0:00
Let's talk about slip jigs. So, slip
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jigs are fairly common in Irish music
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and they can be a little bit confusing
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because if you're not aware that they're
0:07
in 98 time, you can often listen to them
0:09
and they go round and round and you
0:11
you're not sure where you are in the
0:12
tune. But if you know that the
0:14
underlying structure is three triplets,
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three groups of three, then you can find
0:18
your way with the tune a lot more
0:19
easily. So, some classic examples would
0:21
be the butterfly, for example.
0:27
Okay. So, you got 1 2 and G 1 2 3 2 3 3
0:31
2 3 1 2 3 2 3 3 2 3. I count it like
0:35
that. 1 2 3 2 3 1 2 3 2 3 3 2 3.
0:39
Whatever works for you. So, it's like a
0:40
waltz except that rather than each beat
0:43
containing maybe two notes or four, it
0:46
actually contains three evenly spaced
0:48
triplets. But when I say evenly spaced,
0:50
you have to take into account the swing
0:52
that you often hear in Irish music. So,
0:54
for example, I think it's called
0:55
Hardyman the fiddler.
1:00
It's not D. It could be, but it's better
1:03
to have that swing D,
1:10
but that applies to Irish music in
1:12
general. You often put a swing. So, even
1:13
though on a page it might look like
1:14
evenly spaced quavers, it's actually got
1:20
kind of swing to it, but not all the
1:22
time. So you need to just kind of listen
1:23
to the music and feel how the rhythm
1:26
wants to go as it were. So slip jig.
1:30
that's hot and the fiddler. We've got
1:35
We got the kid on the mountain.
1:40
That's an absolute classic. You've also
1:42
got the rocky road to Dublin.
1:50
So it makes sense if you understand this
1:52
underlying structure. One and two and
1:54
three one a two a three one two three
1:57
two two three two three three and then
1:58
the next one which you would your ears
2:00
are anticipating another one because it
2:02
would be like you know two bars in 68 um
2:04
but it's not you're back to the
2:05
beginning already. So there's three of
2:06
those and like I say it makes total
2:08
sense once you got it but until you have
2:10
got it you can easily get lost in a loop
2:12
just in just listening to it. Um what
2:24
Okay. So, it's a really important part
2:26
of the repertoire. They're fairly
2:28
common. You don't hear them all the time
2:29
in a session, but you know, there's
2:31
certainly a few classics that it's worth
2:32
knowing what's going on with them. So,
2:35
I'll play you Hardy in the fiddler on
