Our guarantees Forum - Discussion Board Ocarina Lessons about us about our ocarinas ocarina video ocarina sound samples ocarinas and music Home Page
November 29, 2020, 04:47:35 am *
Welcome, Guest. Please login or register.

Login with username, password and session length
News: Join Karl in The 5-Minute Musician's Club™.
 
   Home   Help Search Login Register  
Pages: [1] 2 3
  Print  
Author Topic: Celtic ornaments on Mountain Ocarinas: Part 1  (Read 24650 times)
Cliff
Hero Member
*****
Posts: 1121



WWW
« on: December 11, 2008, 11:43:26 pm »

Introduction to Finger Ornaments on Ocarina

Please note: our goal in making these videos is to help you to enjoy your ocarina and to grow as a musician. Unfortunately, the production quality is rather poor. Please feel free to post questions and to offer any feedback or suggestions that might increase the helpfulness of future videos. With your input, and as time and resources permit, we hope to get better and better.



Link to video on Vimeo: http://vimeo.com/2500363

Please let us know what you think after you've watched it.


« Last Edit: March 14, 2012, 01:43:36 am by Cliff » Logged

Hard to find time for music?  Have you got 5 minutes?Join The 5-Minute Musician's Club™
RW_eagle
Full Member
***
Posts: 168


Player of many, Master of none


« Reply #1 on: December 12, 2008, 05:11:49 am »

Thanks a bunch Karl for getting this info off and rolling. Wink (pun intended)  Coming from learning how to play the bagpipes, I've understood the necessity of adding finger ornamentation to music.  Adding it to ocarina playing opens up a lot of variation in the way you can play music.  I can't wait for the next in the series.

Rob W.


Logged

Charter member of mountainocarinaholicstm
Laurent
Full Member
***
Posts: 151


Ocarina fan


WWW
« Reply #2 on: December 12, 2008, 08:22:36 am »

Thanks, that was a great introduction. Now I have to go practice this Smiley
By the way, is it only on my PC, or is the sound very very bad on this video?


Logged
Karl
Sr. Member
*****
Posts: 419


Coda Creator & Player


« Reply #3 on: December 13, 2008, 02:03:43 am »

You're right, the recording volume is too low.  I'll try to improve that on upcoming videos.  Thank you for the feedback!


Logged
Secretagentdan
Hero Member
*****
Posts: 651


Exodus, movement of jah people!


« Reply #4 on: December 14, 2008, 02:58:57 am »

I really liked the video Karl, thanks for posting it for us! Really helped me out, I intend on adding to my repertoire of tunes!


Logged

Peace, Shalom, and Salaam to all here at MO forum!
Spatolo
Hero Member
*****
Posts: 1339



« Reply #5 on: December 16, 2008, 09:11:42 pm »

Karl, this is a great video about the topic, thank you very much. It's so good that I think even whistle players could find it useful.
You dwelve into the roots of the ornamentations and that's very useful other than nice to know, and, I expecially loved that you didn't wanted to call the ornamentations "grace notes". You are right: they are NOT NOTES; only a mean to separate equal notes. No more than that. I think this is something one should have very clearly in it's mind to realize that SPEED is essential here. Play it slow, and you'll have an extra note. That's not what should be done in irish music. Speed is very difficult to achieve (I still suck at ornamentation, but I want to focus on rhythm and good time first; finding them by far more important) but is essential.
Congratulations for the video again.


Logged
armisis
Full Member
***
Posts: 236


www.youtube.com/armisis


« Reply #6 on: January 13, 2009, 10:27:04 pm »

Sweet, Great Classes! thank you!!!!!!
Dave


Logged

Down with the Evil Recorders! Up with the Angelic Ocarina!

David D. Stanton
www.youtube.com/armisis
thinkharder
Active Newbie
*
Posts: 28


« Reply #7 on: March 15, 2009, 06:19:14 pm »

Explaining the history of cuts and strikes really does help. Thank you, Karl. :-)

And now I must practice. Off I go.


Logged
hoodsmom
Full Member
***
Posts: 126


« Reply #8 on: March 31, 2009, 08:33:56 pm »

When Karl gets time, can we pls have a video explaining where/when (as opposed to how) to insert the various ornaments?  Thanks.


Logged
ubizmo
Hero Member
*****
Posts: 1922


I couldn't fail to disagree with you less.


WWW
« Reply #9 on: April 01, 2009, 08:21:50 pm »

When Karl gets time, can we pls have a video explaining where/when (as opposed to how) to insert the various ornaments?  Thanks.

While Karl is working on the next video... There's no one way to use ornaments.  Karl makes the point that in many cases, the word "ornament" is misleading, and these so-called ornaments function more like punctuation.  They separate notes from each other in a more emphatic way than just tonguing them.  So one thing to think about is this: When playing a tune that has two or more notes of the same pitch, played consecutively, would the addition of ornaments to some of those notes make them stand out from each other better?

Example: "America the Beautiful" begins with the words "Oh beautiful...", four syllables, four notes, two pitches.  If we were playing it in the key of C, it would begin with these four notes: G G E E.  This is not a Celtic tune by any means, but that doesn't matter.  As I hear this in my head, I would want to play a strike (from a half tone down, F#), but not a cut, between the first and second G.  Why?  Well...if I use a strike instead of tonguing to separate those notes, I don't stop the air flow, so I get a pretty smooth sound.  That particular song, as I would want to play it, should sound smooth and majestic, not too chopped up.  I would not use a cut, because even though a cut also doesn't stop the air flow, it's a more abrupt ornamentation, and I don't want abruptness, at least not here.

