An advice/criticism would be liked here too

[Pyroh]

As in the case of Johnered a few topics below, I'm learning in isolation (listening a lot, it's not like I read everything from sheet music ). There are no piper's meeting around here as far as I know, so it's a bit difficult.

It's 2 years and few months that I'm practising... I uploaded several videos. In general, I enjoy a bit more closed tunes - Roaring Mary (as played by Tommy Keane) or Salamanca by Tommy Reck. But even though I'm practising these almost every day, they still need a lot of work so I didn't record them.
Any criticism/notes would be most welcome.

Eddie Kelly's: http://www.youtube.com/watch?v=xU9tjxSbFqs

Peter Street: http://www.youtube.com/watch?v=6sqz9aZL ... rofilepage

Maids of Mount Kisco: http://www.youtube.com/watch?v=CVN-ckUI ... rofilepage

O'Rourke's: http://www.youtube.com/watch?v=Zk-jRHg8 ... rofilepage

Alexander's Hornpipe: http://www.youtube.com/user/Pyro8?featu ... rFvHWjcolA

And the last one with the drones - I have them just a while so it's not easy to get accustomed to them, takes time...
An Phis Fhliuch: http://www.youtube.com/watch?v=PUDxkHg4 ... rofilepage

Thanks a lot!
Jakub

[MTGuru]

Maids of Mount Cisco:

Maids of Mount Kisco ... with "K".

http://en.wikipedia.org/wiki/Mount_Kisco,_New_York

[benhall.1]

Maids of Mount Cisco:

Maids of Mount Kisco ... with "K".

http://en.wikipedia.org/wiki/Mount_Kisco,_New_York

You made me look it up:

http://www.ibiblio.org/fiddlers/MAID.ht ... OUNT_KISCO

I see you're right. The reason I looked it up is that I've only ever had it from Irish and British players with a 'C' and pronounced - even more irritatingly for you, I imagine - as 'Sisco'. The linked Fiddler's Companion explains all, I think. The 'folk process'? A bit odd, though, when it really is a really real place. In reality.

[Pyroh]

All right

Btw. why can't I see Uilliam's post?

[Jeff Cullen]

Although not high resolution recordings, your chanter has nice tone. Who made the set? There are so many good things happening in your playing (especially after just a couple years), you're off to a great start. The only comments I have would be to employ a metronome in your practice work. If your tempo was rock steady, you might find even more room for expression (expressing some notes just behind or ahead of the beat). You might put in a little work in on set-up to bring some of the second octave notes closer in tune.

I'm amazed that someone can play this nicely after just two years. I don't play that well and I've been playing twice that long, which makes me wonder why I have any business making comments on your playing!

Cheers....

[Brazenkane]

Slow down and address the issues at hand..would be my recommendation!

....yeah.... what Jeff said!

Use a click to can make your playing honest. For example:

The A sections of Eddie Kelly's are in dire need of attention, as you turn the time around multiple times.

"Turning the time (or beat) around," means (in this case through a mistake), the downbeat becomes the upbeat. So, what WAS the downbeat is now the new downbeat. In this instance (e.g. in traditional music), that's equivalent to a musical train-wreck. Time is king, and you must know where the downbeat is. The metronome will start harnessing you in.

Your hands are physically agile, but don't worry about speed!!! Playing "it" well does not necessarily mean fast!

Keep up the good work, and smooth out the other stuff!

[Pyroh]

Thanks! Yes, I certainly need to work on that... I usually practise along recordings which makes it easier to keep the tempo (+ I'm always nervous when recording myself). I'll try the metronome though.

The set has been made by Marc van Daal.

[Johnered66]

Wow. From where I sit mate, you are doing great. Two years? I got a lot of work ahead of me to get this good. Two thumbs up from New Jersey. Cheers

[Brazenkane]

Unless you're playing with recordings that you have slowed down, my recommendation is to not play with recordings (at the original tempo). Of course, I'm not talking about airs, or slow tunes, but the repertoire that you were playing on your video clips. Those tunes on recordings, are usually played at challenging tempos.

If I may be so bold (probably most of this is), what you think is keeping you on track, is actually acting like a support. In other words, what you are actually doing is leaning on the recording. My guess would be that if there was a way to solo what was coming out of the chanter, the same problems would still be there.

