Chiff and Fipple Forums

Hey folks.

I've been desperately working to find and learn tunes to play with an Irish session that has welcomed me with open arms. They are truly excited to have a piper of any kind with them, but of course the ability to play many Irish session tunes on SSPs is limited.

I've managed to find several tunes that will work, and right now I'm desperately trying to see if I can make Morrison's Jig work, as it is one of the groups favorite tunes. I've ordered what is possibly the only book in existence with a pipe setting of Morrison's Jig in it... but it might take several weeks to arrive, and I'm not entirely sure it's even the correct tune or setting.

Has anyone had any success playing Morrison's Jig on the SSP?

Not SSP but Morrisons jig on GHB.

David

BigDavy wrote:Not SSP but Morrisons jig on GHB.

David

Well that gives me some hope that the book I found won't be a waste!

thePhotopiper wrote:

BigDavy wrote:Not SSP but Morrisons jig on GHB.

David

Well that gives me some hope that the book I found won't be a waste!

I would think that tunes from your book would be hard to play with the others if the settings are different than what the others are use to playing, and you just start playing.

If you do learn your settings really well from your books, maybe the others can pick up your setting of the tune by ear. But don’t just jump into playing and assume that because it’s call Morrison’s, that you are playing the same setting. Make sure they know what’s happening, so they can follow you.

What I would suggest, would be taking a recorder to tape the sessions or the tunes you like. That way you have the setting that your group plays and you can work on fitting your pipes to the tunes. There are several apps that slow down tunes, so you can learn them.

On my flute, when the tune drops below my low D, I’ll jump up an octave. I think this is called folding the notes. When I first started I’d find the core notes to the tune, and blend in those notes, that weren’t in my range with the higher notes. One or two per measure. Some times you can harmonize, for example if the tune called for a low B, a low D can work.

This is where learning and playing the tunes by ear is a real benefit.

Tjones wrote: What I would suggest, would be taking a recorder to tape the sessions or the tunes you like. That way you have the setting that your group plays and you can work on fitting your pipes to the tunes. There are several apps that slow down tunes, so you can learn them.

One of the fiddlers actually leaned in to chat at one point and said, "are you recording these?" My eyes went wide and I immediately thought, "holy crap, why am I not recording these?"

So I plan to do that for future sessions. Apparently there is also a local music shop that as "practice" sessions every couple of weeks to help people learn the groups music, so I plan to do that as well.

It's going to take a lot of time and work, but that's why I'm doing it, to be a better musician. In the in I may have to transcribe some of it myself.

Tjones wrote:I would think that tunes from your book would be hard to play with the others if the settings are different than what the others are use to playing, and you just start playing.

Yep, be aware that your pipe setting's going to be in B Aeolian where Morrison's Jig is normally in E Dorian.

Peter Duggan wrote: Yep, be aware that your pipe setting's going to be in B Aeolian where Morrison's Jig is normally in E Dorian.

Yup, I just got the music book today, It seems to be in B Aeolian. Any thoughts how how to deal with this?

D smallpipes would get you close (at least to the same tonic), but the mode and setting will still be different. You could see if the others might learn yours as an alternative, or just try to work out a harmony part? Not much else you can do, I'm afraid...

You might want to pick up tin whistle to use on tunes that just don't work the the SSP.

One tune that does work is Silver Spear. Terry Tully did an arrangement in one of his books. It's neat because in the 2nd part there's a bit that goes off the top end of the pipe, but what he wrote sounds good on it's own and when played along with others playing it how it's supposed to go.