Here’s a little slip jig that i would be willing to discuss in depth if you are interested. Same deal… a one take, a couple of times through. I seem to have some variations happening that I hadn’t planned, so it is what it is. If you are interested in dissecting it, let me know.
Arbo
https://www.box.com/s/undzotd8766az9r93c4e
Well yes, I do want to go thru it and with the help of anyone else, keeping in mind that I’m a “newbie” and that I’m trying to learn what I’ve read/listened to in the various tutorials (books/CDs)… applying that to an actual tune that I can listen to = you. I’m trying to recognize what I’m hearing into the particular parts/techniques.
So my first question, at the very beginning of tune is that a slur up, and then followed by tonguing?
Slur up, followed by ‘A’ cuts on the ‘E’s.’ I think I may ‘tongue’ when I get to the ‘G’ roll…
Arbo
I was hoping MTGuru might find some time for an ABC to ease conversing, and respectfully, I was hoping for same on your ‘Two jigs, Eb Gen’
Like a kid in a store, just keeps 
asking
Are the rest of us allowed to discuss, too? Ah, yes, we come under “anyone else.” What are the suggested topics?
BTW In the final bars Dever seems to go chasing after a young goat on a hillside…
That’s what I was hoping for, others to chime in. Please do. Topics, as a newbie, I’m trying to hear the techniques, i.e., rhythm, cuts, taps, rolls, tonguing, phrases, etc. and how the musician works the tune out. Is that while actually playing the tune, or just thinking about new ways to try changing tune. From a child I was taught the notes are absolutes, and lifetime later, and with ITM its more or less, by ear winging it, anything goes, infinite variations. I can understand tunes better by reading how “more established” musicians decide their play and why they did certain techniques when they did.
I don’t have any problem with that as long as the goat can sing ITM!
BTW, StevieJ, your website has been especially helpful, well, after C&F that is, that’s how I found it thank you.
http://www.rogermillington.com/siamsa/brosteve/index.html
with ITM its more or less, by ear winging it, anything goes, infinite variations
I don’t think you can say that. It’s all limited by style and (good) taste. There’s an awful lot that is done and a lot that ‘isn’t done’. It’s certainly not a free for all.
Right. I can’t remember who said it nor word-for-word, but it was basically this: “In Irish traditional music there’s no right way, but there’s definitely a wrong way.”
I have used that in the past, quite often actually, in the days when a comment on a clip could plunge the forum in acrimony.
That’s where some of my newbie problem lies. Discerning style and (good) taste, both totally subjective. There is so much music being done in what I refer to as “Celtic Stomp” emphasis on the colored lights going, strobes strobing, and a whole lot of jumping around stomping. At the break, or after the show, inquiry about ITM or its background is quite often stated as, “that’s how I learned it” or worse, with “say what?”, so I do know to choose my venues carefully.
It’s simple. Good taste is what I like. Bad taste is what you like, except insofar as it accords with good taste. 
Discerning style and (good) taste, both totally subjective
Maybe, but I maintain ‘tradition’ is partly about a shared aesthetic. You learn from immersion, being in the company of established traditional musicians (which is a bit more specific than ‘people who play tunes (on the internet)’ or ‘people who go to sessions’).
The ability to see the distinction between the good and the not so great, it’s something you can only hope to acquire over time.
I’m going to use that one
using that one too!
I meant that one of the characteristic phrase endings of the tune “Kid on the Mountain” seems to have crept into the end of the second part in INI’s playing of “Dever the Dancer”.
Some listeners might think, oh, a nice variation; others might think, that’s neat, a tip of the hat to another tune; others will think, he can’t remember how the tune goes and/or it would be better if he maintained the same phrase endings in both parts. And yet others will not notice, of course.
Well, I’d just say, choose your models of “more established” musicians carefully.
And when you’ve done that, good luck finding ones that are able to explain (or can even be bothered to try to explain) why they do what they do!
Well it was Peter’s thread https://forums.chiffandfipple.com/t/slurring-tonguing-and-the-lazy-undecided-mind/83344/1 that got me asking just how does one decide what to do? Ahead of time, during actual play, after mastery of a particular skill, or for some other reason. Then bring down their understanding to my newbie level. Arbo happened to post a couple of tunes. I don’t want to rekindle dissecting anyone’s tune, if not meant to do so out of respect for each ones play. This recent tune Arbo posted, he stated he was willing to discuss.
OK, I understand. At the risk of fatally derailing the topic, I’ll offer the following advice. In the early stages, don’t focus on how or when or why, but what. Always strive for the sound you like. Hear something that excites you about the way someone plays a tune, and try to figure out what it is and how you can do it. And then do it, just copy it. And when you can do it in that particular place, see where else you can put it, in other tunes. Does it work in those other places? Let your ears lead you.
To my mind this is an awful lot simpler - and a lot more fun - than wondering how you decide when to do something.
That makes sense to me now.
Sorry, gents, I’ve just been busy / distracted / lazy, take your pick.
Wow… get busy with work for a few days and look what happens.
Well, I don’t mind if people want to dissect my playing, or whatever. I put it out there, and I am ready to live with the reactions. My playing is what it is… I don’t claim to be anything other than what I put in the public realm. So, if my example is not something you think should be emulated, then by all means, pass it by. If, on the other hand, you think there might be a bit of the playing that is helpful, intriguing, creative… go for it. With respect to endings and other tunes- I don’t know. It’s possible something crept in. As long as it doesn’t detract from the tune, I can live with it.
Arbo
thanks for that advice
it`s helpfull to me
because i am at a point where i have problems to decide how to play the tunes i know, toung them ? slur them? this here, that there? this or that way? and it seems that i cant decide at all
so i DO think about what
but i may search for sounds i like and try it that way then
sorry, i was off topic but wanted to show apreciation for the helpfull post