[NSP] Re: small coals, and the peacock following the hen
On Wed, Aug 15, 2012 at 12:26 AM, Anthony Robb [1]anth...@robbpipes.com wrote: Here is what Forster Charlton, Colin Ross and Roland Wright put in the introduction to the second edition to the NPS 1st Tune Book: Small Coals and Little Money and Cuckold Come Out The Amrey are in an unusual mode for which the drones should be tuned to the notes A and E. Any drone which will not tune to either of these two notes is best shut off! Personally, I agree - others don't. Where I disagree is in saying they are in the same mode. Small Coals is a straightforward A minor tune, although with no 6th (F#) it's neither dorian nor aeolian mode. There is a case for tuning the drones to A for Small Coals if you insist on the drones being concordant with the home key or mode of the tune. I don't personally find that an issue, and neither do other bagpipe traditions, where drones are what drones were meant to be - fixed, so that tunes in different modes sound like they are in different modes. For me, Cuckold is a mixed-mode tune with alternating A minor and C major strains, where A drones have the effect of masking the C major sections because, over A drones, these also sound like A minor. So, if I were an NSP player, I'd leave the drones in G for this tune, which I am well aware is heresy. [2]http://youtu.be/71KwJ11O0fI -- References 1. mailto:anth...@robbpipes.com 2. http://youtu.be/71KwJ11O0fI To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: April 2012 Tune of the Month: Morpeth Rant -- 1 April 2012
Not our pipes, but has anyone else seen this morning's Scotsman? [1]http://www.scotsman.com/news/pipes-play-music-of-love-for-edinbur gh-zoo-pandas-1-2209167# An excellent April fool, and obviously written by someone who knows something about the subject -- References 1. http://www.scotsman.com/news/pipes-play-music-of-love-for-edinburgh-zoo-pandas-1-2209167 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: March 2012 TOTM: Adam a Bell selected by Julia Say
If anyone wants the dots of the Dixon version, they're in 'The Master Piper', available from NPS. If they need to transcribe it into G before playing it that will be a useful exercise. See the credit for the photo of the Edinburgh pub sign 'Jingling Geordie' which appears with the tune following Adam A Bell in the latest edition. A surprise to me, and a nice touch. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: March 2012 TOTM: Adam a Bell selected by Julia Say
On Wed, Feb 29, 2012 at 7:46 PM, John Dally [1]dir...@gmail.com wrote: Sorry about the spelling. ;-) Wouldn't anyone somewhat familiar with the tradition assume Dixon's collection to be smallpipe tunes just by perusing the table of contents? From the titles, yes, but not by playing tunes such as Dorrington Lads or Black And Grey which make sense in a way that the Northumbrian smallpipe versions never did, because those tunes were not originally made for Northumbrian smallpipe chanters. Some tunes, yes indeed, but the majority, no. IMO anyway. -- References 1. mailto:dir...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: March 2012 TOTM: Adam a Bell selected by Julia Say
On Wed, Feb 29, 2012 at 11:52 PM, Gibbons, John [1]j.gibb...@imperial.ac.uk wrote: There is also the question of what did Dixon intend by his blank key signature? Did it mean 'this tune is in Gmix/Cmajor or Adorian'? Or did it mean, as with Highland pipe music, 'I am not bothering to say what the actual key signature is, as you know already'? I believe the former. The latter, illiterate, practice was yet to be established, and WD shows himself to be literate. But, there is also a good argument that the piper would know whether to play the major or minor 7th from the nature of the tune, and some need one, some the other. -- References 1. mailto:j.gibb...@imperial.ac.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: TOTM
Gets the approval of the grumpy old Border pipers on their lunch break Matt Bill On Thu, Feb 9, 2012 at 12:03 PM, Anthony Robb [1]anth...@robbpipes.com wrote: Hello all, Here's my offering. [1][2]http://youtu.be/sfiCRPct9vQ Warmest best Anthony -- References 1. [3]http://youtu.be/sfiCRPct9vQ To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:anth...@robbpipes.com 2. http://youtu.be/sfiCRPct9vQ 3. http://youtu.be/sfiCRPct9vQ 4. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[NSP] Re: December TOTM
The obvious topic is tunes with a reference to the season (winter, soltice, Christmas, Hogmany, New Year). I suggest we pick a tune we all want to play and then combine it with one or more other tunes, as suggested by Barry Say. Here's one we prepared earlier, John, I think it satisfies the requirements - [1]http://www.youtube.com/watch?v=2hQc8MIGqvM -- References 1. http://www.youtube.com/watch?v=2hQc8MIGqvM To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] International Bagpipe Day
Dear All I have received the following from Andy Letcher of the Bagpipe Society with a request to forward it to bagpipe-related newsgroups to which I subscribe and piping organisations with which I have contact. Please circulate further as appropriate, and please do not address any questions about the content to me, I am but an intermediary! Here it is. _ International Bagpipe Day - announcement The Bagpipe Society are delighted to announce that Saturday 10th March 2012 will be the first ever International Bagpipe Day, a day to celebrate the world's pipes and piping traditions. We are inviting people to organise grassroots events in Britain, Europe and beyond - talks, lectures, school visits, museum events, concerts, gigs and dances. Have you a collection of bagpipes? Why not display them in your local museum? Do you play in a band? Why not organise a dance? Can you give a talk to your nearest school or local history society? Or what about a `come and try the bagpipes' or `meet the maker' session? Events can be advertised free of charge at [1]www.bagpipesociety.org.uk or posted on facebook at [2]www.facebook.com/internationalbagpipeday. And to mark the day, Cassandre Balbar is organising our flagship event, an international piping conference, concert and bal at the School of Oriental and African Studies (SOAS) in London. With a stellar line-up of European pipers this promises to be an unforgettable occasion. If you'd like to attend or to give a paper you can find out more at [3]www.bagpipesociety.org.uk So spread the word, join in and let's celebrate this ancient, living and wonderful instrument. -- References 1. http://www.bagpipesociety.org.uk/ 2. http://www.facebook.com/internationalbagpipeday 3. http://www.bagpipesociety.org.uk/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: TOTM Hornpipe(s)
Very nice Anthony! The pipes sound great and there's some fine phrasing in the playing. For a relatively different aesthetic, and a different reading of the word 'hornpipe', see All The Night I Lay With Jackey In My Arms, the middle tune of this duet set [1]http://www.youtube.com/watch?v=2hQc8MIGqvM and please be indulgent regarding our also 'flawed as usual' performance! The two sets sound fantastic when they are spot on in tune, but of course there's never a recording device running on those occasions. On Fri, Sep 30, 2011 at 8:08 PM, Anthony Robb [2]anth...@robbpipes.com wrote: Hellos apiece Here we go - flawed as usual - two great tunes that are becoming popular but could be more so. I've been doing up Jimmy Little's pipes which have spent the last 18 years languishing in their box. I've given them a new chanter reed and have re-tongued three of the drone reeds. The set has only been working fully for a couple of days but should get even better with more playing. According to Jack Armstrong they were made by Baty of Wark circa 1850. [1][3]http://www.youtube.com/watch?v=shd_W9kzXpo Best wishes Anthony -- References 1. [4]http://www.youtube.com/watch?v=shd_W9kzXpo To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.youtube.com/watch?v=2hQc8MIGqvM 2. mailto:anth...@robbpipes.com 3. http://www.youtube.com/watch?v=shd_W9kzXpo 4. http://www.youtube.com/watch?v=shd_W9kzXpo 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Farewell to Whisky - Niel Gow
On Tue, Sep 13, 2011 at 5:54 PM, Francis Wood [1]oatenp...@googlemail.com wrote: Can anyone provide anything more specific about the relevant circumstances in 1799 - 1801? Sorry, Francis, no. I do know about Matt Seattle's Farewell to Whisky, but it is not relevant here as it did not provide the inspiration for a tune, though several tunes preceded it. -- References 1. mailto:oatenp...@googlemail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Matching tune parts.....
