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Everything posted by Fergus_fiddler

  1. I find easier to record it with the Windows Media Recorder. Pretty good quality, tho. Cheers, Fer P.S: Why the t*ats of the BBC4 don't allow to watch in the same way the programs outside the UK? It's quite annoying....
  2. http://www.formatoz.com/ I'm very happy with this prog - and it's free! Cheers, Fer
  3. Thanks to everybody for your opinion. Yes, it's what I thought. It was in a digital secondhand newspaper ( segundamano.es ) since October and I wondered why. Now I know. When I wrote to the seller, he even said that was a bargain at that price! Cheers, Fer
  4. ITM = Irish Traditional Music = Música Tradicional Irlandesa. Un saludo! Fer
  5. Hi, everybody. There'a a guy in Barcelona, Spain; who is selling this one at euro 2,800. I think it's expensive. Please, english players opinion? Thanks. Cheers, Fer
  6. 1st: I know there are other scales. But in that subject, ITM is pretty simple: Only 4 modes, and very few rythm types. More complex modes, scales and rythms are used in eastern Europe music, for example. Greek modes are older than gregorian music, just in case you didn't noticed. 2nd: I don't make an excuse of anything. Only discuss about and give my opinion according to my experience in the matter, and say exactly what I want to say. Only was afraid of a wrong use of the word. And I don't pontificate, I prefer to leave that to catholics. 3rd. Never said pipes are an irish invention, i said a 'CELT' invention. That's a moroness pretty common to a lot of galicians and asturians that still do think they have more in common with irish & scots that with the rest of spaniards. False, ridiculous and dangerously nationalistic ideas. For a better knowledge of where irish music comes from, there is a lot of information in the excelent book 'The Northern Fiddler'. Simpler than a lot of people would like. Fer
  7. Does it seems that there is a tendency to name 'nazi' nowadays to anybody who doesn't totally agree to a particular opinion. Especially, among my beloved dreadlocks-didgeridoo-djembe-globalization friends. It seems too that everything has to be a complete anarchy for to be cool... A session is a gathering of friends for to enjoy playing together. And is supossed friends respect each other... Cheers, Fer
  8. If you only have an F# have you thought about the tune being from a gapped pentatonic scale? All this D and C major stuff gets up my nose, but using the names of mediaeval modes in an effort to be superior is even more irritating. You need to look at more than the key signature and identify which notes are actually in the tune (if you insist on spouting western classical theory about tunes in far older scales than mediaeval). Would you put a D major chord on a guitar over a tune with only a 5 note scale all of which are on the black notes of a piano?? The pernicious introduction of accompaniment to Irish trad music has started all this tripe. You can hear which tunes are old and which have cringe-making modern changes in them without any thought whatsoever. And you will hear clearly that the old tunes are in different scales to the ones yelled out to each other by accompanists at a session. Thanks, I love you too. Sorry, but I don't try too feel superior to anybody. I never do play a tune at first sight - i mean, from the dots - without learning it first from hear, scores are only a help. And most of the theory I learned about irish music is not, obviously, from natives. Perhaps where I said SHOULD I would have to say COULD. Anyway, if you want, we could talk in spanish. Tunes in far older scales than medieval? Most of western europe music pre-industrial age was pretty alike, maybe in most remote places was best conserved merely by isolation. Or are you going to tell me that the irish music comes from the 'celts' or the fairies? That the pipes are a 'celtic' invention? Or that - as some blokes told me - that irish & british traditions and people are totally different and with different origins? Oh, Christ... No cheers now. Fer
  9. I'm sorry if my answer sounded hostile, that wasn't my intention. But I'm afraid your analogy with ice cream doesn't work in this context. For example: If you know you're playing a double jig in D mixolidyan, you already know: -You're playing in 6/8 time -Very probably was originary a pipe tune -You only have a F#: then you know what notes you CAN play into the scale an what notes you SHOULDN'T. -The harmony should go around D and C major chords -etc... Nothing to do, as you can see, with the eternal quarrel about if it's 'celtic' or not Maybe is that I respect too much what music is for only 'just play it', don't know... I hope all was a misunderstanding. But be sure that if I wasn't interested in grammar and vocabulary, my english would be indeed a lot worse than already is Cheers, Fer
