Glad to have prompted the video! I appreciate you taking my compliment and turning it into a useful discussion on ITM. I agree with you 100% that rhythm is the single most important aspect of this music. That's why I really like your content, it's obvious through your playing that you are of the "rhythm is king" school. You've got the nyah and I try to listen to as many players that have it as possible. I think listening is really the only way to really get it...you've got to soak it in. As far as rhythm specifically in regards to the flute in Irish Trad...I feel like the flute is really a rhythm friendly instrument (in the same way that pipes and whistle are). There is something quite percussive in the way that the fingers are slapped down over the tone holes. If you play a tune like Boyne Hunt without blowing into instrument, there is a definite rhythm and percussiveness that is evident even without the sound of the instrument itself. Or if you listen to Joanie Madden playing the Otter's Holt on her first solo album...you can hear what I mean. The sound is completely different the way she blows through the fipple opening instead of through the mouthpiece...but the rhythm is undenyable: ruclips.net/video/B_qF6FmVUK0/видео.html. People really like to talk about ornamentation in ITM as it's the "flashy bit" that most feel distinguishes between players and gives them their uniqueness. Most players new to the genre (myself included when I started) can't wait to start tapping, cutting, rolling, cranning, etc. on tunes. Maybe in the beginning we start to think of THAT as what makes a tune sound "Irish". But the ornamentation is used SPECIFICALLY to accent, enhance, and define the rhythm rather than separate from it. So really what makes a player great and unique, in my opinion, isn't necessarily their ornamentation...but rather their sense of rhythm. The examples you posted are fantastic Sarah. Louise and Orlaith are two players that I would also point to as examples of excellent rhythm and all of the "it isn't on the page" elements of Irish music...the NYAH. On flute, I think Shannon Heaton has a really interesting sense of rhythm that is very distinct. We've both mentioned before of our admiration of Tommy Fitzharris...his rhythm is incredible. Harry Bradley and Conal O'Grada are two more of my favorite rhythmic flute players. On other instruments: Kevin Burke's rhythm on fiddle is so intense I can't help but tapping my feet and hands when I hear him play. Brian Rooney (The Godfather) is a very rhythmic fiddle player. Brendan McGlinchey is another fiddler I just discovered with impeccable rhythm. Cormac Begley (concertina) has otherworldly rhythm. His pulse and the way he plays with rhythm is absolute magic. Of course, you can't help but mention the recordings of the early 20th century by the masters...Michael Coleman, Michael Gorman, Jim Morrison, Seamus Ennis, Willy Clancy...and on and on. There's a reason that they're held in such high regard. Their technical faculties are impressive, true...but their rhythm and the way they "embody the tune", as you said, are what made them legendary.
Wow such excellent excellent suggestions :) Haha you've inspired me I'm going to listen to all of the ones you mentioned :) Great to have your thoughts! Exactly the same, for years and years I really focused on ornamentation as a differentiator but now that I'm getting old and wrinkley :) it's like this new horizon of appreciation for music really comes to the fore and all of a sudden, THAT is what you hear in people ... spot on on Harry Bradley and Conal O'Grada as well, it's just so amazing what can be done when rhythm is the focus. Also such a great point about fiddlers, before the flute as well I was desperate to play the accordion but ended up playing the flute, really must listen more to Kevin Burke and all the fancy fiddlers out there. Thanks again, great to hear your thoughts!
@@sarahhale176 One of the first things I thought of when you started talking about the importance of rhythm. Cormac Begley playing a couple of tunes in a documentary. The second tune in particular is mighty. ruclips.net/video/TK1EYJVa7QA/видео.html. It should start at his section...6:25 in the documentary if it doesn't for some reason.
@@brennanroth7980 Ha! You must be a mind reader! That's so good isn't it? Yeah his rhythm is insane! That video is like some kind of amazing manic frog to me :) or something. And I had actually not heard that Joanie piece in ages, thanks for sending it!
