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Author Topic: Celtic ornaments on Mountain Ocarinas: Part 2  (Read 10942 times)
Cliff
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« on: December 12, 2008, 09:33:08 pm »

Be aware that some ornaments are easier on the ocarina.

Please make sure you've watched part 1 before watching the below part 2.

Here is part 1 if you haven't watched it yet:

http://www.ocarinaboard.com/bb/index.php?topic=250.0


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/2508982

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


« Last Edit: March 14, 2012, 01:42:26 am by Cliff » Logged

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Laurent
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« Reply #1 on: December 12, 2008, 10:48:17 pm »

Great again. But wouldn't it be time to put these cuts, taps and rolls in a song? Could you maybe demonstrate a song and how you put these in the song?


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Karl
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« Reply #2 on: December 12, 2008, 11:34:32 pm »

Yes, Laurent, that's what I started to do today.  But after I read some helpful forum posts that pointed learners to one web site or another to learn ornaments, I felt that I needed to get us all on the same page at the outset. I agree completely that we can learn a tremendous amount from those sites (Irish flute and whistle sites). However, I want ocarina players to be aware that, for some ornaments, there is any easier way.

In other words, you can perform all the cuts, strikes, and rollls on the ocarina using the same cutting or striking fingers that you would use on an Irish flute or whistle, but those fingerings are often more difficult than fingerings I'll suggest for the ocarina. This is because vessel flutes work on different principles than open ended flutes...and we also have a few more toneholes to work with. Thank you for encouraging me to do these ornamentation videos. More videos to follow next week. Smiley


« Last Edit: December 13, 2008, 01:53:45 am by Karl » Logged
noahsummers
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« Reply #3 on: December 13, 2008, 01:16:01 am »

Thanks so much for these videos!  I think I've watched all that are up (I keep listening/watching them one after another while I draw), and even though I've yet to touch an ocarina, I feel knowledgeable already. Cool


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ubizmo
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« Reply #4 on: December 13, 2008, 02:26:47 am »

Really, really good!  I think it's worth pointing out that all the Celtic ornaments can be used in other genres of music.  The ocarina, being a chromatic instrument, can handle tunes that don't work well on the tin whistle or traditional flute, and even though we may not think of playing cuts and rolls (taps are pretty universal though) in ballads, for example, it's interesting to experiment with them and see what you get.  One of the great things about the ocarina is that it can adapt to so many kinds of music and can borrow from any tradition.

So...if I want to play some cuts in "The Girl from Ipanema," the ocarina police can't bust me!

ubi


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Karl
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« Reply #5 on: December 13, 2008, 03:10:41 am »

Absolutely, Ubi!  I use a lot of cuts, slides, rolls, etc. in hymns and folksongs... and in general.  I am so glad you raised this point!


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RW_eagle
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« Reply #6 on: December 13, 2008, 05:34:07 am »

Thanks again for the info Karl.

Rob W.


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Secretagentdan
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Exodus, movement of jah people!


« Reply #7 on: December 14, 2008, 02:57:51 am »

I realized I use these in my playing, just didn't know what they were called. I'm working to add them to more of my music since they add so much character to the music!


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Kissaki
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« Reply #8 on: September 20, 2009, 08:00:25 pm »

So a roll is basically a cut followed by a strike really closely?


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Karl
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« Reply #9 on: September 20, 2009, 09:56:47 pm »

Quote
So a roll is basically a cut followed by a strike really closely?

Kissaki, that is the basic idea. In a long roll, you divide the parent note into three notes by adding a cut and then a strike. For example, you could start the note by tonguing, then cut, and then strike.   

A short roll leaves out the first section. In other words, you just cut (often a tongued cut) and then strike, dividing the note into two instead of three.  When you are first learning rolls, long rolls are easier then short rolls because it's easy to make the cut when your fingers are already in place.

Compared to tonguing, cuts and rolls can provide a distinctive flowing, connected style of articulation because cuts and strikes don't stop your airsteam the way tonguing does. Of course, you can tongue cuts to give them some extra punch or bite. Also, cuts and strikes can be performed with blazing speed and fluidity, and they give you other options for articulating a song beyond just tonguing.


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Kissaki
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"I put the 'K' in "Kwality""


« Reply #10 on: September 23, 2009, 06:59:17 am »

Thanks for the clarification Karl, now I know I won't be practicing pseudo-rolls  Cool


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Karl
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« Reply #11 on: September 23, 2009, 12:49:19 pm »

You are welcome, Kissaki. After all, it was I who put the "K" in "klarification." Wink


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Kissaki
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"I put the 'K' in "Kwality""


« Reply #12 on: September 24, 2009, 07:13:32 am »

You are welcome, Kissaki. After all, it was I who put the "K" in "klarification." Wink
Nice one Grin


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Danny
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Ta-da


« Reply #13 on: August 27, 2011, 09:43:17 pm »

Cool video.


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Playing the black nag is fun!
Auroch
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« Reply #14 on: May 15, 2014, 03:26:50 pm »

I've been doing this sort of thing naturally though it's very beneficial having someone break it down for a more in-depth look.
Thanks so much, Karl:)


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Auroch
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