  10. Funny thing Fergus, but have you noticed how those "irish music star" types, only seem to know those obscure tunes in sets of 4 or 5 tunes at a time & because they know you are really enjoying them so much, they just have to play them 5 or 6 times each? If you watch that sort of musician very closely, you will see they usually have their eyes closed & are only ever listening to their own playing. In fact, if you all got up & left during one of their long performances, they'd never notice! They probably wouldn't even care anyway, that you had left. I usually try to follow ALL of those self abuse performances with something like, "now lets play a few we all know"! Sometimes they get the message, but usually not! Cheers Dick I know what you mean, Dick... We'we tried that several times. But the problem is that there're a lot of *rs* lickers among the teen beginners, brainwashed enough to think that everything that comes from Ireland is magical & that any 'star' coming from there is little less that a fleadh champion: And they encourage the bad behaviour So, sometimes the only available choice is to pack & go home Of course, doesn't always happen. And I found that, when you arrive to a certain point of your learning curve, the only way to improve your playing is go to sessions, hear, ask & learn Cheers, Fer
  11. Exactly. And at the end of the day, is a matter of balance. From the original session that began almost 15 years ago, only 3 of the original remain: Myself, at the fiddle - I still don't dare to play the 'tina at a session - and two irishmen - fine uilleann piper & bodhraner -. We've talked a lot about the subject, and agree that screws the session in the same way both 'Johnny Djembe' and the ocassional 'irish music star' to whom you invite to play to YOUR session and finishes up playing all the bloody repertoire of his/her hometown: alone, of course; because nobody can play tunes they don't know. That actitude is, to me, what snobbery means. And disrespect to an already stablished session. Cheers, Fer
  12. Yes, there must be something about speaking gaelic than makes you a saint For god sake, please; try not to be arquetypical. There're twats all around the globe. And what's that about 'snobbery is not "traditional" among the people who invented the music'? As everybody knows, they were born with a genetic protection against snobbery. Please, try not to idealise things. For the sake of fairness. Cheers, Fer
  13. I pointed about that in another thread. My cat is absolutely indifferent to my fiddle and to the tin whistle. But runs like hell when I pick up - not even playing, mind you! - the concertina or the button accordion. So, more than with the frequences of the pitch, I think would have to do with the sound of the free reed instruments. I'll buy a mouth organ & then I'll tell tou Cheers, Fer
  14. Typical nonsense answer. I don't know what the expression 'argy-bargy' means, but there's no such a way of 'just play the music'. I only know two ways of playing music: well and badly. And a knowledge - a basic one - of how the structure of the music, scales, modes and even cultural and social elements are helped me to play in a better way the music I like. I just cannot believe anybody can like to play some kind of music he/she fancies and not to feel a minimum curiosity about other aspects of it... Of course, I almost forgot that outside certain countries the world doesn't exist. And all this, of course with all the same respect. Cheers, Fer
  15. Thanks for your answer, Alan. I'm of course, talking only about my own experiencies, and I'm glad you didn't found it. But I've found a lot of it. For example, I went 2 years ago to the Irish Fleadh in Caceres - for those who don't know it, it's a gorgeous medieval city in the centre of Spain -. Of course, it's not a 'real' fleadh, is more a gathering of players from all Spain with concerts, sessions - even six in a night! - and workshops. My own teacher - Manus McGuire - was a lovely kind and helpful bloke. But when you went to the session, you found a lot of cold shoulder from the younger irish players - some of them teachers! ,- competition, playing from them of rare tunes instead of popular session ones, speeding up the tunes... a real mess. So I went to bed early enough. What's the problem? I mean, I don't understand it at all. What they do want to demonstrate? Of course they play better, we all knew that! And BTW, I've found too a lot of this stuff in spanish traditional music... I think it's pityful... Cheers, Fer
  16. I'm sorry, but I deeply disagree. I 've been banned from a forum for to try tell the teens that real irish music has nothing to do with f*ck*ng fairies & leprechauns. Everybody has the time for to acquire a minimum culture - and nowadays with internet there's not excuse for not to - for to name the things properly and thus try to understand why and how for to achieve a better approach. Missnaming it is, to me, a lack of respect to the tradition and the music itself. So, there's not such a thing like 'celtic' music, There are irish, scottish, breton, cape breton,...etc. music. But be sure that celts had nothing to do with this. And songs have words. Tunes don't. End of story, as simple as that. Cheers, Fer
  17. No, ta'. I've had enough galician bagpipes for the rest of my life. I like the tunes, but then they remind me of the bagpipes and then I hate themwith all my soul - I ignore if this expression is correct in english -. But you're right, they probably wouldn't tell the difference. Indeed, when some out-of-the-scene people hear us playing, they usually say: 'nice music, but are you going to play the same tune all night long? Cheers, Fer
