If I do them all in the same run through, it sounds weird, but still recognizable. |c2 Ac B2GB| AE2F GD D2|EA A2 ABcd|eaa2 g2ed| … There are many places where I can hold a note, and you’ll still know it’s SofM: You’ll know I’ve just started Star of Munster. |c2 Ac BAGB| AGEF GD D2|EA AG ABcd|eaaf gfed| … Either you’ve played the tune or you haven’t, and the way you know is if it sounds like the tune. What I was getting at in my previous post, and I think some people caught this, was that the whole idea of “skipping notes” is simply not a way of thinking about a traditional music. Lately I’ve been using a metronome, only advancing to the “next level” after I am able to play it through without error. Practicing slowly is also very good advice. It can sound very different than what it sounds like in your head. Kerri - I like your idea of recording yourself. These habits will be doubley hard to break because they will become your muscle-memory.” Jack hit the nail right on the head: “a danger in skipping notes so you can play faster is that you will be teaching yourself bad habits. What I was getting at was the consequence of taking “short cuts”. I originally said that the tunes that Skipper played were recognizable and didn’t sound particularly bad (an untrained audience wouldn’t really notice too much of a difference). I wasn’t trying to say that there is only one way to play a tune and that any deviance (by removing notes) is wrong. If you guys are talking about playing variations of tunes, there’s another thread right below this one. You may well start off by hearing and playing the skeleton of the tune, and then, as you hear it more and more at sessions, you hear notes you have hitherto missed and start bringing them into your own playing. I think the reverse can happen when you’re learning a tune solely by ear from sessions. The important thing is, if you must skip notes, to make sure they are not essential melody notes and are not on the beat. you’re being required to to play unexpectedly fast on an important occasion). Again, this is justifiable in some circumstances (e.g. Flute players may want to alter a passage by leaving out non-essential notes, which may be easy to play on the fiddle, in order to make it playable at speed – or vice versa. set dancers going off at a gallop)? Such a simplification would retain both the beat and the essential notes of the tune, and wouldn’t really be noticed at speed. In Irish trad are we talking about simplifications such as changing “gd adbd” to “g2a2b2” (omitting non-essential and unaccented notes), which may be justified in some circumstances (e.g. Solo pianists in concertos have also been known to “simplfy” some of the more difficult passage work, especially if the orchestra is being loud and busy at the same time. In the classical orchestral world it’s called “faking it”, and can happen with the strings in the difficult bits, often at the conductor’s instigation (“make sure you come in on the first beat of the bar” is the usual closing mantra).
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