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 Post subject: Re: Cutting Question
PostPosted: Fri Aug 09, 2019 7:43 am 
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A few threads over you'll find a scan of a Tutor for the Feadoga Stain, which also employs the 'cutting with A' as I described it above (and which Richard rehashed). You could do worse than working through that one, it will give you all the basics you need, even if it is of it time. It has a good choice of tunes (even, again, of its time).

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 Post subject: Re: Cutting Question
PostPosted: Fri Aug 09, 2019 10:00 am 
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Matthewlawson3 wrote:

Thank you for this. Coming from a clarinet background, I was unaware of this difference. It would be a foreign concept for any clarinet player if you said that the E key on the clarinet is called the F because on clarinet or other classical instruments players usually learn by what Richard said, that is, "name the hole by the note which occurs when you put down the finger. "

I play and have played clarinet from 6th grade all the way through the end of college/university and even minored in music and took music theory classes and somehow many things in ITM never came up at all hahaha. I've had to learn many new things, but I find it interesting to think about the different paths each "world" took. Most, if not all, of my teachers and professors I am sure are not aware of many of the things in ITM. Though I do know a composer who may be aware of different Irish articulations such as the cut and strike and rolls.


It is definitely a different world with cross pollination. It is always fun to sit down with a classically trained musician who looks at the notes of a trad tune and gives it a try. Given the nature of the tradition developing by ear with notes written down for reference and many invisible accepted, learned, expected and assumed details most trad musicians steeped in the music would make it sound completely different.

And people like myself who would be completely lost in a classical music score, as well as many who can't read music at all, can stand our own in a session with people who are considered among the best in their field.


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 Post subject: Re: Cutting Question
PostPosted: Fri Aug 16, 2019 6:42 am 
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Matthewlawson3 wrote:

Thank you for this. Coming from a clarinet background, I was unaware of this difference.

I play and have played clarinet from 6th grade all the way through the end of college/university and even minored in music and took music theory classes...


You're welcome!

My path was from the other direction: Highland pipes > uilleann pipes > Irish flute > Baroque flute

I was briefly a Music Major at Uni on Baroque flute.

I took the classes where you play each instrument of the orchestra for six weeks. With the orchestral woodwinds I learned about the "legit" approach to naming the notes, fingers, and transpositions, all foreign to me.

One of the biggest insights was learning Boehm flute and the "guide positions" of the fingers and key noise.

This was of invaluable help when I was going around teaching Irish flute at music camps and festivals. I had observed that Boehm flutists had difficulty getting the "pats" quick and crisp enough; knowing about the guide positions and the dread of key noise allowed me to understand WHY Boehm flutists had that problem. (They are taught to keep their fingers very close to, indeed in contact with, the keys at all times. This low finger position was what prevented them from getting crisp-sounding pats.)

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 Post subject: Re: Cutting Question
PostPosted: Fri Aug 16, 2019 10:36 pm 
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I've been in trad settings where a respected musician was telling someone to put down their 2nd finger when they clearly meant the ring finger, which I would call the third. He counted pinky as one, pointer as 4 in an exact reverse of my expectation. The tradition grew differently in small communities handed own through generations and is only in the past couple of generations getting codified. Complicating factors with keyed instruments verses keyless, hilarity ensues


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