the draw. For instance, on the first G in the third bar of Rambling Pitchfork as played in the first D major setting in thesession database.
# Posted on February 20th 2005 by ∅
Re: concertina ornamentation
Cool, Laitch. How do you do the first D in that tune? And how do you do the first D in a tune like, Jackie Coleman's? (Any other Anglo players can pipe-in with the way you do your triplets too, of course.)
# Posted on February 20th 2005 by Phantom Button
Re: concertina ornamentation
Jack
About the first D teatment, I'm thinking of the Glackin/Keenan setting of Rambling Pitchfork when I do this in the second measure. Second measure is what you're refering to, right? On the draw, ded, right left right, cutting the first d from e on the right, but instead of playing the first F# in that measure, I play an A. Is that how you'd do it?
I'm interested in how you treat that first D in Coleman's.
# Posted on February 21st 2005 by ∅
Re: concertina ornamentation
No, the first measure of this tune: http://www.thesession.org/tunes/display.php/89 What do you do to get that roll on the F#? (I play a roll there, and I remember hearing one used there on the recording you're referring to.)
# Posted on February 21st 2005 by Phantom Button
Re: concertina ornamentation
I just re-read the post before your answer and I meant the first F#, not the D... sorry.
# Posted on February 21st 2005 by Phantom Button
Re: concertina ornamentation
I catch it just as I'm turning from pull to push and hit the E below it briefly so that I get a roll-like stuttering sound even if the E doesn't actually sound.
# Posted on February 21st 2005 by Dr. Dow
Re: concertina ornamentation
Jack
Instead of playing the quarter and eighth F#s, I start with 3 eighth notes F#DF#, then alternate with the roll F#GF#EF#, all pulled except the E of course; or that roll with D substituted for the E, all pulled. I'm working on a two finger triplet on the F# but have a ways to go yet. How do you play that roll?
# Posted on February 21st 2005 by ∅
Re: concertina ornamentation
Tusong200 - to my best of my recollection she did. it was a note on the right hand (b or f#). she cut it normally, but she tapped it with a weird sharp or flat. i am positive it was a 5 note roll for 2 reasons:
1. it did not confuse me (which a crann-roll wouldve)
2. i remember the distinctive sound of her showing us them slowed down, and making us do it back: LONG short LONG short LONG.
after she finished showing us how to do them she started swinging them a lot... (nothing to do with what we are talking about, but just showing that i remember it all very precisely).
# Posted on February 21st 2005 by daiv
Re: concertina ornamentation
I have a few different ways of ornamenting the F# (wee finger of left hand, G row)
Key:
L = left hand
R = right hand.
wee, ring, middle, index (all are fingers)
Pu = push
Dr = draw
If a note is between these, i.e. [D] -- it's a grace note
1) F# (L wee G row Dr) D (R middle C row Dr) C# (R index top row Dr) F# (L wee G row Dr)
Sometimes I'll add the A (L index C row Dr) before the last F#
2) F# A B A F#
F# (L wee G row Dr), A (L index C row Dr), B (R index C row Dr), A (L index C row Dr), F# (L wee G row Dr)
3) [D] F# C# A F#
F# (L wee G row Dr), C# (R index top row Dr), A (L index C row Dr), F# (L wee G row Dr)
Note: I add a grace note from the D (R middle C row Dr) before the first F#, (or you can add the D after the first F# too, if you like)
4) [D] F# B F# F#
F# (L wee G row Dr), B (R index C row Dr), F# (L wee G row Dr), F# (L ring G row Dr)
Note: I add a grace note from the D (R middle C row Dr) before the first F#
I like your one using the G on the top row with the E on the push, Laitch. I'm adding that to my arsenal.
# Posted on February 21st 2005 by Phantom Button
Re: concertina ornamentation
Oops. I forgot to start the first one with just the notes. It should be - 1) F# D C# F#
# Posted on February 21st 2005 by Phantom Button
Re: concertina ornamentation
I'll sure use those. Thanks for the maps, Jack.
# Posted on February 22nd 2005 by ∅
Re: concertina ornamentation
If we're talking about the type of triplet you would use for a reel, like Jackie Coleman's, I would only use 1 (without the added A) or 4 (without the grace note) But in a tune like The Maids of Castlebar, there's a long roll on the F# and I use 4 with the grace note.
OK, how do you do long and short rolls on the low D (L ring C row Dr)?
# Posted on February 22nd 2005 by Phantom Button
Re: concertina ornamentation
P.S. I'm hoping other Anglo players will add the way they do it too.
# Posted on February 22nd 2005 by Phantom Button
Re: concertina ornamentation
Just starting out on the anglo trail - and am finding all this really helpful! Echo Jack's call for other players to add input.
# Posted on February 22nd 2005 by ab
Re: concertina ornamentation
Jack
Left hand–DDF#D, all pulled and sometimes gracing the D with the G row F or A; DDDD, all pulled on the G row using the just the ring finger or the ring and middle finger (for a dexterity exercise), [F#]DDAD all pulled. You?
# Posted on February 22nd 2005 by ∅
Re: concertina ornamentation
Laitch
Do you use the ring finger twice in a row? D D F# D and D D D D
I can't get one finger to fire fast enough, so I always use neighboring fingers on the same button. I find that I have the best energy and quickest firing going from ring to middle, or ring - middle - index for a three finger on one button attack. It's probably because that's the way I naturally drum my fingers. On my right hand it's the same deal.
I have a couple of ways of doing the triplets on that D: D B D D (L ring, R index, L ring, L middle)
I use this for the first D triplet in a tune like "Hand Me Down the Tackle."
Sometimes I'll drum my fingers on the D in this order; ring - middle - index - ring I think people are calling this an "accordion triplet" I'll use it for the first D triplet in a tune like "The Little Thatched Cabin" or "Farrell O'Gara's."
If I want a cran sound I do this:
D D C# A D
D (L ring), D (R middle), C# (R index), A (L index), D (L ring)
If it's a little bit shorter cran sound I'll use the D (R middle) as a grace note thusly:
[D] D C# A D
(I'm still hoping other players are going to contribute... hello?)
What about triplets on the G row Left hand B, C, D, and E?
# Posted on February 22nd 2005 by Phantom Button