Jillser Nic Amhlaoibh
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Posts posted by Jillser Nic Amhlaoibh
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10 hours ago, Clive Thorne said:
Touche!
But they are welcome to if they want to.
Vive la difference!
I don't play english dancing music or know much about it, so I myself wouldn't comment on whether it's speed is "too slow" etc. While I might listen to an example and find it a bit slow for my tastes that doesn't mean that it is "too slow" - I'm sure it's just the speed it needs to be for the purpose it serves.
Irish traditional music is loved and played by people all over the world, so I guess we're doing something right!
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2 hours ago, Clive Thorne said:
Most of the tunes that I play are for dancing as well, which is also the critcal difference. You like/play tunes for Irish dancing; I like/play tunes for English dancing (such a thing does exist). 🙂
Another critical difference - players of irish traditional music aren't on here commenting that tunes for English dancing are played "too slow"... 😉
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11 hours ago, SIMON GABRIELOW said:
All the samples of Irish music are really very enjoyable to listen to... But they are not slow pieces in themselves.🌝🌝🌝🌝🌝
Peter never said they were "slow"pieces, rather he was pointing out that they're not played at "breakneck speed".
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If you read through the older posts on this thread the seller posted on Aug 30th that the concertina had sold.
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21 minutes ago, wes said:
I first heard this tune played by Mary Macnamara on YouTube as she sat by the piano in her music studio. She didnt give a name for it. Richard does a beautiful job of it.
It's called "Dick Sherlock's" if I'm not mistaken.
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ABC isn't just a "digital" technology - here in Ireland traditional musician's frequently write down music in ABC format. When I was starting out on the tenor banjo years ago my instructor would do all teaching of tunes by ear, but then would write out the ABC's of the tune for me to have to refer back to if I needed.
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Behaviour and the environment are intertwined. We can unknowingly take a lot of "contextual cues" from the environment we practice in if we always practice in the exact same location/environment. Then when you take the player out of that environment - such as going to play the tune in at their instructor's studio, playing at a session or performing in a venue etc. things can fall apart, a tune played easily at home suddenly starts tripping us up. Even if your instructor comes to your home, and you're in the same environment, as soon as the instructor enters your home the environment has changed and similarly it can result in stumbling over notes that usually come easily. So part of that "automatising" of a tune mentioned above also involves playing the tune in different environments so that the player gets used to tuning out whatever distractions those other settings may hold and also doesn't unknowingly rely on contextual cues that are only present in the location where they regularly practice.
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The concertinas listed in the posting may be sold already but Doug Creighton recently posted this in the Buy and Sell section, saying that the last of the Morse Ceili stock was available, a G/D and several C/G ones as well:
https://www.concertina.net/forums/index.php?/topic/25626-new-r-morse-co-céilí-models-for-sale/
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It may also help to get more eyes on this listing if you edit the title of it to include "G/D" in it, that way it'll jump out at the folks who are specifically seeking an anglo concertina in this tuning. Best of luck with the sale!
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Here's a thread from last October where gtotani compared the Rochelle vs. the Rochelle 2:
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The Irish Concertina Company lists their top model, the Eirú at €4300, not sure what the next model down, the Vintage goes for as I can't see a price for it on their website. Re: the price of an Edgley Heritage - there was one posted for sale here last week and the seller, who's the original owner stated that it cost them $6900 CAD when new in 2020 if I recall correctly:
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If you look through the right hand side grill you may be able to see the date it was made and whatever model it is written in pen, which would be additional helpful info. Going by the serial number it could be a 2015 build.
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Just got this lovely Edgley Heritage C/G Anglo this week, still can't believe it's mine!
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Have you seen this thread? It compares the original Rochelle and the Rochelle 2, might be helpful. The 2 is definitely not quite as cumbersome size wise as the original Rochelle going by the photos.
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Question: I was under the impression that people who don't know notation have used a form of ABC's to jot tunes down for quite awhile, pre-dating computers - is it that recent (computer era) a creation?
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Looks like milk chocolate to me...
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When I lived in the States I rented a Rochelle from them when first starting out and then bought a lovely second hand Tedrow from them shortly afterwards. Great to deal with and will be sorely missed. Wishing everyone there all the best in their future endeavours.
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Looks like the OP has managed to get another key made so no need to fit a different catch to close the case or alter the handle.
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Sounds the business, comhghairdeas!
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14 hours ago, Jim2010 said:
How are the course materials viewed: website, youtube, zoom, etc.? I couldn't find that information on the linked website. Thank you.
The course materials are viewed via the coursera website - once you sign up for free account and sign up for the course you can access each module.
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Sounds like it's not just an issue of remembering the tune, it's an issue of being able to play the tune in the presence of distractions. Changes in the environment effect our behaviour, so while we might be able to play a tune easily sitting in the same spot in the same room where we always practice, if someone walks in or we move to a different room things can fall apart. I used to experience this when I would practice in one room but record myself in another one - when I started practicing and recording in the same location things went much smoother.
To get used to playing around distractions it can help to make things easier for yourself by reverting to a slower playing speed or working on a simpler tune etc. Basically if you're going to change one variable then make another one easier to balance it out and then gradually work back up to playing faster in the presence of distractions or playing more complex tunes in the presence of distractions.
Busking is also a great way to get used to playing around distractions because most of the people who pass by aren't paying attention to you.
For help memorising tunes it can help to listen to recordings of the tune enough so that you can hum it from beginning to end without problem. Backward chaining is another technique that can be used, where you learn the last few bars of a tune and then work your way backwards from there - when I was learning jazz drumming years ago my instructor used to have me do this when learning transcriptions of other drummer's playing. It means that as you move through the tune you keep moving towards familiarity.
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If you're still in Dublin there should be a session at the Cobblestone this afternoon, always a bit of craic.
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Would you consider shipping this to Ireland?
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Just a heads up that we've a Bank Holiday on Monday here in Ireland so McNeela might not get back to you until Tuesday.
Playing it slowly.
in Teaching and Learning
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Given the disparaging comments some folks have made about irish music on this thread what are you implying about the "national character" of irish people then?