Karl explains that cuts can be more than a half tone, but a half tone is the minimum cut, and that's what I'd want.

Sometimes you may want to use a strike at the very beginning of a tune or phrase, not just to separate notes.  When you do this, it tends to give the phrasing a more jazz or blues feel.  The reason for this is that jazz and blues singers tend to "slide" into notes a bit, whereas classical singers are taught to hit a note dead on.  So by using strikes at the start of musical phrases, you emulate a certain kind of singer, and that style of singing gets infused into what you're playing.  Cuts, on the other hand, don't really have much of a vocal counterpart.  Because of their abruptness, they call attention to themselves and add an element of brightness, and even surprise, to the music.  Cuts separate notes more emphatically than tonguing does, as Karl points out, so tongued cuts are maximally emphatic.  Although cuts are typical in Celtic music, they can be used in other kinds of music too, but in some pieces they would be jarring.

So step 1 is to take a simple piece that you know well, and experiment with strikes and cuts, and see if you like the results.  Record yourself, if possible.  Gradually you get a feel for what you like, and how you like to use ornaments.  Everyone's style is different.  You might play "America the Beautiful" with plenty of cuts in there, and make it work.

Ubizmo


Logged
hoodsmom
Full Member
***
Posts: 126


« Reply #10 on: April 04, 2009, 06:11:05 pm »

Thanks, Ubi.

I have been experimenting (with "Simple Gifts" - for my next political satire Wink).  I'm getting a feel for when I like rolls and cuts between notes of the same pitch, but I'm having more difficulty figuring out how to use the various ornaments when notes are not of the same pitch. 


Logged
Karl
Sr. Member
*****
Posts: 419


Coda Creator & Player


« Reply #11 on: April 04, 2009, 11:17:26 pm »

Thanks, Ubi! Very good input.  As you mentioned, as you experiment with cuts, strikes, rolls, etc., you very gradually develop a feel for how you might use them. These ornaments can add a lot of beauty and flowing expressiveness to slow hymns and songs.

Still, Hoodsmom, I think I know exactly how you feel.  Several years ago, when I first started learning about ornaments, or finger articulation, I felt the same frustration that you have expressed. After a lot of reading and experimentation, I felt that I understood (in theory) how to execute a cut or a roll, but I was clueless about how or when to use them in traditional music. Also, even though the mechanics of these ornaments are fairly easy to understand, it takes a long time before you can perform them cleanly, appropriately, and up to speed. So, I would say that your frustration is normal!

Here are a couple of concrete things I plan to do to help:

--Over time, I want to record a number of traditional dance tunes --jigs, reels, hornpipes, polkas, etc.-- and then break down each tune to give you some ideas about how to approach them.  I’ll probably start with jigs…  By the way, over the years I've picked out a large number of exciting traditional tunes that sound great on Mountain Ocarinas.

--I want to put together a Suggested Listening List. Listening to talented traditional musicians (on the accordion, fiddle, Irish flute, whistle, pipes, etc.) is one of the best ways to get a feel for the music. I have a huge collection of both written and recorded traditional music. Lest you feel overwhelmed, Irish dance music is great for listening to while exercising, doing yard or house work, etc., so it's not hard to fit into your schedule.

--I want to start a club within the forum for people who are serious about learning to play traditional music on the ocarina.  We would be helping one another to grow.  Traditional Irish dance music is not only exhilarating to play, but it also serves as a great medium for improving one’s skills and opens up a lot of opportunities for socializing and making music with others. (Irish seisiuns, folk dances, contra dance jam groups, etc., are very common around the U.S. and in many parts of the world.)

So, for now, just keep playing and experimenting.  We’ll hopefully have more guidance for you in the near future. Little by little…

Karl



Logged
noahsummers
Full Member
***
Posts: 223



« Reply #12 on: April 05, 2009, 02:40:03 am »

Yes, pay much attention to the words in bold above!  I've been playing for a couple months now and I've only just begun to get a feel for where to throw in ornaments. Roll Eyes


Logged
hoodsmom
Full Member
***
Posts: 126


« Reply #13 on: April 06, 2009, 07:55:50 am »

All great ideas, Karl.  Can you include some "slow" music in your lessons.  I'm still struggling to hear exactly where the ornaments are in faster pieces (not necessarily ocarina).


Logged
hoodsmom
Full Member
***
Posts: 126


« Reply #14 on: April 15, 2009, 02:33:46 am »

I've been learning more about cuts and rolls from Grey Larsen's "Essential Tin Whistle Toolbox," and now I have a ?.  He plays the cut on the parent beat and the strike shortly afterwards (at least on the examples I've heard so far and as best I can tell from the reading), but is it "OK" to start the cut very early and end the roll with the strike on the parent beat?


Logged
Pages: [1] 2 3
  Print  
 
Jump to:  

Powered by MySQL Powered by PHP Powered by SMF 1.1.7 | SMF © 2006-2008, Simple Machines LLC Valid XHTML 1.0! Valid CSS!