"Open" Piping Styles

[Mr.Gumby]

I probably posted that before, I had it handy.

IMO, the Doran and Rowsome styles are closely related.

They are. 'Wexford style' piping is not a term much in vogue these days.

'Descending open triplet runs' was probably the term we were looking for. Wildness cascading downward. . Michael Coleman did it on the fiddle.

[MichaelLoos]

I probably posted that before, I had it handy.

But who is it???

[Mr.Gumby]

Here, on the other hand, is a notoriously 'open' style piper. Having a bit of fun.

As Mr Daly always says: 'Time for an old time waltz, and no shifting'

[Lars Larry Mór Mott]

Here, on the other hand, is a notoriously 'open' style piper. Having a bit of fun.

As Mr Daly always says: 'Time for an old time waltz, and no shifting'

How would you charachterize this playing?
http://youtu.be/Ld3lSt4BVTE

[bensdad]

Appropriate for the gig I suppose.
The syncopation gets old really fast. Rhythm's a bit erratic here and there, and the acc. can't lock in.
You can't really expect tight playing at that ridiculous speed IMHO.
Who knows how he plays in his own kitchen?

[Lars Larry Mór Mott]

Appropriate for the gig I suppose.
The syncopation gets old really fast. Rhythm's a bit erratic here and there, and the acc. can't lock in.
You can't really expect tight playing at that ridiculous speed IMHO.
Who knows how he plays in his own kitchen?

I do.

[bensdad]

Oh do enlighten us then

[chaos97]

They are. 'Wexford style' piping is not a term much in vogue these days.

'Descending open triplet runs' was probably the term we were looking for. Wildness cascading downward. . Michael Coleman did it on the fiddle.

I was wondering if you, or anyone else, could elaborate on any regional piping styles. I'm somewhat familiar with the common fiddle ones, but it's true that you don't hear them in reference to the pipes much. Did the open/close styles have much to do with locality, if at all? and do they correspond any with their respective fiddle styles?

[ausdag]

I was wondering if you, or anyone else, could elaborate on any regional piping styles. I'm somewhat familiar with the common fiddle ones, but it's true that you don't hear them in reference to the pipes much. Did the open/close styles have much to do with locality, if at all? and do they correspond any with their respective fiddle styles?

In An Piobaire Vol 4 No. 45, April 2008, there's a fine article by Joe Crane on regulator playing. On page 11 he touches on the 'south-east style' (i.e. Wexford and surrounds) including Johnny Cash and the Rowsome family. He states, 'Some pipers declare the Rowsome style of constant regulator use in piping to be the south-east style and akin to the "Traveling style".

As the 'constant regulator use' seems to be most apparent in the open style of piping, it seems the Wexford or 'South-east' style would be considered the home of the open style of piping including the rhythmic constant regulator playing that we see in the piping of Leo Rowsome. The piping of Clare piper Willie Clancy appears to owe much to the influence of Doran and Rowsome, who, it seems, follow in the footsteps of John Cash.

[oleorezinator]

Is the green gates set from Willie Clancy?

[Mr.Gumby]

Yes, Green Gates is Clancy. Felix Doran played the waltzes.

Four Courts of Dublin

And here's another piper from the sunny South-East:

College Groves

Does it really matter which pigeon hole we can fit these men in?

[ausdag]

Yes, Green Gates is Clancy. Felix Doran played the waltzes.

Four Courts of Dublin

And here's another piper from the sunny South-East:

College Groves


Does it really matter which pigeon hole we can fit these men in?

For the practicalities of the homogeneous 21st century piping scene, not really; but as a historical perspective it's useful for those who are interested. Isn't pidgeon-holing what doing history is about? Once you've pidgeon holed, then you can identify exceptions.

I love the college groves track. Wonderfully 'open' in the A section; exceptionally tight in the B part.

[Mr.Gumby]

I love the college groves track. Wonderfully 'open' in the A section; exceptionally tight in the B part.

Isn't that the whole point of the exercise, the realisation no piper is either one or the other?

And maybe more importantly, all these tracks have, heart, rhythm, conviction and humour.

[ausdag]

Isn't that the whole point of the exercise, the realisation no piper is either one or the other?

And maybe more importantly, all these tracks have, heart, rhythm, conviction and humour.

Precisely. And may piping in the 22nd Century be the richer for it (the exercise, that is).

[Mr.Gumby]

Two versions of the Bucks of Oranmore here, both players associated with the South East I suppose. First clip from the same piper as the College Groves posted above.


Bucks 1

Bucks 2 (+ Lord McDonald and the Copperplate)