A couple of standard double jigs: Junior Crehan's classic composition The Mist-Covered Mountain followed by Tatter Jack Walsh. An attempt at a bit of irish on the English.
On an English? Impressive? I know the first one, but haven't heard the second until now - great tune.
Thanks for the comment, Jim. I've been trying to apply some lessons gleaned from the "Irish on the English thread", and working on something Steve Mansfield (?I think?) said in passing about using the bellows to shape each note. Harder to do at speed but I'm aiming to get my playing "chunkier" - do-able with jigs but harder on reels. Witness this recording! The Traveller and Old Copperplate. A bit shaky in places but, as others have observed, ain't it tough playing into a recorder.
A word of caution; you may have picked up the other end of the stick Chas.
It is the 'Internal Rhythm' which you need to concentrate on more than note emphasis from the Bellows.
Imagine you are playing the pipes , where no change in volume is possible, for the most part, to mark the rhythm. The Piper gives the meter by lengthening and shortening the notes in the bars. A typical internal rhythm patern for a double jig could feel like:
Dumb- De- Cha , Dumb- De- Cha say this phrase without much loudness emphasis but keep the 'Dumb' full length and shorten the 'De' and keep each sound seperate. So this makes the first note of each three note group longer, the second is shortest and the third's length is somewhere in between This internal shuffle must be kept regular through all the bars so as not to unsettle the Dancer , or listener, even though not all bars have six 'equal' length notes... ( and that is the point... they are not of equal length).
By organising the internal rhythm in this way the tune suddenly locks together like. a Jigsaw Puzzle and the Measure and Gait stabilise beautifully.
A similar effect happens with Reels if they are treated to an Internal Rhythm more like a Hornpipe. I'll try to find time to make some example recordings.
For a very authentic approach to all this I recommend listening carefully to the first CD from Mary MacNamara " Traditional music fro East Clare" (Claddagh Records 1994). Mary plays at an un-hurried pace and shuffles along with all the internal rhythm emphasis in a very natural way.
On second thoughts perhaps Mary Mac's latest album "Note for Note" 2014 is even better to study because it is totally solo and her uncluttered style is so clearly played.
Still, it is coming along nicely Chas.
Edited by Geoff Wooff, 23 November 2014 - 01:06 AM.