I'm glad I'm not the only one who thinks of it as a throw, it always had that feel to me but didn't know how to describe it. I'm really loving these videos btw, they are an immense help. I learned pipes as my first instrument when i was about 10 and have returned to piping after playing more socially acceptable instruments through high school and beyond. The fresh perspective to learning these moves its great as opposed to the old school 'do what you're told and don't ask questions' mentality.
Man, I'm glad I found your videos, I first got into bagpipes ten years ago, but I've not been able to learn much, there's so many of the embellishments that I don't know how they're really supposed to sound, I have plenty of tutor exercise books and tune books along with practice CDs and DVDs, but none of them are very clear about playing an embellishment at the proper speed, it leaves me guessing and fumbling along, growing more and more discouraged, so that I don't even practice much anymore, and then chanter reeds is a world of problems by themselves. I haven't met anyone that plays the bagpipe who could give me some one on one instruction, but I'm learning new things from you, thanks.
Thank you. Thats the way I was taught to play it. I also heard about a technique to use a thumb gracenote to go to the first High G. PS: I really would like to get some online lessons, but I think it would be difficult with the time shift.
Sorry Matt. But I disagree. If you look at the value of the "High G" doubling it is the equivalent of two grace notes, one on "High G" (1/32) followed by an "F" at a grace note value (1/32). So these two notes are the same as two separate notes with a value of 1/32. They may be played like a strike from "High G" to "F" and back to "High G" but they are actually grace notes. This is the way I was taught in the 50's and 60's by Grade 1 pipers such as P/M Tom Harvey from Kirkconnel, Dumfriesshire, Scotland and P/M David Kay from Cumnock, Ayrshire, Scotland. Presently, when I teach, I teach the "High G" doubling as as a grace note to "F" but the "F" gets the same value as the grace note and onto "High G" again.
We may have to agree to disagree... When I program in this embellishment as two "gracenotes" into my MIDI software, the end result doesn't sound right, nor does it when there's a G gracenote to an F or an F tap after a high G. It sounds most "authentic" when both the G and F are roughly the same length, and each being slightly longer than a typical lifting or tapping gracenote...
Agree with you ! The writing of the high G and high A doubling Can be technicaly bé made in two ways,depending on how it is interpreted.In one case it is half slurs,in the second a Real gracenote hit thé first note and then open on the second note .But thé writing is identical in the two cases.Clear ? In any case if we have a finger to do a gracenote,se must do it .
I'm glad I'm not the only one who thinks of it as a throw, it always had that feel to me but didn't know how to describe it. I'm really loving these videos btw, they are an immense help. I learned pipes as my first instrument when i was about 10 and have returned to piping after playing more socially acceptable instruments through high school and beyond. The fresh perspective to learning these moves its great as opposed to the old school 'do what you're told and don't ask questions' mentality.
Man, I'm glad I found your videos, I first got into bagpipes ten years ago, but I've not been able to learn much, there's so many of the embellishments that I don't know how they're really supposed to sound, I have plenty of tutor exercise books and tune books along with practice CDs and DVDs, but none of them are very clear about playing an embellishment at the proper speed, it leaves me guessing and fumbling along, growing more and more discouraged, so that I don't even practice much anymore, and then chanter reeds is a world of problems by themselves. I haven't met anyone that plays the bagpipe who could give me some one on one instruction, but I'm learning new things from you, thanks.
I'm working rebuild my gracenote in this few weeks.
Your basic series videos are very helpful and kindness! Thanks. 👏
Thank you. Thats the way I was taught to play it. I also heard about a technique to use a thumb gracenote to go to the first High G. PS: I really would like to get some online lessons, but I think it would be difficult with the time shift.
What part of the world do you live in?
@@MattWillisBagpiper in Germany
I have no idea what you are talking about. Have a nice day.
Can you show us how to do e doubling on the practice chanter
How to Properly Play Doublings - The Basics Series Episode 14
@@MattWillisBagpiper I did not know it was in the video thank you
Sorry Matt. But I disagree. If you look at the value of the "High G" doubling it is the equivalent of two grace notes, one on "High G" (1/32) followed by an "F" at a grace note value (1/32). So these two notes are the same as two separate notes with a value of 1/32. They may be played like a strike from "High G" to "F" and back to "High G" but they are actually grace notes. This is the way I was taught in the 50's and 60's by Grade 1 pipers such as P/M Tom Harvey from Kirkconnel, Dumfriesshire, Scotland and P/M David Kay from Cumnock, Ayrshire, Scotland. Presently, when I teach, I teach the "High G" doubling as as a grace note to "F" but the "F" gets the same value as the grace note and onto "High G" again.
We may have to agree to disagree... When I program in this embellishment as two "gracenotes" into my MIDI software, the end result doesn't sound right, nor does it when there's a G gracenote to an F or an F tap after a high G. It sounds most "authentic" when both the G and F are roughly the same length, and each being slightly longer than a typical lifting or tapping gracenote...
We can hear a MIDI interruption of this embellishment here: ua-cam.com/video/JrczBxYqMTc/v-deo.html (comes in at around 2m 14s in the video)
Agree with you ! The writing of the high G and high A doubling Can be technicaly bé made in two ways,depending on how it is interpreted.In one case it is half slurs,in the second a Real gracenote hit thé first note and then open on the second note .But thé writing is identical in the two cases.Clear ? In any case if we have a finger to do a gracenote,se must do it .
Very good video … but a little bit too quick 😊
What part was too quick? My speaking? The ornament itself?