Therefore, I would recommend both playing slowly with a metronome (and without). you want to test yourself by playing without the metronome, so you can be sure of it you were not "leaning" on Metronome either.

In addition, I would recommend meeting with the teacher who plays well, and can teach better.

All the very best!

[jon1908]

From my point of view, you're asking for advice which if you watch and listen to your videos, you could probably answer yourself.

It's already been said, but playing along with recordings tends to limit your understanding of the tune, you'll try and play in the style of who you're listening to. You're still in the early stages of piping. Learn the techniques, understand why they are used and then apply them to tunes. Ornamentation and technique are there for a reason - mainly due to the inherent idiosyncracies of the instrument. BUT, don't let them get in the way of the flow of the tune - too many players get hung up on including every bit of piping technique they know into a single tune. The tune still needs to flow.

Playing to a beat may help ( Metronome / drum loop / friendly bodhran player etc) but you shouldn't become reliant on that for your tune timing. Timing should come from within. Watching your videos, you use your left foot to tap a beat (nothing wrong in that - many people do - just don't wear clogs!) but occasionally you'll either tap faster in difficult phrases or your playing drops behind the beat.

Your hornpipe rhythm is smoother than your reels - this may be because there's an element of 'swing' to them, which helps define the beat. Slow the reels down, learn where the emphasis needs to be in each bar (this depends somewhat on whether you learn by ear or from sheet music) and slowly build up the speed.

The best thing any piper can do is record themselves play and listen back with a critical ear - you'll soon identify where your phrasing is out - how you address that is another problem - if it's a difficult part to play musically, then slow the whole tune down until you can play it all through with no deviations from speed/rhythm. If you're trying to add technique/ornamentation and it's making you lose the rhythm of the tune then leave it out or dedicate more practice time to that particular technique.

For 2 years in, and as you say - in isolation - you're doing well.

And finally - nice socks!!

[Brazenkane]

The concept, "the timing should come from within," is very confusing for a beginner to make any sense out of.

One's concept of space/time/rhythm does indeed originate from your "internal clock," as it were. Much like one's talent originates from "within," it (your time) is something that must be nurtured, and through rigorous, consistent, and diligent practice, it becomes something you can hang your hat on.

It's important to know that many world-class working musicians (across many genres) still practice with a metronome. There is literally no end to training (and maintaining) one's internal clock, and its inextricable connection to the outer physical element; your fingers etc.

As I mentioned before, it is an beneficial to practice both with, and without the Metronome. Work, and sweat with the metronome on. Then, test yourself by turning it off and playing to see what it feels/sounds like. Be sure to record the fruits of your labour and listen back to it. If you live in isolated part of the country, make an MP3 and asked for some feedback from a more experienced piper.

[Jarlath.I]

The concept, "the timing should come from within," is very confusing for a beginner to make any sense out of.

One's concept of space/time/rhythm does indeed originate from your "internal clock," as it were. Much like one's talent originates from "within," it (your time) is something that must be nurtured, and through rigorous, consistent, and diligent practice, it becomes something you can hang your hat on.

It's important to know that many world-class working musicians (across many genres) still practice with a metronome. There is literally no end to training (and maintaining) one's internal clock, and its inextricable connection to the outer physical element; your fingers etc.

As I mentioned before, it is an beneficial to practice both with, and without the Metronome. Work, and sweat with the metronome on. Then, test yourself by turning it off and playing to see what it feels/sounds like. Be sure to record the fruits of your labour and listen back to it. If you live in isolated part of the country, make an MP3 and asked for some feedback from a more experienced piper.

Absolutely correct. Remember you are playing dance music!! If the on-beats/off-beats are switching places you just can't dance to it.

[Cathy Wilde]

Maids of Mount Cisco:

Maids of Mount Kisco ... with "K".

http://en.wikipedia.org/wiki/Mount_Kisco,_New_York

I know there are so many more important things to worry about in life, but thank you. My mother grew up just a few miles from there, yet people are always correcting me. Drives me nuts!

[Brazenkane]

.[/quote]
Absolutely correct. Remember you are playing dance music!! If the on-beats/off-beats are switching places you just can't dance to it.[/quote]

More like, if that happens you're fired!

[john]

i think i hear a few extra notes in the 3rd part of 'an phis fliuch'- enjoyed listening to you - i'd love to hear where you are up to in a year or so