The “flip” to even GDE’s (as in the previous blog post) is the dot/cut rhythm you’ll find in some tunes. This is shown in the image above where the G is a dotted eighth note, or three sixteenths. The D is a sixteenth note and the E is an eighth note. Drilling down further on this explanation, The G is played half-again as long as the E, and the D is played half as long as the E. Another way to think of this is 3/16, 1/16, and 2/16 which equals 6/16 or 3/8. Simple, eh? Audibly, I want to hear “dum, dadum – dum, dadum”. Pause on the first note, cut the second note, and play the third note as a regular eighth note. The G gracenote of each coupling lands right on the click of the metronome and you only have that length of time between clicks to squeeze in the other two grace notes. As you increase the tempo, this becomes more and more challenging.

Set up the metronome so the click falls on the first note of every coupling, or more accurately the G gracenote. The tempo doesn’t matter. We’re looking for proper technique first and foremost. Gradually increase the tempo until you feel yourself struggling, then back it off just a tad. Maintain proper technique. Do as many repetitions as you can without breaking down. The more the better!

These simple exercises are the foundation of good music. If you begin each practice session with meaningful exercises, your playing can’t help but improve! Write out each exercise that you need to work on. (I’ll introduce more as we go deeper into this theme.) Practice them daily. You can rotate specific exercises through your regimen to mix things up just a tad. Spend more time on those exercises that you find particularly challenging.

As with everything, I encourage my students to record themselves and to put the practice chanter down and listen. Doing this allows you to listen objectively and critically. It empowers you to make adjustments in your technique and timing in order to improve.