  18. Here are my two cents: About reading the dots and playing by ear... I've only very recently managed to read music fluently enough and is useful for a couple of things in traditional music, e.g., when you find difficult to play a bar or you don't remember the key or the beginnig of the tune, but I agree very much Tamborileru: expression in traditional music is EVERYTHING. So, when I try to learn a new tune, usually hear as many versions of the tune as possible, then I learn the tune and play it the best I CAN And about competition and snobbery... Uffff! I've seen quite a few of both in my musical life. I began to play regularly at a session 15 years ago at the only - still is - traditional music place in Madrid: Taberna Elisa. The 90's where the years of the folk revival in Spain. You could found there a lot of f*****k snobs, mostly nerds with high degrees in sciences or maths, playing the most bizarre instruments - hurdy-gurdys, rebecs, weird flutes - only for exhibit themselves. When you asked them if they played ITM, the answered: 'Oh, I surpassed that'. I didn`t know that irish music was something that had to be surpassed In fact, if you heared them playing ITM, their playing was crap. Of course, there were nice guys - like the ones from the band 'La Musgaña' -, but they weren't a majority. 'competition and snobbery have no place in the wonderful world of music'. Wow, what a statement. Indeed, they SHOULDN'T, but the sad reality is that there are. And a lot. I'm recently discovering the world of english trad. music and I'm delighted. I don't see there the furious competition usually fund at ITM. Perhaps is because english music didn't went to the USA and come back transformed into a Disneyworld merchandising package, like the 'Celtic Music' - revolting word -. Perhaps because wasn't used as a sign of national identity or nationalism, or the amount of professional musicians is significantly smaller. But I feel the playing of such as John Kirpatrick or Brian Peters a lot more 'authentic' and honest that most of irish nowadays bands. Of course, as usual, this is only my opinion and my point of view. Cheers, Fer
  19. To me, the most fascinating thing about the concertina is that, it's indeed, the musical Rubik's cube. I like a bouncier feeling for jigs, polkas and hornpipes. So I usually play them with more bellows changes - perhaps 3 or 4 notes slurred -. But sometomes I don't know how to approach to reels. I mean, is very tempting to use the high A and B in the RH C row, but sometimes gives awkward fingerings, as well as using them in combination with the G in the RH ACC row for to play those notes in a bellows - I'm talking about Jeffries layout -. The more slurring you do the faster you can play, but I feel that you loose some rythm with it. I supose that, as Niall Vallely says in his tutor, the point is to keep it simple. Also, I have a tendence to play more in the pull than in the push, and when the bellows goes totally stretched I begin to panic - is not nice to use the air button in the middle of a phrase - so i need to learn to use the notes in the LH G row for to get more pushed notes... And thinking about all these things even when I'm working! It's really addictive Cheers, Fer
  20. I think that the point is not to force the action, I mean, let the bellows go and try to play with the minimum effort. I almost got a tendinitis (sp?) in my right wrist when playing fiddle, and as tension in both hands must be the same, my left hand didn't respond well enough. I solved that bowing faster - instead of pressure on the bow - and the problem was solved. I reckon that the fact that proves that you're mastering a musical instrument is that you feel comfortable with it. Indeed, a lot of them are a pain in the neck ergonomically speaking. But at the end, you get happily accustomed Is a good idea to buy a book of gimnastic exercices for musicians, tho. Cheers, Fer
  21. Interesting subject. In fact, when I want the cat go out of the computer chair, I've only to pick up the concertina - not even playing! -. It always works Cheers, Fer
  22. If I wasn't 'geek' enough by the fact I play irish music in my country, I'm a geek too because I'm the only concertinist in the session where I usually play- and, as far as I know, the only one in Madrid that has not a crappy chinese/ 20 keys or Hohnner box -. Another musicians thought that I was going too give up when they saw my Stagi, opinion that changed when they saw my Morse Regular people thinks usually this is an accordion, but when I explain them how the box works, most of they say: Ah, then is more like a mouth organ with a bellows! - I like to think that the anglo is the quintessentially perfectioned mouth organ -. My wife likes it - not as much as my fiddle playing - but she is mancunian, so she knew about the 'tina... In fact, one of the things that helped to conquest her was the fact that I knew what Morris Dance is and that I like it Cheers, Fer
  23. "Death from Above" seems the most realistic name. I mean, it's the most likely than can happen to you when somebody throws you a pint meanwhile you're playing the over-over-played tune at the best of the session Nice video, tho Cheers, Fer
  24. Damn! I'll be in Cheshire at the beginning of May - to become legally married -. Oh, well... Cheers, Fer
  25. Or how to play two instruments with only two hands. Cheers, Fer
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