Thank you Shannon for the tuition on “Functional Rhythmic Events” I love this description. My focus these past few months has been on Rolls, Cuts, Taps and Glottal Stops. I find your videos and broadcasts are not just entertaining but immensely important in the world of Flute Learning at all levels. Magic stuff!
Oh, I'm SO glad that this resonated for you, Gearóid! I do think that situating the whole endeavor as a rhythmic practice can help to demystify and also justify the practice of rolls. They are really just part of the whole system.
Well, I have bad habits to break as my rhythm has apparently never been right with rolls. You’ve probably just fixed my rhythmic issue with reels too. Thank you for the video; it just unlocked a great deal.
This is pretty great news! Happy if it can help a little, and that's great that you are putting info together and finding some clarity for yourself. Yeah, integrating those rolls into the tunes (as functional rhythmic elements)... and taking appropriate breaths (after downbeats, not between bar lines) can really help with overall groove.
@@ShannonHeatonMusic I have also been searching for the Irish flutes non keys (without key buttons to cover holes) basically open holes . I play the Indian bamboo flute called bansuri. I was wondering how the wooden flute will sound was looking to buy/ play but I can't seem to find them online. Either I see really expensive one's that I can't afford like 3-5k USD is too much I can buy the whole set of 24 bamboo flutes with hard case for that price. 😂. Can you help me with a few links to purchase cheaper Irish flutes. Within 100usd. I also play the Yamaha concert flute. That's yamaha student/ intermediate flute and entry level still that was very expensive for me. Being in india our currency is very weak compared to USD or Euros. What we earn in a month or two is earned in a week by an American with even minimum wage. 🙏🙂. Also if you have any videos playing the Irish wooden flute. I'd like to listen. 🙏. The bamboo flutes we play usually have 6 holes and all the sharps and flats are played by covering half holes unlike the Western concert flute. Thanks for your time 🙏
@@ShannonHeatonMusic Sometime I'd enjoy speaking with you about what camera and mic you and Matt use to do your sessions. I've not been able to catch many of them but the parts of the ones I have caught have been excellent !
Dear Shannon, the most interesting and clearly lesson about rolls and irish flute music I never watch, I love it! congratulations and thanks for share! Best regards from Spain
Awesome lesson, Shannon! There's several hours' worth of practice condensed in this one short video. I will admit that your approach is different from mine, but there's no arguing with your results. Thanks for your clear and concise explanations. I'll be watching this one again. (and again)
Thanks, Tom. Yeah--lots of right ways. Finding the one that works for you is good. And being precise about it. Seems like a good m.o. no matter how you play it!
Shannon, this is wonderful instruction. I had never heard about doing different breath pulses depending on whether the roll is on the upbeat or downbeat. Thank you so much. Playing along with all the tune samples you picked to get the breath pulse right is an exercise in itself.
Great, Grania! I mentioned that because a regular lift pattern is what we're after. And depending on where the rolls hit in the tune, it'll affect the breath pulse.
Very instructive and love yer teaching, Master Shannon. Since I started more seriously Irish Trad Music in 2011-2012 I often heard about those cuts and rolls, but never knew really well what they were and meant. On the guitar the most common ornementation are pull-offs, hammer-ons and also slides. I wonder what are their equivalents on the flute and fiddle. Shall probably have to watch this video a few times to really understand. Before Master Matt could do a guitar equivalent one for the guitar. Have a nice week, Shannon 😉❤️ Trugarez x
@@ShannonHeatonMusic Yeh, I would surely put a few dollars in the tip jar. Especially there is very very little Irish trad flatpicking lessons on the Internet. Most of what I do I learnt it by carefully listening to late and much missed Arty McGlynn, John Doyle and also Nicolas Quemener and Saoig Siberil, Julia Toaspern, Flynn Cohen and Matt and a few others, like that Fergal Scahill fidil player who is also excellent on the giotár.
Hi Shannon, Sadly I can’t hardly play Irish flute anymore because of shaking problem with my lips when I play, specially in public. I wonder if you had a student encounter that problem... For that reason I now play Whistle and specially Low Whistle most of the time. I have two wooden Low Whistles to try to be as close as flute sound as possible. Shannon, you are such a fantastic flute player and teacher as well and I am so grateful to being able to follow your tuition regularly on You Tube. Just for this lesson, I will dedicate many hours to learn and specially relearn my ornementations. Thank you soooooo much! Arsène, from east-coast, New-Brunswick, Canada
So happy to hear that this video re-ignited your interest in ornaments! Good. And so glad that you have found resonance and expression with the sound of the low whistle. That's a good strategy, to deal with shaking lips. Now... ...for the flute, maybe it's a muscle thing? Maybe it's a bit of anxiety in social situations? Maybe it's both? Perhaps it's just okay to play the whistle. Or if you really miss the flute and want to do it, you could start and end your private practice with the flute (to keep/regain some condition). And you could pull the flute out ONCE in every social situation. And if/when lip shaking occurs, you could just play anyway. There's a lot of power and beauty in accepting un-ideal circumstances, and doing things anyway...
