I think I get your drift, but ABCs take me forever to read. http://www.concertina.net/tunes_convert.html. Bingo — that was the reference I was making; "Alice’s Restaurant." REELS. I can imagine certain people "noodling with their instruments" in the lou. swing was a dotted rhythm, like playing a triplet but with the middle note gone, Finally, the most important thing is passion and emotion for it. I know you’ve been warned off of using set bowing patterns, but it’s still a good idea to learn the old 3-3-2 pattern- that’s three notes bowed, followed by three slurred, followed by two bowed, per eight note bar. Or the Harvest Home? I find myself wishing that the musicians would just speed up and play it as a reel and be done with it. The interesting thing I’ve noticed is that examples from camp 1 are often more straight than dotted, if at all in some cases. If you want to play rhythm guitar in a bond, you must maintain good timing. Sorry! By doing so, our index finger turns into a capo and you can play the guitar with the remaining. Attack - yes, speedy, no. This will let your wrist to strum. If this is what you are hearing, then one could suggest exercises and bowing patterns to help you with this kind of thing. I thought there were two basic speeds for an Irish hornpipe. That’s exactly my point; you and I aren’t Irish. 2. I’d go to the loo, but in our pub you can actually hear it better in there because it resonates, so that would be like my living hell, having a rumty-tum hornpipe resonating in my ears as I’m having a widdle. ::Explodes:: Like I said earlier on in the thread, the whole hornpipe debate is a huge waste of time. If you want to play a song that you don’t know, the common chord will help you the most. Take any reel or hornpipe and look at its abc. We’re talking about why the session sounds better in the loo. You can use the barre chord that you have learned earlier to play with these common chords. To be a master of strumming you have to learn the all downstrokes, up and down strokes, muted complex and normal rest strumming. Because all the barre chords are derived from the open chords. I dislike that style, so why should I want to play like that? Learning barre chord is not easy and your index finger will go through a lot of stress. Prodotto aggiunto correttamente al carrello. If I hear it at a session I feel like committing seppuku in protest. For example this one: Played without backing, flattened out tunes just sound like a bunch of notes joined together. Franky Gavin does this well, no dum de dum de dum in his hornpipe playing.e. It just sounds to me like people are trying to play a reel but don’t know it well enough to play fast or something, and the tune just limps along with its inappropriate rolls and backbeat emphasis, all dumty-dum-dum and daggy and twee. This became known locally as the “Berkeley Style” of Irish dance. You’re probably hearing an emphasis on the off-beat or backbeat which is pretty universal in modern Irish fiddling. So in conclusion, musos like Micheal O’R have swing, but play undotted. He plays it almost straight, but retains a terrific flowing lilt. Maybe the toilets would be a good place for my seppuku ritual. Play now! Ci sono 0 prodotto nel carrello. Obviously degrees of swing are going to vary depending on the muso, but for what people term as a musician who plays heavily swung, it’s usually somewhere close to 2:1. Also the hornpipe debate is a huge waste of time. Mel Bay Presents Get Chugging: How to Play Rhythm Harmonica/With Online Audio: Amazon.it: Hewlett, Ben, Lennon, Paul: Libri in altre lingue Michael I agree with you about the attacking thing. We need Dow as the resident expert on how a hornpipe should be played. He had a style that was very energetic and even aerobic where the dancers would jump around like gazelles. 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