judyhawkins Posted April 20, 2013 Share Posted April 20, 2013 (edited) Chapter Two, Judy's harum scarum Hayden Tutorial.--------------------- Section One ----------------[For those of you with minimal musical background.]Adding the left hand to The First Leaves of Spring.Using your button chart, find the lowest "C" note on the left handside.Hold it down -- play it -- while playing the tune in your right hand.This is a grand old traditional technique known as the "Drone Note" --bagpipes are one of the more familiar instruments that use drones.It's very easy, but gets old pretty quickly, and the way concertinareeds are, the low ones tend to overpower the higher ones: they'rejust putting a lot more energy into the air waves, being longer andheavier than the high reeds.So here's a more interesting thing to do in the left hand:Put your THIRD finger on that C note, and just play it for the firstthree notes of the tune: like this:right hand: C D Eleft hand: C - -Now put your LEFT index finger on the "E" note on the left side, andplay it for the next three notes of the tune:right hand: E D Cleft hand: E - -MUCH more interesting... Keep doing that alternation for the rest ofthe tune: C D E E D C D C D E D C C D E E D C D E D C - -C - - E - - C - - E - - C - - E - - C - - E - - and when you get to the end, bask in the lovely sound it makes, as thetwo different notes create a simple chord.Now play it again.IF you are finding it difficult to coordinate your hands, just keep atit. Me, when I first picked up the Hayden, about the fifth instrumentin my lifetime, I still had a hump to get over to get the two hands towork together. If this is your first instrument, it'll take a bit oftime to get used to, so just stick to it. Getting both hands working together soon is a really good thing thatwill help you along a lot more than just about anything else.If you're finding it really frustrating, try setting the instrumentdown, putting your fingers on the edge of the table, and just silentlytapping the patterns. That means you aren't also trying to work thebellows; it's a way of simplifying the problem and just working on onepart of it at a time.There's a very, very, very, very important principle there: when introuble SUBTRACT.If you're trying to learn three things at once and finding it heavygoing, subtract one (the bellows) and just learn two: left handworking with right hand to create a pattern.At some point, doing the pattern on the table edge will start to feelmore ok; now try it on the instrument again -- you could do itsilently, not working the bellows, until it is comfortable there; thenadd the bellows motion.But the most important thing you can learn right now is this principleofWHEN IN TROUBLE SUBTRACT.It is a learning principle that has served me well for decades, andI'll return to it again and again as I scramble this tutorialtogether.-------------------------- Section Two -------------------[For those with more musical background [and who came back formore...]]If you really did the whole thing, you found out just how quickly yourun into trouble with the keys further around the circle of sharps, onthe Hayden. There's a principle here: all musical instruments havelimitations, and it's worth knowing them, so you can figure outwhether this particular instrument is going to be able to play themusic you want to play.Here's a couple relatively simple tunes to start exploring intervalswith. The Old Mole has interlocking triads that I find delightful toplay and it is also a very good learning exercise, when transposedinto all the reasonable keys. There's a principle here: find simpletunes you can listen to a million times and still like them, and usethem as finger exercises.[Cut and paste to the abc converter here.]X:1T:The Old MoleS: The Barnes Book of English Country Dance Tunes, IM:6/8L:1/8K:G|: "Transposed to G" G2G E>FG | A2F E2E | G2G E>FG | A3 c3 || B2G E>FG | A2F D2D | E>FG F>EF | G3 G3 :|The Chanter's Tune has more challenges, and also lends itself toexperimenting with expression. I suppose I ought to make a video ofwhat I do.... but I'd rather leave it to you to invent your own approach.Noodle around and find what you like. I play the first two lines withshort sharp notes, especially the repeated notes, and then play thesecond two lines much smoother, more legato. I like the contrast.X:1T:The Chanter's TuneS:The first edition of O'Neill's Music of Ireland, #143M:2/4L:1/8K:G(c/A/)\| GG d(c/A/) | GG =f(e/f/) | gd d(c/A/) | =fe d(c/A/) || GG d(c/A/) | GG =f(e/f/) | gd d(c/A/) | (G2 G) |||| (B/c/)\| dd/e/ =f(e/f/) | (d/c/d/e/) =f(e/f/) | gd .d(c/A/) | .=f(e/f/) .d(c/A/) || GG .d(c/A/) | GG =f(e/f/) | gd d(c/A/) | (G2 G) ||Ok, yes, there's no left hand on these. Well: depending on your levelof musical expertise, you can come up with your own... or... gee, mytutorial is starting to bifurcate again... all these folks atdifferent levels! So: here's a suggestion for people who aren't surehow to go about creating their own left hand:1) Start with the same left hand as in The First Leaves of Spring. If itdoesn't sound good, rearrange the notes until you like them better.2) If that gets boring, try adding another note from the same key.------------ And again:Play these tunes in every REASONABLE key on the instrument (you figureout what "reasonable" means to you, it's a good exercise), looking atthe written music and getting your head around two things:1) be thinking about what ACTUAL key you are playing in (yourbutton/note chart will come in handy here!)2) meanwhile using the written notes to tell you when to go up andwhen to go down. Use the written notes as a kind of graphicalrepresentation. It's an exercise in transposition, in ignoring theabsolute pitch information that's written on the page. You'relearning a new instrument, it'll be easier now than any other time.[if you aren't familiar with abc, there's an abc converter onconcertina.met]----------------------And: not getting lost in the wasteland where there the playing fieldisn't split up into chunks, like on a fiddle, or right under yournose, like a piano, or laid out so every finger pattern is a differentnote, like on wind instruments-- it's easy to get lost on the Hayden system. Which note is this button I'm playing? is hard to answer if you don't have perfect pitch and don't want to look over the side and see where you are.(Of course, if what you really want to do with the Hayden is to justpick a comfortable key for singing along to, you're golden: you don'tneed this section, you can just learn wherever you happen to be andyou can ignore everything I have to say about transposition.)But, if you want to play with other people, it helps to be able toland on G without a lot of struggle, experimentation, and exasperation(yours and others...))I will describe what I do to not get lost on the English system, whichhas a similar, though not as severe, shortcoming (i.e, you get lost atthe distance of a fifth, which is much easier to figure out andcorrect.)SO: Holding the instrument, look at your button chart, and focus on thebottom row of notes on the right side (but don't be peeking over the end of the instrument to look at your fingers!!!)Curl your fingers under and touch the handrest.Brush them back up and find the left-most button on the bottom row.(This may take some practice, to get it in one shot. In classicalviolin training, they call it target pracice.)When you've got that button, you're oriented.You can work from there to find the button that you want to play,lightly brushing the tops of the buttons to stay oriented, and whenyou get to that G, or F#, or whatever, you'll have complete confidencethat you will not be committing an error when you start the tune.IFFFF -- this a big IF -- IFFFFF you practice this a LOT, you willbecome so fast at it that you can get lost in the middle of tune,re-orient, and get back to playing without losing more than a note ortwo.But you have to practice it a lot, and NOW is the time to do it, whenyou are first learning the instrument and getting those habits worninto the deepest crevices of your long-term memory.Do it on the left hand: do them simultaneously, become (over the longterm) able to find two different notes, one on the left and one on theright, without hardly having to think about it.No more lost in a wasteland with no sign posts. Edited April 22, 2013 by judyhawkins Quote Link to comment Share on other sites More sharing options...
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