Ian Lawther wrote: I was playing through Tom Clough's Bobby Shaftoe this evening and realized that the 6th part is identical in pattern to the 4th part of the highland pipe march The Barren Rocks of Aden (P/M A MacKeller c. 1843). A very interesting observation, Ian! The version I have of Barren Rocks in David Glen's Tutor corroborates what you say. Further observation shows that the harmonic foundation of Tom Clough's Bobby Shaftoe is consistent with itself and with all other versions, whereas Barren Rocks is harmonically built on shifting sands, and it is, strangely, only the 4th part which follows the Bobby Shaftoe harmonic pattern. What does it all mean? We know which tune came first. On an semi-related note, as you will have seen on the dunsire forum, I have been pursuing the original Teribus (the Hawick Toun Tune) as distinct from the Teribus which Highland pipers play, which is related to - wait for it - Bobby Shaftoe. This weekend being the Teribuskers Festival in Hawick, yesterday Bill Telfer and I played the original Teribus on Border pipes in the town for the first time since Toun Piper Walter Ballantyne laid down his pipes in 1797. It rocked. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Harvest tunes
Yes, Cut Dry is the obvious one. I did a survey of versions for an article in the NPS mag many (harvest) moons ago, and have since come up with more information and my own version, but one good version is enough (e.g. Peacock or Dixon). Others with appropriate titles are Jack's Gone A-Shearing (Vickers) and Robin Shure In Hairst [=Sheared in Harvest/Autumn] (in Dixon as Mock The Soldier's Lady), both fine 3/2 hornpipes. These have made me ponder about a connection between the lost 3/2 hornpipe and the physical activity of harvesting - I have read that pipers played for harvest workers. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: September TOTM
Cuddy Claw'd Her - OK, if a 'consensus' is reached by three people!! But there is little rationale for recommending Peacock's setting to players of Border pipes, as it is one of his tunes which are so obviously 'adapted' to smallpipes by the replacement of all the low F naturals - with high e, of all possibilities. It's not a tune I've gone for so far myself, but Dixon's setting is convincing, and one I've heard convincingly played by Pete Stewart and Dave Faulkner. The Clough setting is also worth serious consideration: it has the authority not only of the Cloughs but of the 'Charlton' book, presumably from one of John Armstrong of Carrick's mss, and also of the enigmatic Reavely ms., presumed to be roughly contemporary with Peacock. The very lightly 'unadapted' version is in the current edition of the 'little yellow book'. And yes I'm working on all the tunes but don't have a camera!! On Thu, Sep 1, 2011 at 12:30 AM, John Dally [1]dir...@gmail.com wrote: The consensus for September's TOTM is Peacock, specifically Cuddy Claw'd Her. This tune can be played on the Northumbrian half-long pipes (which I think should be called the Northumbrian twice as long pipes), as well as the Northumbrian smallpipes. Remember, you can post any month's tune at any time. I hope to have my NSP Peacock follows the Hen up soon. -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:dir...@gmail.com 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Peacock Follows the Hen videos
How could I forget? Go to [1]http://homepage.ntlworld.com/tracy.firby/WyrDGeneS/jukebox.html and select Mad Moll And buy the album, this guy deserves some support! -- References 1. http://homepage.ntlworld.com/tracy.firby/WyrDGeneS/jukebox.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] West Border Piping Weekend
Greetings I've now posted an announcement of the West Border Piping Weekend (21-23 Oct 2011) on dunsire [1]http://forums.bobdunsire.com/forums/showthread.php?t=139743 and the NPS Forum [2]http://www.northumbrianpipers.org.uk/pipersforum/viewtopic.php?f=18; t=224 It's also on the lbps site [3]http://lbps.net/lbps/teaching/166-west-border-piping-weekend.html This email is simply to alert anyone who might be interested but might not have seen it in those places, where they will find more details. Cheers Matt -- References 1. http://forums.bobdunsire.com/forums/showthread.php?t=139743 2. http://www.northumbrianpipers.org.uk/pipersforum/viewtopic.php?f=18t=224 3. http://lbps.net/lbps/teaching/166-west-border-piping-weekend.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: TOTM/Drones
On Mon, Aug 1, 2011 at 9:43 AM, [1]barr...@nspipes.co.uk wrote: If I can change the tune in question to illustrate a point. or rather, to miss the point (IMO)! The point is that, in a tune such as Oyster Wife or Wild Hills or 'Skye Crofters' or Swallow's Tail, which all have the modal centre of A throughout, drones tuned to A/E make good musical sense. In tunes which have a modal centre shifting between A and C (Cuckold, Peacock Follows, Fairly Shot, Little Wat Ye), A/E drones disguise this shift to the point of obliterating it. That is my point, made in an earlier response. Of course I recognise that I am against the tide with this view, and that's fine by me. As for the Oyster Wife, IMO it is the ONLY tune in Peacock's Tunes which suits a change of drone tuning, and in my experience it has plenty to recommend it. I even like it so much that my version has twice as many strains. Fraternally and grumpily yours! :-) Oyster Wives' Rant which appears in Peacock's Tunes is also well known in another tradition as Mullen Dhu. In that tradition it is played against A drones and becomes yet another Scottish tune with not a lot to recommend it. When the Northumbrian pipers got hold of it, I am sure they would have played it against G drones and played in this way it becomes to me a very exciting and harmonically interesting tune. In the days of the simple chanter, Northumbrian pipers mercilessly butchered tunes from other traditions to fit them to the pipes. - Anyone remember the story of The Bed of Procrustes? In doing so we got such gems as The Bonny Pit Lad. I remember well being at a 'G' music session with Johnny Handle playing accordion and at one time he stopped playing, and at the end of the tune said, That's a real pipe tune. Ye cannot put any chords to it. I don't think we should expect our music to always obey rules derived from other traditions. From an earlier e-mail Quoting [2]gibbonssoi...@aol.com: But is the best thing we can say about it that it's grammatical? So is Chomsky's 'Colourless green ideas sleep furiously', though it is totally meaningless. The sentence may be meaningless but it is still pleasant to the ear, and very challenging in a 1960s sort of way. Barry -- References 1. mailto:barr...@nspipes.co.uk 2. mailto:gibbonssoi...@aol.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: TOTM/shameless plug
On Sun, Jul 31, 2011 at 11:51 PM, Gibbons, John [1]j.gibb...@imperial.ac.uk wrote: Matt has argued an octave pair of drones tuned Gg will work for The Peacock/Mad Moll and other harmonically similar tunes like Cuckold - you want to show up the contrast between the Am and Cmaj in the first and second strain respectively. That is what Peacock probably had to do with his version, as I think bead holes weren't invented yet. The reasoning behind this is that A minor over G drones sounds like A minor 'sitting' on top of G drones, while Cmaj over A drones sounds like A minor 7, so the contrast is lost. It's also the equivalent of what happens with Uilleann, Highland and Border pipes, where drones are a constant over which variety is played out, and different modal centres sound - different! From this standpoint, a movable drone is a contradiction. Obviously, it's not the only standpoint, but worth being aware of. -- References 1. mailto:j.gibb...@imperial.ac.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Shield's H'pipe
On Fri, Jul 15, 2011 at 11:50 AM, Matt Seattle [1]theborderpi...@googlemail.com wrote: On Fri, Jul 15, 2011 at 11:20 AM, Francis Wood [2]oatenp...@googlemail.com wrote: I think history and evolution have been fairly kind to Isaac Cooper. A lively 'Miss Forbes' Farewell' is a cracking tune! Yes, history, evolution, and Will Atkinson. His is the 'definitive', most finely wrought version to my ears. Did he come up with it or learn it from someone else? As a postscript, at Rothbury today I heard Jimmy Little's winning medley in the Miscellaneous Instruments class, including Miss Forbes' Farewell. The same version as Will Atkinson played, with all the bounce and lilt that Anthony prizes, and at a decent lick too. Absolutely delightful! -- References 1. mailto:theborderpi...@googlemail.com 2. mailto:oatenp...@googlemail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Shield's H'pipe
On Fri, Jul 15, 2011 at 8:12 AM, Anthony Robb [1]anth...@robbpipes.com wrote: The matter of real importance and certainty, of course, is that it has survived in various forms and is a cracking tune. Agreed, Anthony! And thanks for reminding us about Phil Ranson. At the time (1984-5) I was a recent economic migrant to Northumberland, Phil invited me to join his ceilidh band on guitar and fiddle. I am fascinated by the 'soup' that accompanies traditional tunes, the lore which has its own reality but is different from 'facts'. It is not inconceivable that Shield composed the Morpeth Rant; I have seen no evidence that convinces me he did; and does it matter? -- References 1. mailto:anth...@robbpipes.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Shield's H'pipe
Proof at last! On Fri, Jul 15, 2011 at 10:41 AM, Francis Wood [1]oatenp...@googlemail.com wrote: Shield is buried in Westminster Abbey, adjacent to Muzio Clementi, the first really significant composer for the piano and subsequent piano manufacturer. Clementi was 'discovered' in Rome and brought to England by an aristocrat, Peter Beckford who was doing the young rich toff's customary GrandTour. Beckford was, for a while, MP for Morpeth. -- References 1. mailto:oatenp...@googlemail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Shield's H'pipe
On Fri, Jul 15, 2011 at 11:20 AM, Francis Wood [1]oatenp...@googlemail.com wrote: I think history and evolution have been fairly kind to Isaac Cooper. A lively 'Miss Forbes' Farewell' is a cracking tune! Yes, history, evolution, and Will Atkinson. His is the 'definitive', most finely wrought version to my ears. Did he come up with it or learn it from someone else? -- References 1. mailto:oatenp...@googlemail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Shield's H'pipe