I love traditional Irish Music. I play on tenor banjo, mandolin, fiddle and low d tin whistle also other tin whistles. I’m trying to learn on Irish flute now. I’m an amateur but having fun. I’m 74 self taught
Enjoy watching your videos and tips. I played Irish flute a lot in the 80s and 90s when I lived in western MA. Then with career changes and a move to Ohio I found myself playing a lot less. I play mostly old time music on banjo now (another story), but am desperately trying to revive my flute playing. As you probably can guess, getting the embouchure back together is the hardest. The idea of rhythm plays into that as well I'm finding. I will practice tunes very slowly for a while just trying to keep a solid sound. Sometimes I notice if I play fast though, I will make the kinds of adjustments in breathing, embouchure, and attack that I used to do in session playing. Seems like a delicate balance for me now to get that together for both slow deliberate practice and fast playing.
Great advice Sarah. I would add that mastering rhythm also implies listening to the masters of rhythm - old school guys like Michael Coleman, John McKenna, Patsy Touhey, Paddy Kiloran, et al. There are some fantastic contemporary musicians who are also masters of rhythm (Harry Bradley, John Carty, and the like), but all of these contemporary masters of rhythm admit to deeply listening to and studying the old masters. One suggestion I'd make to folks: In the absence of a local ceili band, play along with recordings of champion ceili bands like the Kilfenora, the Dartry, or the Tulla ceili bands.
Nice surprise to hear you came out of SLIA. I'll actually be headed back to St Louis for a visit next week. I've only been playing flute the last couple years, but stumbled my way into Irish music and got hooked about twenty years ago through set dancing while living in New Orleans. Coincidentally, my first instruction on flute was Sean Gavin teaching at the Tionol two years ago. And I'm excited that this year, Louise Mulcahy will be teaching flute. One thing that came to mind when you were talking about "being the tune" and playing with other people, a thing I do all the time while playing in sessions is to close my eyes and focus on the playing of one of the other players and imagine that the sound they're making is coming from my instrument. As weird and woo-y as that might sound, it makes a nice way of forcing myself to listen really intently and try to match their timing note for note as precisely as I can. And from that I've gotten to pick up tons of little details from other people's playing.
Hi Ed! Wow I love that comparison, makes a lot of sense and yeah also think that's one of the best parts of playing in a group, very cool! Sorry to hear they've had to put the Tionol out a year but maybe see you at the next one if I can get home to STL :)
That thing you say about the importance of dance, or the usefulness of learning how to dance, I really second. i am fairly new to Irish music but I have played a lot more Scandinavian folk music in which social dancing is still a thing. If there are musicians there are almost always dancers. There are lots of folk dancing nights but sessions in a pub setting is very uncommon. Learning how to play for people dancing, and learning how to dance (at least the basics) was an eyeopener for me. I've learned so much from that, and nowadays my approach to new melodies is much more one of movement and rhythm. The rhythm in ITM is sometimes hard for me though, I have like a different dialect in terms of ornamentations, legatos and marked tones that rubs off on the rhythm when I play. I don't think it sounds really Irish. But maybe it doesn't matter. As you said, we have to make the melody our own, embody it, become it. Good night, I really appreciated hearing you talk about this.
I’d probably add to that listen to as many versions of the tune you can. Listen to how Matt Molly plays The Leg Of The Duck on Back to the Island v any other player. You’ll probably gravitate naturally to a traditional first or third etc beat or you’ll decide to ‘do a Matt’ but you should listen to different versions and for flute players that often means versions on fiddle/pipes to feel what’s possible and what suits you.
Hi Sarah, you’re so right about Seán Gavin. The other two musicians are dancing inside listening to him 😂
The god that is rhythm!!! I love it. Rhythm is my new higher power.
Well said, nicely put. Thanks for the talk Sarah!
Glad to have prompted the video! I appreciate you taking my compliment and turning it into a useful discussion on ITM. I agree with you 100% that rhythm is the single most important aspect of this music. That's why I really like your content, it's obvious through your playing that you are of the "rhythm is king" school. You've got the nyah and I try to listen to as many players that have it as possible. I think listening is really the only way to really get it...you've got to soak it in.
