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PostPosted: Sun Jul 02, 2017 6:31 am 
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They are for sale here, photo on the site just about shows how it sits together, and it seems simple enough :

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PostPosted: Sun Jul 02, 2017 11:18 am 
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I've seen them jig dancers at some of the Appalachian, old time, bluegrass events and rarely at the Irish events. There is a player in our group that uses one, but, he is Finish and crosses over into the Appalachian playing.

https://www.youtube.com/watch?v=NdsTsdCMs28
https://www.youtube.com/watch?v=lS8aEbiwvWw

Here's another type that is hand controlled.

https://www.youtube.com/watch?v=oWRBhDLVJdY

https://www.youtube.com/watch?v=aThzn865R4k

The kids get mesmerized when the jig dances.


Last edited by ytliek on Wed Jul 05, 2017 10:24 am, edited 2 times in total.

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PostPosted: Tue Jul 04, 2017 5:44 am 
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Yes that's what I'd always heard them called, limberjacks.

Sean Folsom (a member here) has a row of puppets hanging from a string, one end tied to his leg, the other end to a post. As he stomps his foot the puppets dance. I think he does it when he plays hurdy gurdy, but I suppose you could be playing anything.

Has nothing to do with foot percussion, really, because they don't make much sound.

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PostPosted: Tue Jul 04, 2017 6:46 am 
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Actually, limberjacks are very much percussion instruments as well- they make quite a lot of sound, and if you don't have the skill to make them dance in time to the music it sounds simply awful (as is quickly apparent when you let a bystander try one out). When i first began to 'play' limberjacks years ago, the random percussion sound aspect of it was frankly unbearable to listen to with the music playing. As I got better at it, the wooden/clacking percussion sound became pleasing- in sync with and as accompaniment to the music. It's a skill like any other, that takes a bit of practice. :)

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PostPosted: Tue Jul 04, 2017 7:19 am 
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Here's one in an engraving from a Hogarth painting from 1733. See the piper in the lower left corner of the engraving with his twin dancers. He's much harder to see in the original painting (where he's in the lower right corner).

(The piper subsequently became the logo for the Pipers Gathering as I am required by contract to make at least one gratuitous publicity comment per month.)

Best wishes.

Steve

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PostPosted: Mon Aug 28, 2017 7:05 am 
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As prototypes for another project I have made what I think of as "tin can whistles." Closing the finger holes makes percussive sounds.

A large tin can with a whistle inside, like this:

Image

The sounds are not loud, more apparent to the player than to a listener. Attach a pickup, though, and it is a different story. Here is a YouTube video of me playing one with a pickup:

https://www.youtube.com/watch?v=hdVoLPElOVw

Enjoy! (or not)

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PostPosted: Mon Aug 28, 2017 7:40 am 
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That is the finest sweet (red) vermouth one can buy. My favourite for sure :)


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PostPosted: Mon Aug 28, 2017 8:48 am 
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Wow that it great! I love the percussion you get that way!

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PostPosted: Sun Sep 10, 2017 5:08 am 
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I think the spanish flaviol (a fipple-flute) is designed to be played with one hand so that the other is free to bang a drum. google image: flabiol i tambori


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PostPosted: Sun Sep 10, 2017 5:31 am 
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nicx66 wrote:
I think the spanish flaviol (a fipple-flute) is designed to be played with one hand so that the other is free to bang a drum.


In English those are called Tabor Pipes.

There are two finger holes and one thumb hole, I think. Since you play in the 2nd and 3rd registers (only a 5th apart) you can play an entire scale.

Various makes of whistles used to be available either in six-hole whistle form or three-hole tabor pipe form.

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PostPosted: Sun Sep 10, 2017 5:31 am 
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"The sounds are...more apparent to the player than to a listener."

Probably a good thing. :)

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PostPosted: Sun Sep 10, 2017 1:52 pm 
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Mr.Gumby wrote:
You'll probably want to look into podorythmie.


(Chiming in late as usual)

I have lived in Québec for 30 years and have many friends in the trad-music community and I have to tell you I have grown to loathe this practice, or rather its ubiquitousness and lack of subtlety. I can still just about deal with it when produced by top-class musicians from around here, although I do wonder why they are incapable of playing without doing it, and why some of them are so damned aggressive with it. I'm waiting for a traditional band with the guts not to do it, actually.

But when I hear it creeping into other genres I really want to strangle the performer.


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PostPosted: Sun Sep 24, 2017 4:09 am 
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Didn't see your response earlier. Haven't been keeping up in recent time.

Quote:
I have to tell you I have grown to loathe this practice, or rather its ubiquitousness and lack of subtlety.


I can agree with that, it's wouldn't be my favourite thing. I have only seen one instance of something like it in Ireland, whistleplayer Mick Conroy used to do that and while it was slightly endearing in his old age, I always felt it was a bit of a novelty act.

And speaking of obsequiousness, the almost obligatory trotting out of a bunch of stepdancers in mid performance, or a performer putting down their instrument for a spate of hoofing around is now starting to wear thin for me as well. And I say that as someone who usually enjoys a bit of battering by a good dancer, at times. Especially during the recent All Ireland Fleadh the hoofers and brushdancers were fecking everywhere. Too much.

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PostPosted: Mon Sep 25, 2017 3:00 pm 
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Mr.Gumby wrote:
Especially during the recent All Ireland Fleadh the hoofers and brushdancers were fecking everywhere. Too much.


:lol:

In Eastern Canada every young fiddle player now seems to be expected to be able to hoof while playing. It was a bit of a novelty when Natalie McMaster and Ashley McThingy were doing it 25 years ago but no more!


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PostPosted: Mon Sep 25, 2017 4:16 pm 
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Every time I see this thread's title I envision some guy beating himself on the head with a tabor pipe.

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