Impressive, Francis. Now you've even uncovered where Shield has been Haydn for all these years. On Fri, Jul 15, 2011 at 12:29 PM, Francis Wood [1]oatenp...@googlemail.com wrote: On 15 Jul 2011, at 10:41, Francis Wood wrote: Finally, there is an odd, tenuous and completely inconsequential connection between Shield and Morpeth. . . . .and another odd, inconsequential and irrelevant fact in the present discussion. Shield is buried under the same stone as Salomon who 'brought Haydn to England' as the inscription states: [2]http://www.findagrave.com/cgi-bin/fg.cgi?page=pvGRid=10244PIpi= 95553 [3]http://www.findagrave.com/cgi-bin/fg.cgi?page=pvGRid=10244PIpi= 89571 Shield knew Haydn well and was one of his closest English friends. francis To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:oatenp...@googlemail.com 2. http://www.findagrave.com/cgi-bin/fg.cgi?page=pvGRid=10244PIpi=95553 3. http://www.findagrave.com/cgi-bin/fg.cgi?page=pvGRid=10244PIpi=89571 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Shield's H'pipe
Anthony You just can't believe everything you read, even on FARNE or in the Clough mss! The attribution is definitely 'out there', and is, I believe, a case of 'iconic attraction'. Tunes become posthumously attached to the names of famous musicians who neither composed them, nor claimed to have done so. I was contracted to do some of the FARNE work and there were things I declined to do because I didn't have the knowledge. You can fill in the rest. On Thu, Jul 14, 2011 at 7:49 PM, Anthony Robb [1]anth...@robbpipes.com wrote: Hello Folks I came across this on Farne, even if it's dodgy stuff it might explain the note in the Clough manuscript linking Morpeth Rant to Shield. The piece relates to a sound clip by John Armstrong of Carrick. Title: Shield's Hornpipe Also known as: Morpeth Rant, Morpeth's Hornpipe, Ivy Leaf Hornpipe, Jim Clarks' Hornpipe, Clark's Hornpipe Performer: John Armstrong, Composer: Shield, William (b.1749 d.1829 Although John Armstrong is best remembered as a musician, but he was also well known as a stick dresser and huntsman. He worked two large farms in Elsdon, near to the Army firing range. The Armstrong family claims an unbroken tradition of Northumbrian piping going back at least four generations. The Clough family visited the Armstrong family home at Raylees just after the First World War. It was here that John often played duets with Tom Clough. He also played with Billy Pigg. John owned a magnificent collection of pipe tunes, including original manuscripts by James Hill, Tom Clough and Robert Whinham. He provided many tunes for the Charlton Memorial Tune Book. A series of accidents to his hands, resulting in a stiffening of his fingers, forced John to concentrate on the fiddle in later years. He is featured on the Topic Album 'Bonny North Tyne' (12TS239) and was known to many amongst the older Northumbrian musicians as Carrick, a name taken from his dwelling place and a useful device to differentiate him from the many other John Armstrongs who live along the borders. As aye Anthony -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:anth...@robbpipes.com 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Shield's H'pipe
To make it absolutely clear, it was not I who attached the name Shield's to the soundclip. Whether the source - JA of C - gave it that title, I don't know. This is not impossible given the Clough connection. The FARNE Core Tunes article on Morpeth Rant (not my work) also gives the Shield attribution. On Thu, Jul 14, 2011 at 9:23 PM, Gibbons, John [1]j.gibb...@imperial.ac.uk wrote: But isn't Matt just quoting the Cloughs' title there? Beware of secondary sources, in other words - they don't corroborate where they are drawn from. A citation of 'The Morpeth Rant' (new or old) from anyone but the Cloughs, with the Shields' title, from pre-1900 would be interesting - one from anywhere near as far back as 1770, when 'The Morpeth Rant' made its first virtual appearance, would be astonishing. John -- References 1. mailto:j.gibb...@imperial.ac.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Deaf/dead
On Sun, Jun 26, 2011 at 1:23 PM, cwhill [1]cwh...@santa-fe.freeserve.co.uk wrote: I wonder what the bag is made from then - a shepherd perhaps? A long time ago (not quite mediaeval times though) someone (Dave van Doorn?) did a cartoon for the BagSoc magazine on exACTly that theme -- References 1. mailto:cwh...@santa-fe.freeserve.co.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Last call for Newcastleton Piping Comps
Last call for Newcastleton Piping Comps Sat 2 July 2011 When I was asked to judge these again this year I said I was happy to do so if the Festival Committee were happy to continue with them, given the recent low turnouts for both Border and Northumbrian pipes classes. The Committee are willing to give them one more go. On the minus side, it is a competition. On the plus side, it has the most music-friendly rules of any of the Border piping competitions (of which it is one of the oldest) and follows the ethos of many Northumbrian piping competitions in that it asks for two contrasting tunes rather than something defined by a time limit. Also, although not made explicit on the website, the 'Border pipes' category at Newcastleton traditionally includes Scottish smallpipes. [1]http://www.newcastleton.com/rules.html It is also a good place to be on a Summer's day, with sessions, concerts, dances and walks by the river. After last year's piping comps all the pipers got together for a friendly blether and blaw, and this is something which can continue. The weather was great last year, though I should perhaps mention the possibility of midges. -- References 1. http://www.newcastleton.com/rules.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Was Mr. Fenwick right?
I don't have Fenwick's Tutor, but I do have, reprinted elsewhere, the tunes it included, and these, to my mind, show that he had contact with the evolving stem of the Tradition at the time - the first appearance of the longer Hol(e)y Ha'penny set, the Barrington Hornpipe, Coquetside, and Felton Lonnen. Although his Bonny Pit Lad is not the smallpipe version, the other tunes are IMO a good sampling of what we know as the Clough line, with 'big' and 'small' tunes represented. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Forbearance please
On Sun, Jun 19, 2011 at 7:58 AM, Anthony Robb [1]anth...@robbpipes.com wrote: [1][2]http://www.youtube.com/watch?v=Cxh4GyR7XhA Hoping that no further discussion will ensue! OK Anthony, I won't discuss it, but how good to hear Mr Preston's Hornpipe, it suits the NSP very well IMO. -- References 1. mailto:anth...@robbpipes.com 2. http://www.youtube.com/watch?v=Cxh4GyR7XhA To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tune books with arrangements for other instruments
These are now published by [1]www.mally.com I should think the majority of the tunes and many of the harmonies would fit NSP On Sun, Jun 19, 2011 at 8:04 AM, Chris Harris [2]ch...@harris405.plus.com wrote: And Matt Seattle has published 3 books called 'Airs for Pairs', 'Airs for Pairs 2', and 'Scottish Airs for Pairs'. I thought they might be out of print, but a quick google suggests they are still available - though maybe not with the original delightful cover art. Chris To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.mally.com/ 2. mailto:ch...@harris405.plus.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Ending tunes traditionally
Richard I'm not going to answer your question directly, but draw your attention to the difference in aesthetic between Harmonic Direction and Harmonic Proportion. And rather than elaborate here now, add that I have pondered this long and hard and given the results of my ponderings with musical examples in a 14-page Appendix in the new Master Piper edition. Matt -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Ending tunes traditionally
And, bowing to Anthony's greater experience of kirn suppers, this lesser mortal's thoughts are pretty much the same as his about ending such tunes - dancers expect an ending, listeners can happily sit in the air. Felton Lonnen for ex. would IMO be awful with a 'resolution' on the tonic. On Sat, Jun 18, 2011 at 11:28 AM, Anthony Robb [1]anth...@robbpipes.com wrote: Hello Richard I have to bow to Matt's much greater academic knowledge on this one but I still offer a lesser mortal's thoughts: The old guys I played with were dance driven and would invariably resolve tunes in the manner you describe. As far as my own preference is concerned I find certain tunes cry out for resolution (Lads of Alnwick for example) whilst I like others 'left in the air' (such as The Keelman Ower Land, Sir John Fenwick's the Flower Amang Them All). On singing tunes through in my head to check this I think there might be a pattern emerging. Perhaps tunes ending in fast passages need resolution but slower ones sound quite grittily scrumptious with a long E, for example, against GD drones. Again this is a personal feeling. After all that has been said about a living/evolving tradition I would not be comfortable giving a definitive answer but hope this helps a bit. As my nana would often say, just please your Bessie! Anthony -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:anth...@robbpipes.com 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: The Dartmouth Competitions
Lotsa fun here - Adrian's inspired '6 classes' made me laugh out loud As for 'tradition', it is a neutral, value-free term, there are good traditions and bad - human sacrifice was traditionally practised in some cultures.. As for 'can you play' - in one sense, of course Anthony can play, Adrian can play, and so on. In another sense, none of us can play. Music is a manifestation of Grace beyond all of us. If we are fortunate, occasionally Music visits our stumbling endeavours, and we are blessed. To place a method of articulating notes (detached fingering) above all other considerations - the most obvious being 'which notes?' - is, I venture, missing the point of the exercise. As for Billy Pigg, as has been said here before, his 'Wild Hills' was what pulled many of us in here. It's not pure anything, in the sense of the detached style of the mining areas, or the lilting rhythms of the hill tribes, and it's not faultless playing. But it is pure magic. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Historical image of John Dunn, John Peacock?