As far as rhythm specifically in regards to the flute in Irish Trad...I feel like the flute is really a rhythm friendly instrument (in the same way that pipes and whistle are). There is something quite percussive in the way that the fingers are slapped down over the tone holes. If you play a tune like Boyne Hunt without blowing into instrument, there is a definite rhythm and percussiveness that is evident even without the sound of the instrument itself. Or if you listen to Joanie Madden playing the Otter's Holt on her first solo album...you can hear what I mean. The sound is completely different the way she blows through the fipple opening instead of through the mouthpiece...but the rhythm is undenyable: ruclips.net/video/B_qF6FmVUK0/видео.html.
People really like to talk about ornamentation in ITM as it's the "flashy bit" that most feel distinguishes between players and gives them their uniqueness. Most players new to the genre (myself included when I started) can't wait to start tapping, cutting, rolling, cranning, etc. on tunes. Maybe in the beginning we start to think of THAT as what makes a tune sound "Irish". But the ornamentation is used SPECIFICALLY to accent, enhance, and define the rhythm rather than separate from it. So really what makes a player great and unique, in my opinion, isn't necessarily their ornamentation...but rather their sense of rhythm.
The examples you posted are fantastic Sarah. Louise and Orlaith are two players that I would also point to as examples of excellent rhythm and all of the "it isn't on the page" elements of Irish music...the NYAH. On flute, I think Shannon Heaton has a really interesting sense of rhythm that is very distinct. We've both mentioned before of our admiration of Tommy Fitzharris...his rhythm is incredible. Harry Bradley and Conal O'Grada are two more of my favorite rhythmic flute players.
On other instruments: Kevin Burke's rhythm on fiddle is so intense I can't help but tapping my feet and hands when I hear him play. Brian Rooney (The Godfather) is a very rhythmic fiddle player. Brendan McGlinchey is another fiddler I just discovered with impeccable rhythm. Cormac Begley (concertina) has otherworldly rhythm. His pulse and the way he plays with rhythm is absolute magic. Of course, you can't help but mention the recordings of the early 20th century by the masters...Michael Coleman, Michael Gorman, Jim Morrison, Seamus Ennis, Willy Clancy...and on and on. There's a reason that they're held in such high regard. Their technical faculties are impressive, true...but their rhythm and the way they "embody the tune", as you said, are what made them legendary.
Wow such excellent excellent suggestions :) Haha you've inspired me I'm going to listen to all of the ones you mentioned :) Great to have your thoughts! Exactly the same, for years and years I really focused on ornamentation as a differentiator but now that I'm getting old and wrinkley :) it's like this new horizon of appreciation for music really comes to the fore and all of a sudden, THAT is what you hear in people ... spot on on Harry Bradley and Conal O'Grada as well, it's just so amazing what can be done when rhythm is the focus. Also such a great point about fiddlers, before the flute as well I was desperate to play the accordion but ended up playing the flute, really must listen more to Kevin Burke and all the fancy fiddlers out there. Thanks again, great to hear your thoughts!
@@sarahhale176 One of the first things I thought of when you started talking about the importance of rhythm. Cormac Begley playing a couple of tunes in a documentary. The second tune in particular is mighty. ruclips.net/video/TK1EYJVa7QA/видео.html. It should start at his section...6:25 in the documentary if it doesn't for some reason.
@@brennanroth7980 Ha! You must be a mind reader! That's so good isn't it? Yeah his rhythm is insane! That video is like some kind of amazing manic frog to me :) or something. And I had actually not heard that Joanie piece in ages, thanks for sending it!
I love traditional Irish Music. I play on tenor banjo, mandolin, fiddle and low d tin whistle also other tin whistles. I’m trying to learn on Irish flute now. I’m an amateur but having fun. I’m 74 self taught
Wow amazing! Very impressive! :)
Absolutely right about who wins the fleadh. It's rhythm all the way. I've noticed to that.
A fascinating and informative insight into Irish flute playing and essential musicianship skills in general. Thank you for the posting.🌞🙏🇬🇧🌞2020.
