rh wrote:i just ask because Grey Larsen is so adamant on cutting with the finger directly above the sounded note -- Molloy is the progenitor of the "bubbly fingerwork" style, his stuff is so crisp and yet he doesn't do what Grey seems to imply is the way to achieve bubbliness.
bubblitude?
bubblosity?
I think that Grey was writing for the beginner...
perhaps he was more clear in the section on triplets.
I never quite understood what bubblism actually was, I just love Molloy's style... But if "bubbly" means very crisp ornamentation, then I think Molloy's left hand cutting is the way to go. Just tell me if I'm wrong.
rh wrote:i just ask because Grey Larsen is so adamant on cutting with the finger directly above the sounded note -- Molloy is the progenitor of the "bubbly fingerwork" style, his stuff is so crisp and yet he doesn't do what Grey seems to imply is the way to achieve bubbliness.
bubblitude?
bubblosity?
I think that Grey was writing for the beginner...
perhaps he was more clear in the section on triplets.
No grey means it. Took workshops and private lessons
with him. He's thought things through and believes
his conclusions.
I think there's a great deal of mutual respect between Molloy and Sir Jams. Years ago I read a review of a concert which reported that, after a solo by Molloy, someone in the crowd yelled, "James Galway is dead!", to which Matt immediately replied, "James Galway is god". Fair play to him, I thought. As to JG's expression, don't forget the guy can hardly see his hand in front of his face.
rh wrote:i just ask because Grey Larsen is so adamant on cutting with the finger directly above the sounded note -- Molloy is the progenitor of the "bubbly fingerwork" style, his stuff is so crisp and yet he doesn't do what Grey seems to imply is the way to achieve bubbliness.
I don't think Grey's advice to cut with the finger directly above was aimed at achieving "bubbliness" but rather, in his words, at "maximizing the clarity and definition" of the cut. I personally find that a bit paradoxical because when I cut with a much higher note it sounds more clear and defined to my ear than if I cut with the note just above. I've always followed the rule of "cut high, tap low," cutting most notes in the first octave with B (cutting B and A with C#), and that provides a sharp, clearly defined cut.
I refuse to be systematic about how I cut, with the exception that I try to cut close to the note in the second octave. (And I really dislike the tone of Grey's book, as much as I like the transcriptions in the back.)
rh wrote:i just ask because Grey Larsen is so adamant on cutting with the finger directly above the sounded note -- Molloy is the progenitor of the "bubbly fingerwork" style, his stuff is so crisp and yet he doesn't do what Grey seems to imply is the way to achieve bubbliness.
I don't think Grey's advice to cut with the finger directly above was aimed at achieving "bubbliness" but rather, in his words, at "maximizing the clarity and definition" of the cut. I personally find that a bit paradoxical because when I cut with a much higher note it sounds more clear and defined to my ear than if I cut with the note just above. I've always followed the rule of "cut high, tap low," cutting most notes in the first octave with B (cutting B and A with C#), and that provides a sharp, clearly defined cut.
Grey's playing a very small hole flute. Using his method on my german flute does indeed produce a more clear and defined cut on my small hole german flute. But, I like the sound of a higher cut, so I typically will use more than one finger for a cut if I can, and how many/which depends on what note I'm cutting. My LH3 is very sluggish so I used to cut everything with LH2, but if I do that for a high E, it doesn't really respond well enough to sound like a cut, so I use all three left hand fingers together and it sounds kinda like Peter Horan.
I didn't really mean for the thread to become about Grey; rather i think it is great to have such a close look at MM's fingerwork and to be able to pull that apart a little in order to get some insight into his remarkable technical ability. Anyway, i don't feel so bad cutting everything on the bottom hand with the top hand ring finger now.
rh wrote:I didn't really mean for the thread to become about Grey; rather i think it is great to have such a close look at MM's fingerwork and to be able to pull that apart a little in order to get some insight into his remarkable technical ability. Anyway, i don't feel so bad cutting everything on the bottom hand with the top hand ring finger now.
Yes, but if we stayed on topic, this just wouldn't be C&F.
I've been making great tune-learning progress with the Amazing Slowdower. Now what I need is a YouTube slowdowner to figure out Matt's ornamentation! Not only is Matt Molloy a virtuoso, he's a fine person. I believe that whenever the Chieftans perform at a venue where ITM muscians live, they are invited up on the stage at the end of the performance for a set, and then get to go backstage for a chat with the group. I've done this twice, and Matt has been delightful. About 15 years ago I was in his pub in Westport. The lads there said he was away. But in the middle of the session, he showed up. You can imagine my shock and discomfort, but he was just one of the group, and very supportive and friendly. I don't relate these things to brag or drop the name, but rather to reiterate what a good man he is.
But if "bubbly" means very crisp ornamentation, then I think Molloy's left hand cutting is the way to go. Just tell me if I'm wrong.