This sentence, as well as the omission of editorship, It is the inaccurate '2nd edition' rather than the 3rd which is of more concern than the omission of editorship -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tuning
On Tue, Feb 8, 2011 at 10:06 AM, [1]christopher.bi...@ec.europa.eu wrote: Also, it's a song and all of the singers I have backed prefer that key. Yes, it would be horribly high in A min unless you were a natural light tenor. Fair enough. George Welch sings it in B minor - [2]http://www.youtube.com/watch?v=map9v2neGbA and Judy Dinning sings it in A minor. As a non-NSP player I had assumed that it would feel more at home on the un-keyed notes. Robert Bewick has it in A minor in a setting which has high a and omits f. -- References 1. mailto:christopher.bi...@ec.europa.eu 2. http://www.youtube.com/watch?v=map9v2neGbA To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Bewicks German Spa
Re: German Spa It's a fairly standard 19th C dance tune, no local connection AFAIK, I included it in the edited selection because Bewick has a plain chanter adaptation (other versions need c#) On Tue, Feb 1, 2011 at 12:58 PM, Dave S [1]david...@pt.lu wrote: Hi Ian, Check out Shotley Sword-makers - it may have be a link to the spa and the German sword makers who emigrated in the time of King William Tschuess Dave s On 2/1/2011 5:09 AM, Ian Lawther wrote: I've just noticed a tune called German Spa in Bewick and wondered if it is, by definition, a Bad tune! Ian To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html - No virus found in this message. Checked by AVG - [3]www.avg.com Version: 10.0.1204 / Virus Database: 1435/3414 - Release Date: 01/31/11 -- References 1. mailto:david...@pt.lu 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 3. http://www.avg.com/
[NSP] Re: Where hast though been all the night?
On Thu, Nov 4, 2010 at 6:28 PM, Anthony Robb [1]anth...@robbpipes.com wrote: . would it be even more wonderful if some clever person (I think all three of you have the skills) to put it all done as a living piece of music somewhere for all to hear? Anthony Thanks to Anthony's generosity, recording equipment, and patience I now have an audio of my version of Where Hast Thou Been All The Night. It is housed for the moment on my band's myspace site [2]myspace.com/mattseattleband where it is the last track in the 'music box', you may have to scroll down to find and hear it. Cheers Matt -- References 1. mailto:anth...@robbpipes.com 2. http://myspace.com/mattseattleband To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Doublin' (Keenan Glackin)
On Sat, Jan 8, 2011 at 10:51 AM, Anthony Robb [1]anth...@robbpipes.com wrote: I feel my comments need clarification, Where drones can be destructive is when there is up to 70 cents difference between one player and the next and each tunes their own drones to their own chanter. which sounds like my remark drones, like the nuclear force which binds everything together, might, if mishandled, lead to some Chernobyl-type musical meltdown scenario. We do not disagree. I suspect from other of your postings that we also converge on the dilemma that, as fiddlers, we know, on a near instinctive level, how to use our bow arm to play with whatever degree of lilt we wish, but as drone addicts, we experience the difficulty of transferring this to the pipes. Cheers Matt -- References 1. mailto:anth...@robbpipes.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Doublin' (Keenan Glackin)
On Fri, Jan 7, 2011 at 3:55 PM, Gibbons, John [1]j.gibb...@imperial.ac.uk wrote: I'd agree completely about this record. Lovely! I must dig it out again. The precision is what marks it out from a lot of lesser performances, Irish or from wherever. I am so relieved that peace has broken out. I was especially worried after Anthony's Yes drones are wonderful and powerful but this power can also be, and all too often is, destructive. which reminded me that drones, like the nuclear force which binds everything together, might, if mishandled, lead to some Chernobyl-type musical meltdown scenario. And I love the Glackin Keenan record too, I haven't heard it for ages but it used to really fire me up, it has The Juice. A Guid New Year to all from fair Teviotdale -- References 1. mailto:j.gibb...@imperial.ac.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Like never before
Clever and funny, Francis, well spotted On Fri, Jan 7, 2011 at 9:43 PM, Francis Wood [1]oatenp...@googlemail.com wrote: Two hornpipes as you've never heard them before - The Wordsfail Hornpipe followed by Loudrocks. [2]http://stash.alonetone.com/mp3/13649/Redesdale_Proudlocks_Hesleys ide-WyrDGeneS.mp3 I must say, I really like this. To find out more, Google 'Wyrdgenes' Francis To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:oatenp...@googlemail.com 2. http://stash.alonetone.com/mp3/13649/Redesdale_Proudlocks_Hesleyside-WyrDGeneS.mp3 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Doubleday et al
On Sun, Dec 19, 2010 at 12:55 PM, Richard York [1]rich...@lizards.force9.co.uk wrote: for me hearing Billy Pigg (interesting how often his name crops up in this) playing the Wild Hills of Wannie just Did It ... a seed was set Yes -- References 1. mailto:rich...@lizards.force9.co.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: a key question for NSPipers
When a high C# comes in a tune I play middle C# and it's not too bad. Anthony Yes - City of Savannah is the one that first springs to mind, and the others I can think of are also not pipe tunes ... -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] New Piping Superstar
This ad came up on myspace - BEYONCE 'I AM' LIVE ALBUM EXCLUSIVE No one does it better than Queen B, hear her mighty pipes recorded live on her epic world tour. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Pipes with continuo?
Richard, not only is it on topic but it's a very live topic (for me at least). I was lecturing yesterday at Glasgow for the 3rd year Piping Degree students (as Highland pipers they are exposed to two hours of Border pipe music in three years...) and the Dixon variations - which predate Peacock, but share the same aesthetic - were my main focus. It's hard to get across to anyone in Scotland that music didn't start with the Gows, but it didn't, and the genius of the Scottish fiddle, John MacLachlan, flourished c. 1700, and his variation sets on Scots tunes set the gold standard. They mainly survive in lute transcriptions and there are a couple of good CDs around which feature them. Meanwhile in England we have the Lancashire hornpipes of Marsden et al, and the divisions of Playford somewhat earlier. It was in the air, the idiom that has been called the 'Native Baroque', and the Dixon-Peacock-Bewick-Clough line is part of this. The aesthetic distinction is that with drones, and tunes based mainly on two chords, you don't need continuo - drones are the ultimate continuo, and the musician who can hear what the tunes are doing hears the regular movement between consonance and dissonance with the drones. What we do now (frequently) is to play with chordal accompaniment, the modern equivalent of continuo, and for this to be worthwhile it has to do something more than state the obvious two-chord pattern without becoming totally irrelevant to it. A refined approach is needed. Back to your point, there is at least one example of the division repertoire directly entering the NSP repertoire - Johnny, Cock Thy Beaver gave rise to Newmarket Races / Fenwick O' Bywell. On Thu, Nov 25, 2010 at 5:50 PM, Richard York [1]rich...@lizards.force9.co.uk wrote: I was listening recently to a trio playing 17th/18th Cent. divisions on La Folia on the radio, and was struck afresh by how similar are some of the things appearing in the nsp variations. (And yet different.)[Special aside for Round the Horn listeners :) ] Divisions on viols or recorders were normally played with at least a bass, and/or a harpsichord or whatever, and our variations/divisions must come out of the same culture in the first place, whether it's later a parallel or a parent-child type development to get to where Peacock's sets arrived. So, given that pipes are generally thought of as a solo instrument, (correct me if not!) do we know at what stage of development the divorce from the continuo or ground bass instrument actually happened? Assuming it did. Do the smallpipes with their variations repertoire first appear having already made the musical separation, or was there any practice of playing them over a ground? (Please note, this *is* on topic!) Best wishes, Richard. -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:rich...@lizards.force9.co.uk 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Where hast thou been a' the day, waggin' thy hand?
On Sat, Nov 6, 2010 at 6:11 AM, Julia Say [1]julia@nspipes.co.uk wrote: On 6 Nov 2010, Julia Say wrote: according to my current prejudice ... some variation sets were written down without the ground on the front. (Bobby Shaftoe in Clough MSS is like this and Clough says so: I believe Peacock's Felton Lonnen is also, although I don't want to bring that into this discussion since Matt I have already had one lively episode over it earlier this year). Well, you HAVE brought it into the discussion. I can see what you mean, but by analogy Peacock Follows The Hen, Newmarket Races, Suttors Of Selkirk, Gillan Na Drover must also be variations with the grounds missing since, like Felton Lonnen, they all exist elsewhere in simpler dance versions. Which means that, though I see your point, I don't agree with it as a matter of principle. With the exception of Clough's Bobby, where he is explicit, the variation sets are variation sets and may stand alone. But as a matter of practice I do accept it, including in my own playing, as a discretionary option for structuring a larger performance piece, in cases where it works - a subjective aesthetic judgement. -- References 1. mailto:julia@nspipes.co.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Where hast though been all the night?
