Скачать или смотреть Bonnie Gallowa', low pitch normal speed

https://www.teachyourselfbagpipes.co....
https://www.lindsaydavidson.co.uk

This is a very popular tune and is often played together in a set with Scotland the Brave and Rowan Tree. As a popular tune, there are many different versions. This is what Lindsay Davidson plays.

Learning tips
1 Notice the repeated and simple rhythmical patterns. This makes the tune easier to play/sing/get on top of.
2 The high G gracenotes are all 64th notes. and all close on the beat.
3 The strikes on high A are merely rubbing your thumb across the hole. Don't bother trying to measure this.
4 The strike on D at the end of each part is measured, and is a 64th note, opening on the beat. As this is very much a beginner tune, to begin with, just be aware of where you open the strike/lift the D finger, and as you feel more confident, aim to be ever more exact rhythmically. This is the kind of thing that pays off long term.
5 Bar 12 (cbcdEA)...this is the most active part in the tune. Do the 5 steps X+O fanatically here to programme the basics into your fingers, starting with the D at the end of bar 11. And also try to truly 'feel' the insides of your fingers as you do this as this kind of 'tricky moment' is where confidence often goes wobbly, but this act of feeling the fingers from inside whilst doing something in context is a very effective way to build confidence based on real success. Improving your 'technique' means improving the connection between brain and fingers...

The Magic Maxim:

"If you can play slowly you can play quickly, but the converse isn't necessarily true..."

This means exactly what it says - the better you become the more exactly you should be able to control what you are doing, and so to test ourselves, we shouldn't practice more quickly, but more slowly.

To think again like computers - a sampling rate for a recording is a measure of how many times a second the computer will measure what is happening in the sound. A higher sampling rate makes for a higher quality of recording, up to a point beyond which it doesn't make much difference. It is the same with piping - the more times in a beat you can say exactly what is happening, the better your piping, up to a point..

By remembering the five steps in learning (see how to practice), we can see that at the point when we assign time to our actions we can get better by increasing our sampling rate. We do this simply by dividing by two, and playing at half speed, with awareness of twice as many points in the beat. When we succeed at this level, we half our speed again, and double the number of places in the bar we try to feel and be aware of what is happening. We keep doing this until every gracenote can be measured opening and closing. If you know the 'New French Method' of rhythm, this helps dramatically, as it automatically gives us a sampling rate of four points per beat.

Start with a quick video (or a medium one) and when you feel you are playing with this nicely, go to a slower one, and try to feel more detail. First listen carefully, bearing in mind that most things are divided by two, to find where the actions occur. Obviously, when you accomplish this, go to the next slower file.

Once you have gone to the slowest file and played along correctly, start to go through the faster ones again to see how much more precisely you are playing, and hearing what you are playing.

Playing exactly with the midi files at a quarter speed is a fairly good test for a group, and this extra secret can dramatically affect the strength of playing within a band, and the confidence. It is true that using this approach, you can bring about a positive revolution in your band's playing and attitude.

It's a simple set of tasks, the trick is in disciplining yourself to do it.