Hello Shannon, Thanks so much having taken the time to answer me. Yes, I miss the flute very much, I have a Martin Doyle flute from Ireland and I definitely miss the tone and the projection, the low whistle is a compromise. I will definitely try what you suggested, start and end my practice with my flute. Hoping things get better with time.... Have a wonderful day ❤️🎶
Lately I've been cutting and tapping with the notes by each other. I also have wooden whistles and a brass Killarney whistle. Seems to be more challenging completely a roll on the wooden whistle the higher I go up towards the fipple. Any pointers are welcome. Thank you for your help. Wonder ful video
You mean the A and B rolls are the most challenging ones for you? If so, it's probably about balancing enGAGEMENT (like really being deliberate about your mechanics)... with staying loose... and also keep the air going super smoothly and seamlessly. Those three mandates might help? And also, seems like finding fingering combinations that work best for YOU would be a priority. Lots of different ways to do the rolls, so settle on your own personal best.
Thanks for this video Shannon. Very informative. Could you please advise how improve the speed of the roll so it sounds crisp like the ones you play on the intro to this video.
Good question, Michael. I wonder if it's not a question of 'speed' on the rolls. Really, it's just three even eighth notes, so there's no rush to get to each event (CENTRAL NOTE-CUT-TAP). But making those rolls sound clean means keeping the technique nice and crisp. So: 1) aim to vent the cut note by just barely lifting the finger. You're aiming for a little pip sound... and not another 'note' tone 2) aim for the tapping gesture to be just a HIT of the hole below... maybe raise the lower finger a bit so you have the weight of gravity coming back down, and it sounds just like a 'blup' and note another 'note' tone
There are lots of different styles--and there is particularly nice and charming use of tonguing in some older styles of playing. I'm not sure that the tonguing would come inSTEAD of a cut? But if you've tried this and it feels effective for you (and keeps rhythmic clarity in the tune), why not go with it?
@@ShannonHeatonMusic thanks Shannon . In the first two bars of the tune roaring Mary there seems quite a lot of rolls to fit in especially at a good tempo. I find it makes it a little easier to play by replacing the cut with a stop or a push. It works for me especially on the lower notes but not so good in the higher notes. Thanks for all the advice and tuition best on YT👍🏻👍🏻👍🏻👍🏻👍🏻☘️
I find it quite difficult to keep rhythm when I add a roll in for some reason. You make it look so effortless. Thanks for the video though, inspired to practice more
Nick and Mory - That's a great explanation there from Kevin: "The note above isn't really a note... and the note below isn't really a note." ExACTly. They are just little rhythmic gestures we can practice slowly in time. Maybe just put on a slow metronome and do G-CUT-TAP (breathe) G-CUT-TAP??
I don’t know why, but any roll which uses the two fingers either side of my middle finger (on either hand) is seriously awkward, for example the E roll and the A roll. Every other roll seems easy in comparison.
yeah, it's a weird balancing act. And a little harder to get the momentum. A and B rolls don't seem as effortless as G, F#, or E for me. (And I use my G finger for my E roll for that reason.)
Excellent demo and description of the finer points of rolls, especially with respect to the rhythmic emphasis - thanks! I've been playing Irish music on harmonica for many years. Rolls are not possible because they require breath changes, which slow them down and make them sound choppy. So I and other harmonica players just use triplets instead: effective enough, but without the subtle complexity of rolls. It's always bugged me somewhat to have this limitation, but happily now technology is providing a solution! I've started using a Midi Harmonica called the Lekholm DM48, which has extra note alteration buttons. These allow fast rolls all on one breath, with just two fingers getting the higher and lower notes of the roll - very similar to a flute! It's not the same harmonica sound of course but the scale and playing technique is the same. That means I can re-work the trad repertoire I already have and give the tunes a more 'authentic' sound by playing them similarly to the flute, fiddle & whistle. It opens up a whole fascinating new level of Irish playing, but mastering the rolls to the point where they are always clean and precise takes some practicing! However I'm enjoying the learning process, and your clear description and excellent demonstrations are a big help! 🙂👍
Glad if some of my musings can offer a little inspiration. And I'm deLIGHTED that you are enjoying the learning process. That is inspiring to me, Brendan. Love what you do with your harmonica triplets, and the way you use the air and your hands to affect sweet tonal changes AND cool rhythmic lift. You don't need anything more than that. But I get wanting to try new things. Thanks for stopping by, and thanks for your music!