Some time ago I had a go at this too, before I saw the Crawhall set. I'll look it up. On Thu, Nov 4, 2010 at 1:29 PM, Julia Say [1]julia@nspipes.co.uk wrote: On 4 Nov 2010, Gibbons, John wrote: Erratum: line 4 in the tune I just sent should end dgf d2 and I think in bar 2 of the last line, currently: e|dcB dcB|dGB c2e|d/c/B/A/B/G/ Bcd|dgf d2|| should possibly be: dgB c2e| To me it looks as if strains 3 4 could be reversed (look at bar 4 in each strain) to maintain an AB pattern, and of course there is a missing B strain at the end. Given the superficial similarity to bits of Newmarket Races it would be tempting to make a 6th part: e/f/|g/f/e/f/g/e/ d/c/B/c/d/B/|g/f/e/f/g/e/ c2 e|\ g/f/e/f/g/e/ d/c/B/c/d/B/|dgf d2 e/f/|\ g/f/e/f/g/e/ d/c/B/c/d/B/|g/f/e/f/g/e/ c2 e|\ d/c/B/A/B/G/ Bcd|dgf d2|| although I haven't tried this (yet). In haste Julia To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:julia@nspipes.co.uk 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Where hast though been all the night?
Before you read on - is anyone besides John Gibbons, Julia Say and myself interested in this? Seriously, please say so, I'd like to know, because if not, we can carry on the discussion privately. If anyone thinks the three of us are crazy, I would like to point out that I have been crazy for longer than them. I have refrained from reading Julia's and John's versions till I made mine public. I was very taken with this tune at the time of the second Bewick edition (1998) and used to play it a lot. I am pleased that (two) others also enjoy it. I note that it received zero attention until Richard York's hurdy-gurdy query, which is a sobering thought regarding the benefits of publication. You may need to add line breaks, I have just pasted my text as is. X:1 T:Where Hast Thou Been All The Night? C:R Reavely ms (strs 1-3) C:M Seattle (strs 5-8) Aug 1998 M:6/8 R:Air K:G e|d/c/B/A/B/G/ Bcd|dgB c2e|d/c/B/A/B/G/ Bcd|dgf d2:|] [|:e|dgf dgB|dgB c2e|dgf dgB|dgf d2e| dgf dgB|dgB c2e|d/c/B/A/B/G/ Bcd|dgf d2:|] [|:e|dB/c/d/B/ gB/c/d/B/|dB/c/d/B/ c3/2d/e/c/|dB/c/d/B/ gB/c/d/B/|dgf d2e| dB/c/d/B/ gB/c/d/B/|dB/c/d/B/ c3/2d/e/c/|d/c/B/A/B/G/ Bcd|dgf d2:|] [|:e|dGe/f/ gGB/c/|dGA/B/ c3/2d/e/c/|dGe/f/ gGB/c/|dgf d2e| dGe/f/ gGB/c/|dGA/B/ c3/2d/e/c/|d/c/B/A/B/G/ Bcd|dgf d2:|] [|:e|d/c/B/A/B/G/ B/A/B/c/d/G/|d/c/B/A/B/G/ c/B/c/d/e/G/|d/c/B/A/B/G/ B/A/B/c/d/G/|dgf d2:|] [|:e|d/G/g/G/f/G/ d/e/d/c/B/c/|d/G/g/f/d/B/ c/B/c/d/e/G/|d/G/g/G/f/G/ d/e/d/c/B/c/|d/G/g/f/d/c/ d2e| d/G/g/G/f/G/ d/e/d/c/B/c/|d/G/g/f/d/B/ c/B/c/d/e/G/|d/c/B/A/B/G/ B/A/B/c/d/G/|dgf d2:|] [|:e|d/B/G/B/d/B/ g/B/G/B/d/B/|d/B/G/B/d/B/ cG/c/e/c/|d/B/G/B/d/B/ g/B/G/B/d/B/|dgf d2e| d/B/G/B/d/B/ g/B/G/B/d/B/|d/B/G/B/d/B/ cG/c/e/c/|d/c/B/A/B/G/ B/A/B/c/d/G/|dgf d2:|] [|:e/|d/G/A/B/c/d/ g/f/d/c/B/c/|d/G/A/B/c/d/ =f/e/c/d/e/c/|d/G/A/B/c/d/ g/f/d/c/B/c/|d/G/g/f/d/c/ d2e| d/G/A/B/c/d/ g/f/d/c/B/c/|d/G/A/B/c/d/ =f/e/c/d/e/c/|d/c/B/A/B/G/ B/A/B/c/d/G/|dgf d2:|] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tune hunt: OT but I hope interesting!
I see why you prefer the 3-strain Reavely version as more consistent, but the Crawhall strain 4 is worth having - perhaps better if tweaked to fit the others from Reavely. I should have another look in that case, thanks. I have been thinking about this, and Lord Randal, since the discussion started. The tune is obviously a good fit to the metre, but if this is right, then the tune is to be played andante, not as a jig. Yes, I think that thee 6/8 variation sets (in Peacock et al) are not (dance) jigs, though often based on them - e.g. Felton Lonnen, which exists in both forms. The idea of Billy Boy as a parody of Lord Randal had never occurred to me, but the worried mum and the emphasis on the girlfriend's culinary abilities are common to both. I think it was Bronson's (Trad Tunes of the Child Ballads) book which alerted me to this. I had it on loan so I can't check it now, but IIRC he said that the two songs (or versions of them) were of comparable age, and I got more the feeling of 'counterpart' than 'parody' from what he was saying. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Recommended new recordings and books
Well, obviously I'm biased, but I recommend Matt Seattle Band ~ Reivers of the Heart from [1]dragonflymusic.co.uk Traditional and Original Music from the Borders and Northumberland, including state-of-the-art versions of some Northumbrian classics (I did say I was biased) On Tue, Nov 2, 2010 at 7:21 PM, John Dally [2]dir...@gmail.com wrote: With the holidays coming up, perhaps it might be a good idea to make a list of the best new (they're all great, I'm sure) recordings and books with Northumbrian/Borders content. I want to make a list to give to my friends and family. ;-) Can anyone recommend good histories, old or new, of Northumberland? To get the ball rolling, I highly recommend Margaret Watchorn's new book. To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://dragonflymusic.co.uk/ 2. mailto:dir...@gmail.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tune hunt: OT but I hope interesting!
Where have you been all the night? she describes as a Scotch Tune. It's tempting to think she's mis-remembered the line in Billy Boy, See the Note in the recently published NPS edition of Bewicks Pipe Tunes, which has a tune of the title which is *not* Billy Boy Might also possibly apply to Lord Randal Then there's Moll Brook I presume that the other responses relate to the For he's a jolly good fellow tune - ? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tune hunt: OT but I hope interesting!
I've no idea whether it's got anything to do with Lord Randal. I was made aware, from my reading, of the idea that 'Billy Boy' and 'Lord Randal' are sort-of counterparts to each other, humorous and tragic, and both have relatively old antecedents. The Note in Bewick merely hints at this muddy area, it doesn't have answers. But there is a good tune included, and it fits the Randal words rather better than the Billy words. It's all a big muddy soup, and what does it all mean, I ask you, eh? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: James Grieve
On Mon, Oct 25, 2010 at 4:14 PM, Jim McGillivray [1]jim...@piping.on.ca wrote: (I've attached a photo of the Border set.) The list won't accept attachments could be a reproduction from the late 1800s as two or three of the large GHB firms were making reproductions of Hugh Robertson's Border pipes. I'm not an expert on the chronology, but AFAIK Robertson half-longs were made in the 1920s-30s. If Jim was a Boys Brigade piper they may well be Robertsons. Cheers Matt -- References 1. mailto:jim...@piping.on.ca To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Proudlock's Hornpipe - earliest reference?
