to the person who says Kevin has no stage presence: if you have seen him live you would know he is a great storyteller and wit....one of my favorite people to see live, and have the chance to talk to
I find "he has absolutely zero stage presence" a ludicrous statement. It's as stupid as saying, for example, that Morandi's quiet meditations are nothing like Rubens's wild extravaganzas.
Michael was a model guitarist, varying his accompianiment constantly and creatively, sometimes deliberately harmonically dissonant, but somehow alway appropriate. Both he Kevin and Michael are "in the zone" here. ;)
That is a look of concentration. He is an incrdeible fiddler it is serious He is crafting with much respect to the verite of the music. Can you not see the bliss in his face...seriously he is deeply emoting oh you critic.
Oh my...torture? Not hardly for Kevin. He lives for this. Taken lessons from him and he is always - as the other poster said - crafting. Except when he is trying to remember how he "usually" plays something to teach someone else. haha. Now that's hard for a fiddler. ;)
He is in standard tuning for this set of tunes. When he plays the F minor chord he presses down the 6th string by wrapping his thumb over which makes it look a little unusual.
It's standard tuning alright. The pitch is off probably due to an old warped tape tape so it's hard to play along with. It's easier to play along with the version on their 'Portland' album. In any case , you can see clearly that Micheal starts off with a standard D chord, alternating with a suspended D chord. The second time around , he goes into B minor , descending bass to A and then G maj 7 chord. The transition into Willy Colemans is a sublime change from B minor into C major 7 and then to G. The whole middle tune only uses C maj 7, G and C. The third tune goes into B minor which he plays with his thumb wrapped around the bottom to get the bass B note (very unusual!). He then descends via A in bass to a g chord , then to E minor and second time B minor, A bass, G and E major. The rhythm is deceptively hard to get. It uses counterpoint very effectively. Hope this helps!
I always think I can hear two guitars on every track of the Portland album. But no, Mícheál reproduces the sound perfectly here. He was such a great guitarist and singer.
It's true though, as amazing as he is he has absolutely zero stage presence. I've played fiddle for years and I can relate, violin takes all your concentration. It's a good thing his playing speaks for him.
i agree, music would be so much better with a big forced smile and constant nodding/dancing towards the audience. his relaxation and meditativeness take me way out of the music.
I find "he has absolutely zero stage presence" a ludicrous statement. It's as stupid as saying, for example, that Morandi's quiet meditations are nothing like Rubens's wild extravaganzas.
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Absolutely beautiful.
to the person who says Kevin has no stage presence: if you have seen him live you would know he is a great storyteller and wit....one of my favorite people to see live, and have the chance to talk to
Brilliant playing is all the stage presence needed by hearers worthy of the music.
I find "he has absolutely zero stage presence" a ludicrous statement. It's as stupid as saying, for example, that Morandi's quiet meditations are nothing like Rubens's wild extravaganzas.
1:22 possibly the greatest moment of all music
Michael was a model guitarist, varying his accompianiment constantly and creatively, sometimes deliberately harmonically dissonant, but somehow alway appropriate. Both he Kevin and Michael are "in the zone" here. ;)
Indeed. Understated and brilliant!
That is a look of concentration. He is an incrdeible fiddler it is serious He is crafting with much respect to the verite of the music. Can you not see the bliss in his face...seriously
he is deeply emoting oh you critic.
Brilliant have had all Micheal and Kevins Music since late 70's and always listen to it and never seen this performed before...thanx
Pay attention, kids. Jigs are in two meters: 2/4 and 3:2. AT THE SAME TIME. Michal knows exactly where the 3:2 is. Greatest rhythm guitarist ever.
Why is this so good? I come back here almost every day.
ME, TOO !
ME TOO
they are two gods
well, are ya still here?
Beautiful!
A musical genius X love to all friends and family x
Note to guitarists - Learn from Michael. He plays AROUND Kevin, not ON him. A master.
Terry Bell , well said
gorgeous
And he’s not just accompanying Kevin but playing ‘with’ him. Both instruments are equal.
Pure nectar...
No, He's just living the music through his guts!
a pure artist! Micheál as well, go háirithe when he sings
Oh I saw Kevin In Great Yarmouth in July this year (2013) too
Chomh iontach-deas! Abú Kevin! Agus Micheál go deo!
Tusa Ard-rí na fir giotár!!!
His face, man ! All the things...at once.
Thanks so much for this post lovely, so so lovely
Stunning sounds🇮🇪✅
Oh my...torture? Not hardly for Kevin. He lives for this. Taken lessons from him and he is always - as the other poster said - crafting. Except when he is trying to remember how he "usually" plays something to teach someone else. haha. Now that's hard for a fiddler. ;)
Good stuff.
What will we do when the bottle boils over , what will we do but fill it again
wow
Tá an ceart 'at! Agus Micheál fósta! :)
Paddy's return sounds a lot like "The Frost is all Over"
Saor Éire Every folk tune reminds ten other tunes or more. That's the boring side of folk.
KITTY LIE OVER, for one !
beautiful reels at a reasonable pace for once !
All the lads need are a few dancers!
can't figure out the chords michael is using here
he is playing in dadgad so the voicings are intervals are different
@@tomclohessy1050 To me it looks like standard tuning
He is in standard tuning for this set of tunes. When he plays the F minor chord he presses down the 6th string by wrapping his thumb over which makes it look a little unusual.
It's standard tuning alright. The pitch is off probably due to an old warped tape tape so it's hard to play along with. It's easier to play along with the version on their 'Portland' album. In any case , you can see clearly that Micheal starts off with a standard D chord, alternating with a suspended D chord. The second time around , he goes into B minor , descending bass to A and then G maj 7 chord. The transition into Willy Colemans is a sublime change from B minor into C major 7 and then to G. The whole middle tune only uses C maj 7, G and C. The third tune goes into B minor which he plays with his thumb wrapped around the bottom to get the bass B note (very unusual!). He then descends via A in bass to a g chord , then to E minor and second time B minor, A bass, G and E major. The rhythm is deceptively hard to get. It uses counterpoint very effectively. Hope this helps!
I always think I can hear two guitars on every track of the Portland album. But no, Mícheál reproduces the sound perfectly here. He was such a great guitarist and singer.
Kevin Burke is one of my all-time favourites. I wonder why he looks like fiddling is such a torture to him? Every note seems to hurt!
It's true though, as amazing as he is he has absolutely zero stage presence. I've played fiddle for years and I can relate, violin takes all your concentration. It's a good thing his playing speaks for him.
i agree, music would be so much better with a big forced smile and constant nodding/dancing towards the audience. his relaxation and meditativeness take me way out of the music.
I find "he has absolutely zero stage presence" a ludicrous statement. It's as stupid as saying, for example, that Morandi's quiet meditations are nothing like Rubens's wild extravaganzas.