![Dunmore Lasses [Reel] - Tune of the Month with Shannon Heaton](http://i.ytimg.com/vi/758wkUNCS8c/mqdefault.jpg)
Thank you Shannon for the tuition on “Functional Rhythmic Events” I love this description. My focus these past few months has been on Rolls, Cuts, Taps and Glottal Stops. I find your videos and broadcasts are not just entertaining but immensely important in the world of Flute Learning at all levels. Magic stuff!
Oh, I'm SO glad that this resonated for you, Gearóid! I do think that situating the whole endeavor as a rhythmic practice can help to demystify and also justify the practice of rolls. They are really just part of the whole system.
This was extremely helpful and inspirational. Thank you so much!
Good that you found it clear and helpful! Thanks for checking it out, and best of luck with your rolls.
Phew, most clarity I've seen and in such a tiny space. What a great gift. Well done Shannon. Thanks.
ha! Great comment in such a tiny space. Good that the vid comes across accessibly.
😊 Your so sweet to share this with us for free ! Thank you ! Very helpful . ❤️
And you are so sweet to offer encouragement, Lisa!
your energy is so beautiful, and you have a great voice, fantastic flute player
thanks for your kindness and encouragement!
Your lessons are clear and readily applicable. Please continue to share your knowledge 🙌
Really glad if this can be helpful! Thanks for the encouragement.
Well, I have bad habits to break as my rhythm has apparently never been right with rolls. You’ve probably just fixed my rhythmic issue with reels too. Thank you for the video; it just unlocked a great deal.
This is pretty great news! Happy if it can help a little, and that's great that you are putting info together and finding some clarity for yourself. Yeah, integrating those rolls into the tunes (as functional rhythmic elements)... and taking appropriate breaths (after downbeats, not between bar lines) can really help with overall groove.
Nice 👍 that flute has got a nice warm woody tone. Beautiful.
Thanks a lot, Clive.
@@ShannonHeatonMusic I have also been searching for the Irish flutes non keys (without key buttons to cover holes) basically open holes . I play the Indian bamboo flute called bansuri. I was wondering how the wooden flute will sound was looking to buy/ play but I can't seem to find them online. Either I see really expensive one's that I can't afford like 3-5k USD is too much I can buy the whole set of 24 bamboo flutes with hard case for that price. 😂. Can you help me with a few links to purchase cheaper Irish flutes. Within 100usd. I also play the Yamaha concert flute. That's yamaha student/ intermediate flute and entry level still that was very expensive for me. Being in india our currency is very weak compared to USD or Euros. What we earn in a month or two is earned in a week by an American with even minimum wage. 🙏🙂. Also if you have any videos playing the Irish wooden flute. I'd like to listen. 🙏. The bamboo flutes we play usually have 6 holes and all the sharps and flats are played by covering half holes unlike the Western concert flute. Thanks for your time 🙏
At last I understand the roll. Thanks for posting this Shannon. Great pedagogy!
FABulous! So, so glad this was clarifying for you.
Great lesson👍I don't play flute but could listen to it all day. Thank you👏
Ha, Gearoid! Maybe you can apply these techniques to doing taxes? Or weeding the garden?
Amazing, thank you!
Thanks for checking it out!
Really appreciate the insight into your fab flute playing. Great to provide examples too.
ha! Well, trying to keep it clear and to focus a bit on the mechanics to ALLOW for easier and musical playing. Hope this can be helpful, Charles.
Shannon teaches in such a clear, understandable way. Brilliant ! Thanks Shannon ! What you said about lift . . . yea !
thanks, Tom. Here's to lots of lift!
@@ShannonHeatonMusic Sometime I'd enjoy speaking with you about what camera and mic you and Matt use to do your sessions. I've not been able to catch many of them but the parts of the ones I have caught have been excellent !
Thank you for this wonderful explanation of rolls! Great stuff.
Yay! There was a lot to cover. It was an interesting challenge to try to keep it simple and clear..
Revisiting my B rolls now. Another top tutorial from you! Thanks so much. 🤗
Way to go on the B rolls. They are a work in progress for me!
Dear Shannon, the most interesting and clearly lesson about rolls and irish flute music I never watch, I love it! congratulations and thanks for share! Best regards from Spain
Oh, great! Thank you for letting me know that this was clear and helpful for you. Best to you from Massachusetts
Fantastic tutorial.