See the Comments tab here - [1]http://www.thesession.org/tunes/display/2734 I am aware of the obvious similarity between Monk's and Proudlock's but for some reason I'm not quite convinced that one is derived from the other - it could be (unconscious) plagiarism, but it might be plain coincidence. YMMV -- References 1. http://www.thesession.org/tunes/display/2734 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: (Fwd) Hello - Spanish luthier enquiry
Simple mistranslation - plano = plan (noun) or flat (adjective) salud el ultimo gaitero de la frontera On Thu, Oct 7, 2010 at 9:33 PM, Julia Say [1]julia@nspipes.co.uk wrote: I've just received this message, and I've mislaid my babel fish. Would the consensus here be that he's looking for plans to make nsp, as I suspect? Alternatively, is there someone whose Spanish is up to contacting him and enquiring if this is indeed what he's seeking (and possibly point him to Mike Nelson's site if so), or if not, how can we help him. Thanks Julia --- Forwarded message follows --- From: Sarrablo Gonzalo [2]gsarra...@hotmail.com To: [3]julia@nspipes.co.uk Subject: Hello Date: Thu, 7 Oct 2010 22:02:21 +0200 Hello, I'm a luthier, and I'm searching flats for made a norththumbrian small pipe. Do you know where can I find one?? I live in spain and here is very dificult find it. Thank you very much --- End of forwarded message --- To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:julia@nspipes.co.uk 2. mailto:gsarra...@hotmail.com 3. mailto:julia@nspipes.co.uk 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re:
Will the Barber (or won't he?) On Wed, Sep 8, 2010 at 5:14 PM, Gibbons, John [1]j.gibb...@imperial.ac.uk wrote: 4-bar jigs are worth thinking about too - see 'I cannot get time to play with my hinny' (both versions) on FARNE, or of course 'Wylam Away'. There are a few others, like Blowzabella, but maybe there should be more! John -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:j.gibb...@imperial.ac.uk 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: The Grand Chain
It seems from [1]http://www.ibiblio.org/fiddlers/GRA_GRAPE.htm that it is in fact La Grande Chaine and that Le Grand Chien is the mondegreen but truth is sometimes stranger than fiction, or more slippery than friction -- References 1. http://www.ibiblio.org/fiddlers/GRA_GRAPE.htm To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: The Grand Chain
Thanks Francis, but the credit goes to Paul Gretton! -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Newcastleton Piping Comps
NEWCASTLETON TRADITIONAL MUSIC FESTIVAL has the longest running Border piping competition in Scotland and the only Northumbrian smallpipe competition in Scotland. This year's date is 3 July. [1]http://newcastleton.com/ [2]http://newcastleton.com/comps2010.html Entry requirements for both: Novice and Non-Previous Winner - Two contrasting Border/Northumbrian/Lowland tunes Open - As above, one or both tunes with variations. There's plenty more going on as well, formal and otherwise. And it's only fair to mention the midgies. -- References 1. http://newcastleton.com/ 2. http://newcastleton.com/comps2010.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Rosslyn Castle
An early sighting is in Oswald CPC Vol 4 where it is called Roselana Castle: 2 strains of air followed by 2 of variation followed by 4 'Brisk' 6/8 jig strs. The tune has been attributed to Oswald - it was previously published by McGibbon as Glamis Castle in 1746 but Purser's notes in the CDR edition of CPC lend support to a claim for Oswald - the two men knew each other and were both Freemasons. I don't have Andy's CD but if his story is about a mason I suspect it relates to the Apprentice Pillar in Roslin Chapel - a different building. The Welsh story - no comment. On Mon, Apr 26, 2010 at 1:10 PM, Richard York [1]rich...@lizards.force9.co.uk wrote: Rosslyn/Roslyn/Roslin Castle is a tune I love, and it's in the NPS books. I'd like to find more about the origin. The story about the mason, from Andy May on his CD insert, is a great tale, but of course doesn't explain the tune's beginnings - I sort of assumed from there it was perhaps a lament related to the terrible deed. But it never seems very Scottish in its shape - all those major 7th leaps in a minor tune. We have a CD by the Welsh triple harp player Llio Rhydderch (OT thought... so was Lliopatra really Welsh, not Egyptian??!) who is very steeped in her tradition and takes it very studiously. She writes that there's a tradition that a relation of the famously Eponymous David of the White Rock, (and he died early mid C19th), travelled to Rosslyn Castle where he worked as a gardener, and took the tune with him from Wales. Certainly, once you hear her playing of it, it's absolutely Welsh. And very much the same feel as the David Of etc tune. On t'other hand she doesn't actually say who wrote it or when. While it's not strictly a Northumbrian Question, it's now in the nsp repertoire, so does anyone know any more of it, please? Thanks, Richard. To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:rich...@lizards.force9.co.uk 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Rosslyn Castle
On Mon, Apr 26, 2010 at 2:18 PM, Richard York [1]rich...@lizards.force9.co.uk wrote: what about the Scottishness of Welshness of the shape of the tune? I don't know enough about Welshness to comment, but to me the tune sounds more rooted in a particular time than a particular place. -- References 1. mailto:rich...@lizards.force9.co.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Miss Forbes' Farewell
On the subject of sharing tunes in emails, here's a transcription I did recently after Anthony Robb reminded me of Will Atkinson's playing of Miss Forbes' Farewell. It's very slightly idealised, in that Will does play all the 'deviations' included in the second pass through the tune, but not quite as systematically as I've notated them - which is no criticism of Will. If you don't know what to do with abc go to [1]http://www.folkinfo.org/songs/abcconvert.php or [2]http://www.concertina.net/tunes_convert.html and copy and paste the text from X to the end into the box and press 'submit'. X:1 T:Miss Forbes' Farewell To Banff C:Isaac Cooper (a.p.b. Will Atkinson) R:Rant M:4/4 L:1/8 K:Gmaj GA | B2Bd cBAG | B2d2 efge | d2de dBGA | B2 A2 A2 GA | B2Bd cBAG | B2d2 efge | d2de dBGA | B2 G2 G2:|] [|Bd | g2ga gfed | edef g2fe | d2de dBGA | B2 A2 A2Bd | g2ga gfed | edef g2fe | d2de dBGA | B2 G2 G2 Bd|| g2ga gfed | edef g2fe | d2de dBGA | B2 A2 A2 GA | B2Bd cBAG | B2d2 efge | d2de dBGA | B2 G2 G2|] [|GA | BGBd cBAG | BGBd efge | dBde dBGA | B2 A2 A2 GA | BGBd cBAG | BGBd efge | dBde dBGA | B2 G2 G2:|] [|Bd | gfga gfed | edef g2fe | dBde dBGA | B2A2 A2Bd | gfga gfed | edef g2fe | dBde dBGA | B2 G2 G2 Bd|| gfga gfed | edef g2fe | dBde dBGA | B2A2 A2 GA | BGBd cBAG | BGBd efge | dBde dBGA | B2 G2 G2|] -- References 1. http://www.folkinfo.org/songs/abcconvert.php 2. http://www.concertina.net/tunes_convert.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: key springing.
