X-Notes:
X-Notes (or simple cuts) are perhaps the easiest form of ornamentation
These involve going to the upper note "during" a note, and are not to be confused with "true cuts" (or simply "cuts"), which involve going to an upper note before playing the embellished note.
X-notes basically involve lifting and dropping the finger above the note for G, A, and B notes (ie B(c)B, A(B)A, and G(A)G). For the lower notes F, E and D, just lift the upper ring finger for A (ie F(A)F, E(A)E, and D(A)D). These will work for the higher equivalents of E, F, G, A and B.
They get a bit trickier to do pure X-notes for others. For c, the best thing is to tap a high D on and off, which is tricky in practice. For high D (d), the best thing is to either drop the top index finger if you're embelllishing (for an obviously duller sound), but take the risk that the dullness will be lost in the X-note and copy the lower (ie d(a)d), or quickly alternate the upper index and the lower ring finger for a d(e)d. Neither are perfect, and as such other ornamentation options might be better for these notes.
X-Notes (or simple cuts) are perhaps the easiest form of ornamentation
These involve going to the upper note "during" a note, and are not to be confused with "true cuts" (or simply "cuts"), which involve going to an upper note before playing the embellished note.
X-notes basically involve lifting and dropping the finger above the note for G, A, and B notes (ie B(c)B, A(B)A, and G(A)G). For the lower notes F, E and D, just lift the upper ring finger for A (ie F(A)F, E(A)E, and D(A)D). These will work for the higher equivalents of E, F, G, A and B.
They get a bit trickier to do pure X-notes for others. For c, the best thing is to tap a high D on and off, which is tricky in practice. For high D (d), the best thing is to either drop the top index finger if you're embelllishing (for an obviously duller sound), but take the risk that the dullness will be lost in the X-note and copy the lower (ie d(a)d), or quickly alternate the upper index and the lower ring finger for a d(e)d. Neither are perfect, and as such other ornamentation options might be better for these notes.
Use of X-Notes
X-notes are extremely versatile embellishments, and can be used in a wide variety of circumstances
The best place for them is long notes, ie 2-beat notes in a reel or jig, where a true cut wouldn't be long enough. They're very easy embellishments for these circumstances, and can make a beginner or an intermediate player sound much better when they pull it off.
Once you get a bit better, they can become great subtle ornamentations for single-beat notes at transition points (ie, melody was going down and now up, and vice-versa), but they take a lot of practice to become automatic.
Like taps, they're an essential part of the complex ornamentation known as the roll (an X-Note followed by a tap), which are one of the main ornamentations used by tin whistles and flutes in Irish music,
X-notes are extremely versatile embellishments, and can be used in a wide variety of circumstances
The best place for them is long notes, ie 2-beat notes in a reel or jig, where a true cut wouldn't be long enough. They're very easy embellishments for these circumstances, and can make a beginner or an intermediate player sound much better when they pull it off.
Once you get a bit better, they can become great subtle ornamentations for single-beat notes at transition points (ie, melody was going down and now up, and vice-versa), but they take a lot of practice to become automatic.
Like taps, they're an essential part of the complex ornamentation known as the roll (an X-Note followed by a tap), which are one of the main ornamentations used by tin whistles and flutes in Irish music,
Common Mistakes with X-Notes:
It's easy to make the mistake of delaying too much with an X-note; it sounds not nearly as impressive if you linger too much on the note before playing it, and can disrupt the rhythm.
It is easy also for a melody to get drowned in X-notes; judicious use is advised, especially in complex melodies, where the loss of the rhythm of the tune can derail it entirely, rather than enhancing it.
It's easy to make the mistake of delaying too much with an X-note; it sounds not nearly as impressive if you linger too much on the note before playing it, and can disrupt the rhythm.
It is easy also for a melody to get drowned in X-notes; judicious use is advised, especially in complex melodies, where the loss of the rhythm of the tune can derail it entirely, rather than enhancing it.
Example of the Use of X-Notes:
I've picked "The Coleraine Jig" here because it's a good example of how the X-notes can lend bounce to a tune.
1. As standalone ornamentation at 0:02 and 0:04 on the third high E - notice how it adds bounce and eases the transition to the lower note, making it flow a bit better.
2. In two low A rolls (a normal roll followed by a fast roll) at 0:08-0:09 - note how the speed of the X-note within the roll needs to be different depending on the character of the roll in order to not lose the rhythm of the tune.
I've picked "The Coleraine Jig" here because it's a good example of how the X-notes can lend bounce to a tune.
1. As standalone ornamentation at 0:02 and 0:04 on the third high E - notice how it adds bounce and eases the transition to the lower note, making it flow a bit better.
2. In two low A rolls (a normal roll followed by a fast roll) at 0:08-0:09 - note how the speed of the X-note within the roll needs to be different depending on the character of the roll in order to not lose the rhythm of the tune.
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