"Open" Piping Styles
- ImNotIrish
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"Open" Piping Styles
Hi folks,
just wondering if someone can steer me toward some examples of the 'open' style of piping. Thanks, Arbo.
just wondering if someone can steer me toward some examples of the 'open' style of piping. Thanks, Arbo.
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Re: "Open" Piping Styles
I am not too sure whether Johnny Doran could be classified as an "open piper" as you hear a definite stop behind each tone. Portato? What think you?
- Lars Larry Mór Mott
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Re: "Open" Piping Styles
I think Johnny Doran (and Paddy Keenan, Blackie O'Connell, Jörgen Fischer for sure) play a lot of open/chanter off knee rolls and generally 'open' fingering. That said they all can/could play staccato of course, but generally it's more open playing imoHans-Joerg wrote:I am not too sure whether Johnny Doran could be classified as an "open piper" as you hear a definite stop behind each tone. Portato? What think you?
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Re: "Open" Piping Styles
I think there are very few, if any, good pipers that play completely open. 'Open style' is by definition a flawed description.
You can hear Ennis, or Clancy, play whole phrases off the knee. Yet nobody would call them 'open' pipers. Both Johnny and Felix Doran used tight triplets and staccato playing. Yet nobody would class the mas 'tight'. It's a matter of degree and above all an easy, and simplistic, pigeon hole.
But we're not going to do that old chestnut again are we?
You can hear Ennis, or Clancy, play whole phrases off the knee. Yet nobody would call them 'open' pipers. Both Johnny and Felix Doran used tight triplets and staccato playing. Yet nobody would class the mas 'tight'. It's a matter of degree and above all an easy, and simplistic, pigeon hole.
But we're not going to do that old chestnut again are we?
Last edited by Mr.Gumby on Sun Dec 11, 2011 12:55 pm, edited 1 time in total.
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- Lars Larry Mór Mott
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Re: "Open" Piping Styles
I wasn't aware (though not surprised) this has been up for discussion before.Mr.Gumby wrote:I think there are very few, if any, good pipers that play completely open. 'Open style' is by definition a flawed description.
You can hear Ennis, or Clancy play whole phrases off the knee. Yet nobody would call them 'open' pipers. It's a matter of degree and above all an easy pigeon hole.
But we're not going to do that old chestnut again are we?
'open' playing per my definition, is as i said, lots of open rolls, chanter played off knee and 'open' fingering, originating as i understand from the need to be heard when playing outdoors/ at fairs etc in the old days.
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Re: "Open" Piping Styles
The rolling rhythm of these players sets them apart, more then the fingering style.Mr_Blackwood wrote:I think Johnny Doran (and Paddy Keenan, Blackie O'Connell, Jörgen Fischer for sure) play a lot of open/chanter off knee rolls and generally 'open' fingering. That said they all can/could play staccato of course, but generally it's more open playing imo
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- Johnered66
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Re: "Open" Piping Styles
I though "open" meant rolling along one note to the other with out that distinct piping stop/cut/tight sound. Correct me if I'm wrong.
Neither weddin' nor wake would be worth a shake
If Denny was first not invited.
For at squeezin' the bag, or emptyin' the keg,
He astonished as well as delighted!
If Denny was first not invited.
For at squeezin' the bag, or emptyin' the keg,
He astonished as well as delighted!
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Re: "Open" Piping Styles
What you describe is more like "legato" playing. "Open piping" is more than just playing notes "legato".Johnered66 wrote:I though "open" meant rolling along one note to the other with out that distinct piping stop/cut/tight sound. Correct me if I'm wrong.
I heard a good interview with Pat Mitchell in which he says "open piping" is more about tone than technique.
PJ
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Re: "Open" Piping Styles
Gotcha. Thanks PJ cheers
Neither weddin' nor wake would be worth a shake
If Denny was first not invited.
For at squeezin' the bag, or emptyin' the keg,
He astonished as well as delighted!
If Denny was first not invited.
For at squeezin' the bag, or emptyin' the keg,
He astonished as well as delighted!
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Re: "Open" Piping Styles
Open piping does not mean, playing the chanter like a whistle...
It is more the making extensive use of that little bit of dynamic range which is possible on the pipes.
It actually involves very much staccato playing, but the way of performance is different - instead of playing one staccato triplet every time around the same phrase, you might omit it twice, and the third time, play three triplets in a row, to create a strong effect.