Having been thoroughly negative, if someone else can get a program going (the use of modes in Border music, Matt? grin), I'll attend if at all possible. I'll give it some thought. My own disincentive for doing anything much there is that I don't want to miss the Border Ballad comp and workshop - if you think piping is an obsession, try ballads! -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: travelling with NSP
On Fri, Mar 19, 2010 at 2:30 PM, [1]pscot...@gmail.com wrote: many thanks to all on this posting response Knowing what Dublin airport security is like, it would be remarkable if they even notice anything unusual at all. Paul It is common for Uilleann pipers to use a hard gun case. How they got on with security during the troubles, I wouldn't like to guess. -- References 1. mailto:pscot...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: pipe cases
On Thu, Feb 18, 2010 at 2:30 PM, DEREK LOFTHOUSE [1]dloftho...@shaw.ca wrote: There is a Belgian on the HurdyGurdy list, who is in the military, who has tried to blow up his Pelican case (empty) with grenades but it survived intact. DON'T TRY THIS AT HOME ! -- References 1. mailto:dloftho...@shaw.ca To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Holy/Holey Halfpenny
I'm currently putting what I hope are the finishing touches to the new edition of Bewick's Pipe Tunes. I've reverted to Robert's Holy Halfpenny title , corroborated by another early local source, rather than the later Holey, and written The significance of either interpretation is unclear. Is it? Does anyone actually KNOW, rather than have an interesting theory? Cheers Matt -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Holy/Holey Halfpenny
poor Matt should have known better than ask for anything conclusive... ;) Keep it coming, please - poor Matt -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Memories of Father Angus MacDonell
Not Northumbrian or pipes, nor Cape Breton, but some may enjoy this 1972 RTE prgramme on John Doherty the Donegal fiddler, in 5 parts. Part 1 is [1]http://www.youtube.com/watch?v=TiehZZ2tXKg -- References 1. http://www.youtube.com/watch?v=TiehZZ2tXKg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Sliabh na m'bhan (was Gaelic Pronunciation)
On Sat, Feb 6, 2010 at 6:21 PM, Julia Say [1]julia@nspipes.co.uk wrote: On balance I think it's been of great use to a large number of people over the years. Sure. And everybody has a bad slow air day once in a while, no big deal. -- References 1. mailto:julia@nspipes.co.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Gaelic Pronunciation - pedantry warning
It's all beyond me, I don't know my Erse from my Alba On Fri, Feb 5, 2010 at 5:04 PM, Paul Gretton [1]i...@gretton-willems.com wrote: Good point! Similarly, we don't say Deutsch when we mean German or Nederlands when we mean Dutch. In the same vein, it annoys me when various BBC pundits talk of the language of Iran as being Farsi as opposed to Persian. (It seems btw that the Persian equivalent of the Academie Franc,aise would in any case prefer us to use Persian.) -- References 1. mailto:i...@gretton-willems.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Warning: scam
I found the following on Amazon for a hefty price - Music of Northumbria: Northumbria, Folk music, Border ballad, Northumbrian smallpipes, Bagpipes, Fiddle, The Ballad of Chevy Chase, Rapper sword, ... Bagpipe, Border pipes, Pastoral pipes (Paperback) by Frederic P. Miller (Editor), Agnes F. Vandome (Editor), John McBrewster (Editor) No customer reviews yet. Be the first. Was curious as I'd not heard of the authors or the publisher, alphascript - googled them and quickly learnt that the setup is a scam which recycles wikipedia articles and packages them as a plausible-ish looking book. Your own work may even be in there. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: NSP oil for pipes and key pads
I can attest to extremes of skin chemistry. At a gig once where I was playing electric guitar another band asked to borrow our gear for a song or two. I lent their guitarist my newly-strung instrument, and when he returned it a few minutes later the strings were rusty and dead. After that I made sure I asked 'do you have sweaty hands?' before granting similar requests. For pipers, the secret is to play pipe music, thus eliminating any need for metal keys :-) -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: NSP
Etiquette Only couple of gross offenders, but please don't include EVERY message in a thread when you reply to it, just the relevant bits Happy New Year -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: What to call youself
On Wed, Jan 6, 2010 at 8:11 PM, Ernie Shultis [1]cmcpi...@hotmail.com wrote: Cauldwind Pipes Or as Colin Ross strategically called then, the ambient-air-temperature pipes, thus successfully and wisely scuppering an attempt to change the Lowland and Border Pipers' Society into the Cauldwind P.S. Or so the urban myth goes. -- References 1. mailto:cmcpi...@hotmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: NSP item on BBC Radio 4
I don't suppose anyone wants to hear my theories about Holey Ha'penny? Francis Yes please -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: schei greiss
Notereader makes Hornpipes sound fairly good in 21/16, with dotted and undotted quavers alternating. Do you mean 20/16, John? Any system of notation relies on a culture which knows how that particular music is played, just as any written language relies on people knowing how to pronounce it (greiss / grace etc.). The problems Anthony highlights are well known - use dots if you know how the music sounds, otherwise they are a hindrance. Ancedote, half-remembered: an arranger scored out a trumpet part for Miles Davis with a serious attempt at imitating what he understood of the nuanced rubato of Miles' phrasing - Miles said, I can't read this, man, write it straight, I'll phrase it. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: [nsp] file
I agree with Julia on the idiosyncratic nature of the Kielder Jock ms. Note that the title and composer have been supplied by another hand. The version of Barrington is one musician's rendering, and valuable as such, but I don't think it improves on the 'original', which is what the Fenwick Tutor version appears to be. The other tunes Fenwick included show him - imho - to be in touch with the core repertoire of the smallpiping tradition, presumably from the best players of the time, e.g. his Holey Ha'penny is the Clough version, simplified but with all the essentials. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: musical form
Call and response is a good term Stephen, as is Colin's question and answer. I think it's kan ha diskan in Brittany, and no doubt there are other terms from other places. I'd noticed this in pipe tunes (e.g. Lasses Boozes Brandy, Sweet as Sugar Candy, Cuddie Claw'd Her) and I'd referred to the instrumental 'responses' as mid-tags and end-tags, but as you point out they are the recurring phrases of songs, and this is borne out in cases where the lyrics survive. I think it's an important observation of Colin's that the A and C lines (but not the B and D) are varied. I think you'll also find that the A and C in an individual instrumental strain (as opposed to a song lyric) are often the same as each other. If you add the element of harmony alternating with discord against the drones (most often 3 of one and 1 of the other), you have many of the procedures needed to make what we recognise as a traditional pipe tune - which will only be a *good* tune if there is a strong melodic idea present. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Whinshields thingummy
The FARNE site does not make it clear enough that I did NOT write the Morpeth Rant article. I would rather it did make it clear because I don't wish to take the credit or the blame for what I didn't write. I DID write the other three and also the Introduction to the Core Tunes [1]http://www.asaplive.com/FARNE/Learn.cfm?ccs=229cs=965 which I hope some of you find enjoyable and perhaps inspiring. On Sat, Sep 19, 2009 at 8:33 AM, Francis Wood [2]oatenp...@googlemail.com wrote: On 18 Sep 2009, at 16:44, Anthony Robb wrote: Might be of interest - [1][3]http://www.asaplive.com/FARNE/Learn.cfm?ccs=229cs=935 Anthony Thanks, Anthony. Interesting indeed! I'd not noticed Matt's 'Core Tunes' discussions on FARNE (great stuff, Matt!), which are definitely recommended. Francis To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.asaplive.com/FARNE/Learn.cfm?ccs=229cs=965 2. mailto:oatenp...@googlemail.com 3. http://www.asaplive.com/FARNE/Learn.cfm?ccs=229cs=935 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: [NPS-Discussion] Cut and Dry Dolly
On Thu, Sep 17, 2009 at 12:51 PM, [1]richard.hea...@tiscali.co.uk [2]richard.hea...@tiscali.co.uk wrote: Speaking purely personally, and without further evidence at this stage, the definition that most appeals to me is that relating to a kirn-dolly the last corn to be cut which is then dressed as a female. This event appears to be a suitable cause for celebration and just the sort of event to name a tune after; further the cut and dried part of the name appears consistent with the cutting and drying of corn (or other cereals, perhaps). The test application of good old Occams Razor may support this straightforward explanation. I'm with Richard and Stephen Douglass on this. Wikipedia gives an interesting counterpart to occam's razor which I feel applies to some of the other explanations advanced! - --- Crabtree's Bludgeon is a foil to [3]Occam's Razor, and may be expressed so: No set of mutually inconsistent observations can exist for which some human intellect cannot conceive a coherent explanation, however complicated. -- References 1. mailto:richard.hea...@tiscali.co.uk 2. mailto:richard.hea...@tiscali.co.uk 3. http://en.wikipedia.org/wiki/Occam%27s_Razor To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Looking for other NSP players in Suffolk or East Anglia
As a non-NSP player who does however play regularly with NSP players I would caution that a concert D set is NOT the obvious choice if you are playing with other instruments whose main keys are G and D. In terms of the range and key of many trad tunes played on other instruments with which you wish to play along, my experience tells me that you would be better off with a concert G set which plays easily in the keys of G and D - and has the notes equivalent to the fiddle's top string (e f# g a b) - rather than a concert D set which plays easily in the keys of D and A and only goes up to f# on the fiddle's top string. I would ask NSP players to comment on the above from their own experience. Matt Seattle On Wed, Aug 12, 2009 at 1:47 PM, Gordon Brown [1]gor...@10db.co.uk wrote: Many thanks to all who replied, I've given this lots of thought! I really am set on a concert D set of pipes as my primary aim is to play with the many melodeon players that I know and this rather fixes me in D, especially for the majority of the tunes I already play. I am also determined to sing with the pipes, although I acknowledge the potential problems with the strap. Although we have both a chromatic and FC autoharp, the majority of our instruments are DG diatonics or straight D diatonic (Gordon has converted two 'harps by scratch building complete chord bar assemblies for them). Before I finally decide to order a set, is there anyone on the list that may wish to part with a concert D set? I've bought 'harps this way before from another list, Cyberpluckers, and at least we knew the owner had a decent knowledge of the instrument otherwise they wouldn't have contributed to the list. I suspect that this goes double for this list! Alison -Original Message- From: [2]ross.ander...@cl.cam.ac.uk [mailto:[3]rossjander...@googlemail.com] Sent: 09 August 2009 17:30 To: Gordon Brown Cc: [4]...@cs.dartmouth.edu Subject: Re: [NSP] Looking for other NSP players in Suffolk or East Anglia To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:gor...@10db.co.uk 2. mailto:ross.ander...@cl.cam.ac.uk 3. mailto:rossjander...@googlemail.com 4. mailto:nsp@cs.dartmouth.edu 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: [NPS-Discussion] Robert Bewick tune
