Not every quarter-note-then-eighth-note pattern is a dot cut. In a smooth jig like this one, seeing that rhythmic shape can trigger an automatic dot-cut instinct that's actually wrong — the tune calls for even eighth notes, and imposing a dot cut where it doesn't belong ruins the intended smoothness.
A grip can borrow time from the note before it, not just the note it sits on. Rather than holding a quarter note to its full value before a grip, the grip effectively steals from that note's length — understanding the grip as occupying the 'middle note' of an implied triplet makes the timing click.
The hardest jigs aren't drastically harder to play than easy ones — they're less forgiving. Competition-level scrutiny means that small, easily overlooked details in a deceptively simple-looking jig can cost you far more than they would in relaxed, non-competitive playing.
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What Makes this Tune Great? Old Wife of the Mill Dust
49m · Full class available to Inner Circle members
⏱️ In this class
04:38pedigree the competition Introducing tune and its🔒
09:38phrase part's pattern first The🔒
12:16Avoiding the smooth dot-cut jig in trap a🔒
14:45grip third part's The embellishments🔒
19:43as time grip a borrowing Understanding🔒
22:05finishing The dramatic part🔒
26:02drastically jigs aren't harder play hardest Why the to🔒
33:35liberties it adding straight Master before🔒
42:23Gillies's practice habit Alistair play-it-twice🔒
44:29veell tsaRiecil eomtitcniop eragd empot by🔒
About this class
🔒 The write-up and the quotes from this class are part of the members’ page.
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