Enjoy watching your videos and tips. I played Irish flute a lot in the 80s and 90s when I lived in western MA. Then with career changes and a move to Ohio I found myself playing a lot less. I play mostly old time music on banjo now (another story), but am desperately trying to revive my flute playing. As you probably can guess, getting the embouchure back together is the hardest. The idea of rhythm plays into that as well I'm finding. I will practice tunes very slowly for a while just trying to keep a solid sound. Sometimes I notice if I play fast though, I will make the kinds of adjustments in breathing, embouchure, and attack that I used to do in session playing. Seems like a delicate balance for me now to get that together for both slow deliberate practice and fast playing.
Great advice Sarah. I would add that mastering rhythm also implies listening to the masters of rhythm - old school guys like Michael Coleman, John McKenna, Patsy Touhey, Paddy Kiloran, et al. There are some fantastic contemporary musicians who are also masters of rhythm (Harry Bradley, John Carty, and the like), but all of these contemporary masters of rhythm admit to deeply listening to and studying the old masters.
One suggestion I'd make to folks: In the absence of a local ceili band, play along with recordings of champion ceili bands like the Kilfenora, the Dartry, or the Tulla ceili bands.
Meaningful lesson Sarah! Very helpful and from the heart. Thank you :)
Fantastic advices and tips!Thank you! it helps me a lot
The best regards thanks dear FLUTIST
Nice surprise to hear you came out of SLIA. I'll actually be headed back to St Louis for a visit next week. I've only been playing flute the last couple years, but stumbled my way into Irish music and got hooked about twenty years ago through set dancing while living in New Orleans. Coincidentally, my first instruction on flute was Sean Gavin teaching at the Tionol two years ago. And I'm excited that this year, Louise Mulcahy will be teaching flute.
One thing that came to mind when you were talking about "being the tune" and playing with other people, a thing I do all the time while playing in sessions is to close my eyes and focus on the playing of one of the other players and imagine that the sound they're making is coming from my instrument. As weird and woo-y as that might sound, it makes a nice way of forcing myself to listen really intently and try to match their timing note for note as precisely as I can. And from that I've gotten to pick up tons of little details from other people's playing.
Hi Ed! Wow I love that comparison, makes a lot of sense and yeah also think that's one of the best parts of playing in a group, very cool! Sorry to hear they've had to put the Tionol out a year but maybe see you at the next one if I can get home to STL :)
That thing you say about the importance of dance, or the usefulness of learning how to dance, I really second. i am fairly new to Irish music but I have played a lot more Scandinavian folk music in which social dancing is still a thing. If there are musicians there are almost always dancers. There are lots of folk dancing nights but sessions in a pub setting is very uncommon. Learning how to play for people dancing, and learning how to dance (at least the basics) was an eyeopener for me. I've learned so much from that, and nowadays my approach to new melodies is much more one of movement and rhythm. The rhythm in ITM is sometimes hard for me though, I have like a different dialect in terms of ornamentations, legatos and marked tones that rubs off on the rhythm when I play. I don't think it sounds really Irish. But maybe it doesn't matter. As you said, we have to make the melody our own, embody it, become it. Good night, I really appreciated hearing you talk about this.
That's fascinating, I'd really love to hear your own recordings, the mix of dialects sounds really invigorating!
I’d probably add to that listen to as many versions of the tune you can. Listen to how Matt Molly plays The Leg Of The Duck on Back to the Island v any other player. You’ll probably gravitate naturally to a traditional first or third etc beat or you’ll decide to ‘do a Matt’ but you should listen to different versions and for flute players that often means versions on fiddle/pipes to feel what’s possible and what suits you.
That's a great point Neil, thanks for suggesting!
How would I feel the vibration on the flute
Another excellent example on how to use rhythm:
ruclips.net/video/p91Ku_6_6TQ/видео.html
I love her And the way She plays the flute. Tradition is alive☘️
Sarah, I assume you have read this guy Csikszentmihalyi. Thanks so much for this advise
Great point! Yes in summary but I have been meaning to read about flow more fully, seems like a good time to do so :) hope all is well