Píobaire, An, Volume 2, Issue 18, Page 2

Píobaire, An, Volume 2, Issue 18, Page 2
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periodical Publisher
Na Píobairí Uilleann
periodical Editor
Chairman, NPU
periodical Title
Píobaire, An
volume Number
2
issue Content
NOTES ON CRANSThese notes* are intendedfor beginners on the pipeswho may have difficulty inlearning to play crans, orwho may have no access toa teacher. They are not astep towards standardis-ation; crans vary frompiper to piper and here Ihave selected some commonones for discussion. Mosttutors for the pipes areinadequate in their treat-ment of crans and it iseasy for the learner todevelop faults which if un-corrected may become im-possible to eradicate. Goodcranning is a mark of agood piper and is an objectworth striving towards.Cran are played on lowB and low E (for conven-ience here only the ones onlow D are shown - but thesuggestions and notes alsoapply to low E) and to beeffective they must beclean and accurate. Theobject of a cran is to prod-uce a drumming sound onthe note being ornamented,this sound will not be prod-uced if the gracenotes andmelody notes are not playedaccurately.To make crans properlythe fingering used must befirm but relaxed. Thefinger making a gracenotemust be lifted clear of thechanter and replaced beforethe finger making the nextgracenote is raised. Oneway of ensuring that thegracenotes in a cran do notrun into each other is toplay the cran slowly andlengthen the gracenotesuntil they are as long asordinary quavers. This slow-ing down is unpleasant tolisten to but if it is doneconscientiously it will re-sult in accurate crans atnormal speed. A furthermethod of checking a cranis to keep the chanterclosed on the knee and toplay the gracenotes only.If the fingering is cleanthe gracenote will sound asa series of staccato noteswith a silence betweeneach one. When the chan-ter is raised or opened tomake the cran in the norm-al way, the note beingornamented will soundinstead of the silence.The opposite fault torunning the gracenotesinto each other is to makethem too short or muffled.This happens when thepiper fails to lift his fin-gers clear of the chanter.In making gracenotes orstaccato notes, because thenote is short, the fingermaking it must be raisedup off the chanter for thenote to sound clearly.E.G. 1(a)I(b)4 ::i jJ IThe object ci these twoexercises is to get the lear-ner used to playing grace-notes on the bottom-handnotes. In playing I a thepiper must ensure that themelody note does not soundbefore the gracenote as hegoes from one note to thenext. lb will help him toco-ordinate lifting thechanter to play low D andplaying an A gracenote onit at the same time. Theremust be no unintentionalstops between the notes iiboth exercises.E.G. 2(a)HA beginner often comesacross a cran for the firsttime in the last bar of ajig as in 2a and 2b above.This cran should be playeddeliberately and not rushed;there is plenty of time tomake it accurately. Therhythm of the whole bar isdum-dadadum. The firstnote in the bar is the long-est of the three qriaversand is gracv with a strongA gracenote, the next twogracenotes G and F comeclose together, and a strongA gracenote is played onthe last note in the bar.2a shows the cran as it isplayed when the last notein the preceding bar is low-er the A. 2b shows thecran without the first Agracenote as would happenif the last note in the pre-ceding bar is A or higher.Examples of this common ending are the last barsof the Frieze Breechest (inboth its double and singlejig versions), GarrettBarrys jig and Port anAchridh (Ceol Rince nahEireann 1Though the examples anddiscussion have been of thecran in the last bar of jigs,they also hold true for barsother than the last, e.g. thefirst bars of Sean Bui orBill Hartes jig. Forexhaustive notes on othermore elaborate crans seePat Mitchells introductionto The Dance Music ofWillie Clancy.E.G. 3Dtj JT I : I I(b)14 8JfJ I;JJ j j j I3Ibji j t2
issue Number
18
page Number
2
periodical Author
[Periodical]
issue Publication Date
1983-11-01T00:00:00
allowedRoles
anonymous,guest,friend,member

Píobaire, An, Volume 2, Issue 18

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