Also, many open pipers tend to use different triplets - for instance, from a tight piper, you will only rarely (if at all) hear back D triplets, or C/B/A, or D/C#/Cnat triplets, which are frequently used by many open players.
If you listen to Paddy Keenan's version of "Harvest Home", you hear plenty of very tight playing, embedded in an otherwise open style, to great effect.
The DVD "Traveller Piper" is IMO a good point to start if you're interested in open style piping.
It is more the making extensive use of that little bit of dynamic range which is possible on the pipes.
It actually involves very much staccato playing, but the way of performance is different - instead of playing one staccato triplet every time around the same phrase, you might omit it twice, and the third time, play three triplets in a row, to create a strong effect.
Also, many open pipers tend to use different triplets - for instance, from a tight piper, you will only rarely (if at all) hear back D triplets, or C/B/A, or D/C#/Cnat triplets, which are frequently used by many open players.
If you listen to Paddy Keenan's version of "Harvest Home", you hear plenty of very tight playing, embedded in an otherwise open style, to great effect.
The DVD "Traveller Piper" is IMO a good point to start if you're interested in open style piping.
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Re: "Open" Piping Styles
I don't agree with that, the definition of 'open piping' vs 'tight piping' has always been about how the separation of notes is achieved.
I reality though few pipers, if any at all, would be exclusively one or the other. I don't think it's helpful to mix 'Traveller (or traveller inspired) style' piping (which is a deeply flawed term in itself to my mind ) with 'open style' as a descriptor.wiki wrote:One characteristic of the chanter is that it can produce staccato notes, because the piper seals it off at the bottom; with all of the finger holes closed, the chanter is silenced. This is also necessary for obtaining the second octave; the chanter must be closed and the bag pressure increased, and then fingered notes will sound in the second octave. A great range of different timbres can be achieved by varying the fingering of notes and also raising the chanter off the knee, which gives the uilleann pipes a degree of dynamic range not found in other forms of bagpipes. Pipers who use staccato fingering often are termed "closed-style" pipers. Those who use legato fingering more predominately are referred to as "open-style" pipers. Open piping has historical associations with musicians (often Irish travelling people) who played on the street or outdoors, since the open fingering is somewhat louder, especially with the chanter played off-the-knee (which can, however, lead to faulty pitch with the second octave notes).
Last edited by Mr.Gumby on Mon Dec 12, 2011 4:02 am, edited 2 times in total.
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Re: "Open" Piping Styles
I didn't say it wasn't... maybe I haven't made clear enough what I wanted to say. "Predominately" is the word that didn't come into my mind.Mr.Gumby wrote:I don't agree with that, the definition of 'open piping' vs 'tight piping' has always been about how the separation of notes is achieved.
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Re: "Open" Piping Styles
I was still in the process of editing my post above but was interrupted a bit by going to Spanish Point on the school run and looking at the enormous waves the Atlantic is churning up at the minute. It interrupted my train of thought a bit.
Case in point maybe:
Green Gates set
which gives an overall impression of being in a Doran style ( although the playing probably owes in equal measure to Leo Rowsome's influence) in it's immediacy, general wildness and rolling rhythm (not mention the multiple rolling and downward triplet runs) while being from a piper who wouldn't inhabit that bracket most of the time.
Case in point maybe:
Green Gates set
which gives an overall impression of being in a Doran style ( although the playing probably owes in equal measure to Leo Rowsome's influence) in it's immediacy, general wildness and rolling rhythm (not mention the multiple rolling and downward triplet runs) while being from a piper who wouldn't inhabit that bracket most of the time.
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Re: "Open" Piping Styles
I don't think I've heard this recording before - who is it?
It shows another characteristic I've forgotten to mention - the series of legato triplets (probably what you called "downward triplet runs") which can frequently be heard in the playing of both Dorans as well as in Leo Rowsome's playing.
It shows another characteristic I've forgotten to mention - the series of legato triplets (probably what you called "downward triplet runs") which can frequently be heard in the playing of both Dorans as well as in Leo Rowsome's playing.
Didn't James Ennis dub Rowsome's style as "street piping"... IMO, the Doran and Rowsome styles are closely related.Mr.Gumby wrote:... a Doran style (although probably more Rowsome-ish in many ways...