I picked up the Grey Larsen "Essential Guide..." (i.e., the thick one) the other day, and realized that I've been doing something quite different than he recommends for tapping.
His version:
In anticipation of the tap, raise the tapping finger out of resting position, let it fall down to execute the tap, then let it return to resting position.
What I do:
From resting position, drop the finger onto the hole for the tap, then pull the finger up quickly as if touching something hot (I think I heard someone use a "hot skillet" analogy, which I apparently took to heart). The key difference seems to be whether most of the finger muscle engagement occurs immediately before or after the tap.
When I use a tap as an articulation for a descending melody, I tend to execute the tap via the Larsen method, but my fingers have the other method pretty locked in during rolls.
So, is my method considered valid by the ITM police? Or, perhaps a better question, does anyone know of any particular reason I should take the time to retrain my fingers? Better sound, risk of injury, etc.
The fine points of executing taps
- eskin
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Re: The fine points of executing taps
I'm with Grey on this, when I do my taps on whistle/flute/pipes, the finger goes up first like cocking a trigger then is "fired" onto the hole with considerable velocity and bounce off the tube. The upward motion I think puts tension on the tendons and allows me to execute a clean rapid tap. I've heard the same technique taught in several workshops and tionols.
Ideally, the tap creates a pitchless, rhythmic separation of notes. If you are able to achieve this with your technique, great. If you're making a sound more like a classical turn or mordant where you can clearly hear the pitch of the closed hole tune during the tap, you may want to consider other techniques.
Ideally, the tap creates a pitchless, rhythmic separation of notes. If you are able to achieve this with your technique, great. If you're making a sound more like a classical turn or mordant where you can clearly hear the pitch of the closed hole tune during the tap, you may want to consider other techniques.
- pancelticpiper
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Re: The fine points of executing taps
It's why people coming to Irish flute/whistle from Boehm flute have trouble playing pats fast enough.
Boehm flutists are taught to keep their hands in "guide position" with the flesh in contact with the touches at all times. When told to do a pat they move their finger from its guide position (an inch or less above the hole of the Irish flute/whistle) onto and off of the hole. This results in a hoplessly slow pat.
Usually Irish players of flute, whistle, pipes, and fiddle will raise the finger(s) to be struck high off the instrument a split-second before the pat, the added distance enabling the required velocity to happen. Or in some cases they in effect keep their fingers in a higher "guide position" all the time.
For a pat to sound right two things have to happen 1) the hole must be totally sealed during the tap so a clear low note sounds and 2) it has to be fast enough.
Boehm flutists are taught to keep their hands in "guide position" with the flesh in contact with the touches at all times. When told to do a pat they move their finger from its guide position (an inch or less above the hole of the Irish flute/whistle) onto and off of the hole. This results in a hoplessly slow pat.
Usually Irish players of flute, whistle, pipes, and fiddle will raise the finger(s) to be struck high off the instrument a split-second before the pat, the added distance enabling the required velocity to happen. Or in some cases they in effect keep their fingers in a higher "guide position" all the time.
For a pat to sound right two things have to happen 1) the hole must be totally sealed during the tap so a clear low note sounds and 2) it has to be fast enough.
Richard Cook
c1980 Quinn uilleann pipes
1945 Starck Highland pipes
Goldie Low D whistle
c1980 Quinn uilleann pipes
1945 Starck Highland pipes
Goldie Low D whistle
Re: The fine points of executing taps
Thanks for your responses. I brought this up at my local session last night, and the flute and whistle players there all raised their fingers in anticipation, too, though they weren't aware they were doing it until they tried it. I've only been playing rolls and taps for a few months anyway, so it should be pretty easy to reprogram those muscles. The only downside seems to be that I now have to involve my little fingers (at least removing the tension in them) to pat using their attached ring fingers, whereas before my right little finger was able to anchor the whistle at all times.
- swizzlestick
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Re: The fine points of executing taps
But any time you need a tap with fingers of the right hand, the left hand fingers will be down to help stabilize the whistle. I used to try and keep the right little finger down all the time too, but I watched other players and saw that finger dancing all over. Most of us seem to subconsciously learn to drop that finger into place only when we need it.dsmootz wrote: The only downside seems to be that I now have to involve my little fingers (at least removing the tension in them) to pat using their attached ring fingers, whereas before my right little finger was able to anchor the whistle at all times.
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Re: The fine points of executing taps
The converse thing I'll do too (which I learned from an experienced player) is on cuts to slightly press down before lifting off, almost like bending your knees before jumping, to get a cleaner separation