> -----Original Message-----
> From: Roy Trotter [mailto:[EMAIL PROTECTED]
> Sent: 13 October 2006 09:37
> To: hg@hurdygurdy.com
> 
> Irish sessions are
> boring with dragging out the same 30 tunes every time and we have to
> play the version that whoever knows. 

I can sympathise with that feeling!  But to be honest, Roy, I reckon this
jaded feeling is a fairly common phenomenon at sessions of all ilk,
particularly if there's a slow turn-over of session members.  I recall going
to a French / Euro session outside my area a few years ago and having a
great time because of all the new material I heard.  Even the usual old
tunes had new life breathed into them because of the different ways they
were played.  

I did play the hurdy-gurdy at an Irish session at Sidmouth festival a little
while ago and was told in no uncertain terms by one particularly vocal
individual that it was an 'Irish Only' session.  So I started playing Irish
tunes.  I'm not sure he could tell the difference!

I've been told by one of my music friends (who is a superb Uillean Piper)
that when I play Irish tunes the sound I produce simply doesn't sound Irish.
I'm convinced that this isn't because the HG has the wrong sound for the
music, but more that I have developed an Anglo-French 'accent' in my
playing.  I suspect it is largely to do with the way I ornament my melody.

This notion of 'accent' can be quite pronounced in some instruments and with
some musical traditions. So I imagine it would be quite easy to distinguish
someone brought up in the Irish tradition playing the same tune as someone
brought up in, say, the Finnish, or the Hungarian traditions.

Has anyone ever experienced this phenomenon of regional 'accents' in
hurdy-gurdy playing?  If asked to play a particular piece of music, do you
think you would be able to tell the difference between a Vielleuse, a
'Tekerist' and a hurdy-gurdy player, for example?

Mike

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