Technique, Critique, and Easy Reeds

Salient point: Play reeds that are easy enough to maximize your fingering ability but still remain crisp. Playing a harder reed the other day in the Gellaitry’s (happy birthday and aggie war hymn came off okay), but my solo stuff was coming out awful. I was a bit disappointed with the playing as I hadn’t really taken that big of a break since my last bout of rehearsals/recordings. So, the fingering got a little mushy but not as bad as I thought, just need to play a reed that lets me think about the fingering in the big solo competition tunes and not about keeping the reed going.

First we have some jigs, because it’s been a while since I’ve played a few. Key things to work on here are GDEs (Paddy’s), rodins (Saut), F doublings (Paddy’s), and holding the quarter notes a little longer.

Kenneth MacDonald’s Jig, Donella Beaton, The Curlew, I Laid a Herring in Saut, Thief of Lochaber, and Paddy’s Leather Breeches

Then some strathspeys to show how sloppy all my doublings are. Reel wasn’t too bad.

Shepherd’s Crook, Dora MacLeod, Ewe Wi the Crookit Horn, Rejected Suitor

Then a R/H/J with some birls from C because I needed the ego boost, or not. One of these days I WILL get the 2nd part to Rakes down.

Lochiel’s Awa to France, Lucy Cassidy, Rakes of Kildare

Finally, we have some relaxing Irish jigs where it becomes immediately obvious, if it wasn’t already enough, that my D grace notes to C are a little lax. The first part of Kitty is inspired by the playing of the tune on fiddle and uilleann pipes on the “At First Light” album, the second part is all Terry Tully.

Kitty Lie Over, Drops of Brandy, Kesh Jig

Critique away!

5 thoughts on “Technique, Critique, and Easy Reeds

  1. In Shepherd’s Crook, make the b berfore the birls smaller, almost like it’s part of the birl embellishment so you can hold the low a’s more and get a more strathspey-ic feel

  2. Watch those jrips from D. Those are what I’m having trouble with. Make them sound bubbly, like the Darido, instead of less pronounced and crushed like you did here. Good playinj though, and good selection of chunes, I need a bigger repertoire.

  3. Good real playing. In Ewe With the Crooked Horn, make sure that there is a dotcut feeling about the tune, instead of rounded as was played here. Very nice though.

  4. Hey Jack, which B/birl combo you talking about: beginning or end of the lines?

    Austin, I’m not sure I can cut Ewe anymore dude! Maybe, maybe the 3rd and 4th parts a TAD more.

    My E grace note “thing”, to put it nicely, makes those shakes a little tricky, and Kitty Lie Over has no shortage.

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