Bite-sized approach to a massive meal?
Dear Shannon! Thank you for this amazing lessons!💜
Thank you for tuning in, my friend!
Awesome lesson, Shannon! There's several hours' worth of practice condensed in this one short video. I will admit that your approach is different from mine, but there's no arguing with your results. Thanks for your clear and concise explanations. I'll be watching this one again. (and again)
Thanks, Tom. Yeah--lots of right ways. Finding the one that works for you is good. And being precise about it. Seems like a good m.o. no matter how you play it!
Got it!
Shannon, this is wonderful instruction. I had never heard about doing different breath pulses depending on whether the roll is on the upbeat or downbeat. Thank you so much. Playing along with all the tune samples you picked to get the breath pulse right is an exercise in itself.
Great, Grania! I mentioned that because a regular lift pattern is what we're after. And depending on where the rolls hit in the tune, it'll affect the breath pulse.
Great stuff 👍
Great stuff!!! Thanks! 🙂🙂🙂🙂🌞🌞
thanks for checking it out!
Excellent
Thank you, Saoirse!
You're such a fantastic player AND teacher. Thanks so much!
Thanks a lot for the kindness, Dorie. And for checking out my video. Glad if it can be helpful.
Brilliant! Thank you, Shannon.
thanks, James!
Thank you for explanation! Very interesting!
You are very welcome!
This woman is brilliant,l finally get it.Thank you very much.
so happy to offer a few ideas. Hope they can help!
Very instructive and love yer teaching, Master Shannon.
Since I started more seriously Irish Trad Music in 2011-2012 I often heard about those cuts and rolls, but never knew really well what they were and meant.
On the guitar the most common ornementation are pull-offs, hammer-ons and also slides.
I wonder what are their equivalents on the flute and fiddle.
Shall probably have to watch this video a few times to really understand.
Before Master Matt could do a guitar equivalent one for the guitar.
Have a nice week, Shannon 😉❤️
Trugarez x
always good to encourage Matt to do more videos!
@@ShannonHeatonMusic Yeh, I would surely put a few dollars in the tip jar. Especially there is very very little Irish trad flatpicking lessons on the Internet.
Most of what I do I learnt it by carefully listening to late and much missed Arty McGlynn, John Doyle and also Nicolas Quemener and Saoig Siberil, Julia Toaspern, Flynn Cohen and Matt and a few others, like that Fergal Scahill fidil player who is also excellent on the giotár.
Great video.
whee! Thanks a lot.
Hi Shannon,
Sadly I can’t hardly play Irish flute anymore because of shaking problem with my lips when I play, specially in public. I wonder if you had a student encounter that problem... For that reason I now play Whistle and specially Low Whistle most of the time. I have two wooden Low Whistles to try to be as close as flute sound as possible. Shannon, you are such a fantastic flute player and teacher as well and I am so grateful to being able to follow your tuition regularly on You Tube.
Just for this lesson, I will dedicate many hours to learn and specially relearn my ornementations.
Thank you soooooo much!
Arsène, from east-coast, New-Brunswick, Canada
So happy to hear that this video re-ignited your interest in ornaments! Good. And so glad that you have found resonance and expression with the sound of the low whistle. That's a good strategy, to deal with shaking lips. Now...
...for the flute, maybe it's a muscle thing? Maybe it's a bit of anxiety in social situations? Maybe it's both? Perhaps it's just okay to play the whistle. Or if you really miss the flute and want to do it, you could start and end your private practice with the flute (to keep/regain some condition). And you could pull the flute out ONCE in every social situation. And if/when lip shaking occurs, you could just play anyway.
There's a lot of power and beauty in accepting un-ideal circumstances, and doing things anyway...
Hello Shannon,
Thanks so much having taken the time to answer me. Yes, I miss the flute very much, I have a Martin Doyle flute from Ireland and I definitely miss the tone and the projection, the low whistle is a compromise. I will definitely try what you suggested, start and end my practice with my flute. Hoping things get better with time.... Have a wonderful day ❤️🎶
A little time off. And then some gradual experiments (starting and ending with flute, even if only for a short time). Good luck. And keep me posted!
Lately I've been cutting and tapping with the notes by each other. I also have wooden whistles and a brass Killarney whistle. Seems to be more challenging completely a roll on the wooden whistle the higher I go up towards the fipple. Any pointers are welcome. Thank you for your help. Wonder ful video
You mean the A and B rolls are the most challenging ones for you? If so, it's probably about balancing enGAGEMENT (like really being deliberate about your mechanics)... with staying loose... and also keep the air going super smoothly and seamlessly. Those three mandates might help?
