The bowing comes by itself, depending on how I choose to phrase the tune, or does everyone else decide on a bowing pattern and stick to it? Seems a bit restrictive to me. I tend to concentrate on the notes themselves when I’m learning something, I suppose, and I do the same if I’m teaching, but that’s only to get the tune across. Re: Two notes per bow? Yes or no? (Caoimhin says give it a go.)īow-centric rather than note-centric, Ergo? I’m not sure I’m convinced about that - maybe if you’re thinking purely in terms of keeping a steady rhythm… but surely you’ve got to have both? Personally, I don’t tend to think in terms of bowing or notes, as both get in the way of actually playing the tune. This is all a bit difficult to convey in words but I’m curious as to what you accomplished players out there may think…esp fiddlers. BUT I am interested in others’ take on what he’s on about and how one might use that as a solid base to shape the tune around. Now, I’ve also not been merely bowing the whole of Rolling in Ryegrass in 2s by any means…I’m also using lots of slurs and crossbowing etc. It reminds me of the same approach,say, Crantich recommends for polkas where the “nyah” or “wah” come from bow pressure and/or speed, depending. I’ve been running through Rolling in the Ryegrass with his methodology in mind and the results have been both interesting and illuminating. It’s very interesting and, to the extent I’ve been trying it, clearly does take you someplace that I hadn’t been before. The other day I ran across this article, in which he’s advocating more or less the same thing. A relatively ’simple’ tune with the idea being to bow it with this 2 note pattern. We practiced that as well simply on open strings in the extreme and in the quiet so we got the feel of what was possible. At the time, I remember Caoimhin advocating “two notes per bow” to get the WAH using both bow speed and pressure.
Years ago Caoimhin O’ Raghallaigh was in town with Mick O‘B to give a concert and some workshops on pipes and fiddle.
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