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Fingering On Triplets


SusanW
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Hi all,

I am wondering what might be the best way to play the triplet (B C# D) in the Sligo Maid: https://thesession.org/tunes/399

I am playing an Anglo C/G with double C#s on the first button, top row, right hand. If I play all 3 on the draw (RH) it isn't smooth, nor is it if I push(LH, RH, LH).

I'm not sure if it is just that I'm not good/fast/practiced enough, or what.

Any thoughts?

Thanks,

Susan

 

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Push. All three. So all red notes on the G row.

|: A2BA (3B^cd ef | gedB AGEF | G2BG dGBG | DEGA BAdB |

A2BA (3B^cd ef | gedB AGEG | B3G A2GE | DEGA BAA2:|

|: eaag a2ga | bgaf gfed | eggf g2ge | dega bgag |

eaag a2ga | bgaf gfed | eg (3gfg edBA | dBgB BAA2 :|

I would add triplets in a few areas,but just lifted this abc from session.org

Obviously the low F# on G row, The Low Ds could go either way, but I like the C row.

Edited by Lawrence Reeves
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I like pushing for this triplet too. It will smooth out, and it avoids having to play the C# and the D with the second and third fingers on the right hand (if you draw all three notes). Some very good players don't seem to mind this, but that doesn't describe me. I avoid it when I can.

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Try and think in piping terms. These triplets are tight in the style of closed piping. Descending triplets with a change in bellows such as B A G , or f# e d have a certain lightness built in. And, where they fall on the same row, and so do ascending ones of A B C natural, and e f# g gives a built in lightness, I try for that on all triplets of scale tones in tune. When we add the fact we are on two rows for note shouldn't change the crisp nature. With concertinas lacking a pushed C# I would use the C natural as the ascending. It goes by quickly, and in my opinion the middle of the three notes the least important. Breaking down the Sligo Maid omitting the C# totally and no triplet, the melody still goes nicely.The same thing in Dr O'Neill's Jig, taking the triplet in and out for variation a nice treat.

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