And also, seems like finding fingering combinations that work best for YOU would be a priority. Lots of different ways to do the rolls, so settle on your own personal best.
@@ShannonHeatonMusic i appreciate it
Thanks for this video Shannon. Very informative.
Could you please advise how improve the speed of the roll so it sounds crisp like the ones you play on the intro to this video.
Good question, Michael. I wonder if it's not a question of 'speed' on the rolls. Really, it's just three even eighth notes, so there's no rush to get to each event (CENTRAL NOTE-CUT-TAP). But making those rolls sound clean means keeping the technique nice and crisp. So:
1) aim to vent the cut note by just barely lifting the finger. You're aiming for a little pip sound... and not another 'note' tone
2) aim for the tapping gesture to be just a HIT of the hole below... maybe raise the lower finger a bit so you have the weight of gravity coming back down, and it sounds just like a 'blup' and note another 'note' tone
@@ShannonHeatonMusic many thanks Shannon that does make a lot of sense.
You’re a shining light for me and others here. 😊 Which jig are you playing in the intro. Would love to learn it please
oh, so glad this can offer a little brightness for you! That's the Legacy Jig in the intro. I'll try to make a video of that tune soon.
Hi Sharon great tuition very helpful. Is it frowned upon in Irish playing to use a push or tonguing instead of the cut or vent when playing a roll
There are lots of different styles--and there is particularly nice and charming use of tonguing in some older styles of playing. I'm not sure that the tonguing would come inSTEAD of a cut? But if you've tried this and it feels effective for you (and keeps rhythmic clarity in the tune), why not go with it?
@@ShannonHeatonMusic thanks Shannon . In the first two bars of the tune roaring Mary there seems quite a lot of rolls to fit in especially at a good tempo. I find it makes it a little easier to play by replacing the cut with a stop or a push. It works for me especially on the lower notes but not so good in the higher notes.
Thanks for all the advice and tuition best on YT👍🏻👍🏻👍🏻👍🏻👍🏻☘️
I find it quite difficult to keep rhythm when I add a roll in for some reason. You make it look so effortless. Thanks for the video though, inspired to practice more
look You Tube for "Kevin Burke explains the Irish roll" there's a nice little practice tip there.
Nick and Mory - That's a great explanation there from Kevin: "The note above isn't really a note... and the note below isn't really a note." ExACTly. They are just little rhythmic gestures we can practice slowly in time. Maybe just put on a slow metronome and do G-CUT-TAP (breathe) G-CUT-TAP??
@@ShannonHeatonMusic meant Kevin's timing practice suggestion at 4.41 specifically re Nicks comment, but yes all good, thanks.
How can I feel the vibration when you play the floot
Ah, that foot tap lends some dimension to the music. But maybe it is too spirited sometimes!
I don’t know why, but any roll which uses the two fingers either side of my middle finger (on either hand) is seriously awkward, for example the E roll and the A roll. Every other roll seems easy in comparison.
yeah, it's a weird balancing act. And a little harder to get the momentum. A and B rolls don't seem as effortless as G, F#, or E for me. (And I use my G finger for my E roll for that reason.)
Excellent demo and description of the finer points of rolls, especially with respect to the rhythmic emphasis - thanks!
I've been playing Irish music on harmonica for many years. Rolls are not possible because they require breath changes, which slow them down and make them sound choppy. So I and other harmonica players just use triplets instead: effective enough, but without the subtle complexity of rolls.
It's always bugged me somewhat to have this limitation, but happily now technology is providing a solution! I've started using a Midi Harmonica called the Lekholm DM48, which has extra note alteration buttons. These allow fast rolls all on one breath, with just two fingers getting the higher and lower notes of the roll - very similar to a flute! It's not the same harmonica sound of course but the scale and playing technique is the same. That means I can re-work the trad repertoire I already have and give the tunes a more 'authentic' sound by playing them similarly to the flute, fiddle & whistle.
It opens up a whole fascinating new level of Irish playing, but mastering the rolls to the point where they are always clean and precise takes some practicing! However I'm enjoying the learning process, and your clear description and excellent demonstrations are a big help! 🙂👍
Glad if some of my musings can offer a little inspiration. And I'm deLIGHTED that you are enjoying the learning process. That is inspiring to me, Brendan. Love what you do with your harmonica triplets, and the way you use the air and your hands to affect sweet tonal changes AND cool rhythmic lift. You don't need anything more than that. But I get wanting to try new things. Thanks for stopping by, and thanks for your music!