This thread seems to have been split between the dartmouth and NPS groups so I'm resending this bit to both. I've since checked SMM and found that the link ([1]www.gleeman.org) provided by Richard gives an inaccurate transcription and midi of SMM, which is actually closer to Oswald than it appears. I will post a corrected version later. Is anyone still interested in this tune? --- As promised, Oswald's version. I'd be interested in people's preferences between this and the Burns/SMM, and also which key sits better. Any other versions known? X: 1 T:What shou'd a Lassie do wi an auld Man Z:Matt Seattle R:Song or Jig B:Oswald's Caledonian Pocket Companion vol. 6 M:6/8 L:1/8 N:Brisk K:Em B|efe gab|abg ~fed|efe gab|dBB B2:|] [|:d|(BG)G (BA)A|(dB)B B(e/f/g)|(BG)G (BA)A|(dB)B e2d| (BG)G (BA)A|(dB)B g2a|(ba)g (fba)|(ge)e e2:|] -- References 1. http://www.gleeman.org/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Transposing music
On Fri, Jul 31, 2009 at 3:12 PM, Christopher Gregg [1]chrisdgr...@gmail.com wrote: I am looking for a way to transpose some duet parts from G down to the key of F without having to wrie it all out by hand. Any suggestions? Yes. Just read it down one note without writing it out. You'll soon get used to it and acquire a valuable skill. -- References 1. mailto:chrisdgr...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: [NPS-Discussion] Robert Bewick tune
That's a fine tune from the Scots Musical Museum. I checked for other versions and found it's also in Oswald (c.1750), 'What shou'd a Lassie do wi an auld Man'. Different details - no snaps, and in G/Em rather than D/Bm - but basically the same melody. I'll post the abc but haven't time just now, if someone else does it first, good. What's the feeling about choice of key for NSP? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Newcastleton Festival Piping Competitions
The 40th Newcastleton Traditional Music Festival [1]http://www.newcastleton.com takes place 3-5 July. There are piping competitions on the Saturday afternoon. I've been asked to judge them and to spread the word. Northumbrian Pipes (all classes) 2.30 pm in the Community Room, this is followed by Border Pipes (all classes) and in the same venue. As there are no rules specified on [2]http://www.newcastleton.com/rules.html I have agreed the following with the committee - Northumbrian Pipes - entrant's choice of 2 tunes of contrasting tempo from Northumbrian or Border tradition (open class, at least 1 of the tunes to have variations) Border Pipes - entrant's choice of 2 tunes of contrasting tempo from Border or Northumbrian tradition No time limits apply, use your common sense The competitions have been struggling for numbers recently but the organisers are keen that they continue, I hope some of you can come to play and/or listen. -- References 1. http://www.newcastleton.com/ 2. http://www.newcastleton.com/rules.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: re notes v. ear
On 6/11/09, anth...@robbpipes.com anth...@robbpipes.com wrote: When asked what the third tune was, Robin said he hadn't a clue - he'd forgotten the tune he was going to play and set off making a new tune up as he went along. This has happened on several occasions with Border Directors, as Chris would testify if he were still amang us. It's simply down to experience and musicianship on the plus side, and losing the plot on the minus side! The band keep going, following the twit (me) who's making it up as he goes along, and it is great fun, and no big deal in the scheme of things (unless a remarkable new tune were to emerge). Returning to ear/dots, specifically for learning - a/ it's normal musicianship to be able to do both (may we aspire to normality and have compassion for our own and others' shortcomings) b/ they are both a means to an end and neither should be mistaken for the end, which is to learn the tune c/ learning - thoroughly assimilating and internalising - a tune is IMHO a prerequisite for playing it with conviction, and also a necessary preparation for those occasions when a door opens (to the right side of the brain? to inspiration?) and some extra juice becomes available to do something NEW with it d/ workshop conditions are a relatively artificial environment for learning, whether by ear or dots. As a punter at a workshop I can pick up a tune either way, but unless it's relevant to me it soon fades, as the ones I already know are taking up the available storage. e/ if I'm the person running the workshop I aim not to make it primarily a tune-acquisition exercise but to use tunes (via dots/ear or already learnt) to explore aspects of musicianship which relate to traditional music To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: [NSP] Re: Peacock’s Tunes Facsimile
On 6/10/09, Dave S david...@pt.lu wrote: I,m sure it's online somewhere Francis, but my question is who actually learnt these tunes from the tradition --- ie from someone who learnt them from someone whose knew someone who learnt from Peacock ? do we have anyone -- if so could they please set up a master class Dave S (Tongue In Cheek) No need to have tongue in cheek, Dave. The contact is traceable through the tale told by the written music, which provides ample evidence that the Clough tradition is in direct descent from Peacock (AND Dixon), and many playing now are only one or two removes from Tom Clough, e.g. via Billy Pigg, and in one case, via the specific approval of Tom's son. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Was: this list is safer now//speed
I'm still bashing away at Peacock, and only recently took note of the metronome settings in the recent edition, some of which are, to me, stratospherically fast. I have never taken note of them so can't comment. What I eventually took note of was the remark of Thomas Bewick quoted in the earlier NPS facsimile reprint (my copy is now falling apart but treasured) - with his old tunes, his lilts, his pauses, and his variations, I was always excessively pleased. Somewhere else it is written that Peacock was the best player of his day, though not a scientific performer (correct me if needed). I strongly suspect that there is a literal meaning to 'pauses' here; in the slower tunes based on song airs, imitate what a singer does with the last note of a line by holding the last note of a phrase. This requires a sensitivity to music beyond reading the dots, and is an aspect of expression (not to be confused with self-expression). It can be overdone of course, but an absence of passion - or any emotional involvement - will leave us cold. For the faster tunes I don't think there is necessarily an optimum speed for a Peacock tune or anything else, it depends on the occasion, the company, the available 'juice' (NOT the liquid kind). Richard Y mentioned All The Niight I Lay With Jockey - I'd recommend you also listen to Chris Ormston's recording. I play this tune on Border pipes (not NSP) and one thing I noticed recently was how the arpeggios in the last strain - which I previously thought of as mere padding - can come alive if the initial note of four is held as long as possible without making the next three impossible - does this work for any NSP players here? There's also the Clough procedure, which Chris does in his repeat, of filling out the arpeggio, B/c/dgd rather than Bcgd. There are other ways of varying what appears to be the most boring part of the tune, and there are other versions of this (and other Peacock) tunes which cast more light, much needed in the absence of a living culture of variation playing. (A word of caution - this tune has been misunderstood by some players who incomprehensibly treat it as an A minor tune and play it with inappropriate drone tuning, a recommendation thankfully not repeated in the 1999 edition.) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Was: this list is safer now//speed
in case you didn't spot my mistake B/c/dgd rather than Bcgd should read B/c/dgd rather than Bdgd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: this list is safer now
On 6/9/09, Di Jevons d...@picklewood.info wrote: I do think however there is a danger that 'life and bounce' can be mistaken for 'breakneck speed' Well said, Di. Going further, 'life and bounce' are (imho) incompatible with 'breakneck speed'. Try, for example, to play a jig with any kind of lilt AND to play it fast, and you'll soon stop wanting to play it fast. This is so obvious to me now, but I admit it took me years to arrive at the obvious. Breakneck speed with accuracy IS impressive, as Paul points out with some irony; it is unattainable for many (self included), and more importantly - do you want to be impressed by music, or caressed by music? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: EGM
I am pleased that a new form of words has now been proposed. I could not have signed the previous motion, as I can neither have nor lack confidence in a decision which resulted from circumstances and discussions of which I only have very partial knowledge. I have no knowledge of Joyce Quin; whatever her qualities and achievements, I question whether this position, President of a Society dedicated to Music in one of its manifestations, is the appropriate recognition of them. As for Colin Ross - in my view, the juice that powered the High Level Ranters is recognition from a place more real than the world of societies and committees, which - in my limited experience - may behave in a way that is less intelligent than might be expected from the intelligence of their members - which is NOT a dig at the NPS Committee, it just seems to be the way the world works. People have had their little gripes and digs at Colin here even while supporting his candidacy. Let's get over it, we're all flawed, and I suspect none of us would be here reading this if it were not for Colin's contribution. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Colin Ross
Another vote in favour - if Colin is willing, obviously To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: nps
A lot of sense in there Barry. It's easy to forget, if one is struggling with the intricacies of technique, that a relatively uninformed listener will not actually give a hoot about closed or open fingering, but *will* respond to musicality on a macro-level. I have seen in more than one context that an obsession with the 'right' way of doing things on a micro-level can go hand in hand with a startling ignorance of general musicianship, as well as an unpleasant tendency to rubbish those of different persuasions in an attempt to mask a deeply felt insecurity. We all need each other to help each other see the parts of the picture that we don't see because of our individual limitations. Evangelists of all kinds can often be 'right', but usually only about the tiny bit of the picture that they know. There's a bigger picture that we can only see between us, which is why we appear to be more than one person, though actually we're not. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Lisa Ridley
I went to that Manitas de Plata concert too! There's a strange convergence in mentioning Manitas de Plata here. During his period of fame, which I also remember, he was lionized by the great and good (e.g. Picasso, Dali), who, I suspect, would have seen him as a kind of unsophisticated 'product of nature'. At the time I was learning a bit of flamenco guitar (whence I have some knowledge of the 3/4-6/8 patterns present in Iberian music). It was stressed to me that the foundation of flamenco music is compas - the specific rhythm of each toque (form). One of my teachers mentioned Manitas as having 'ni compas, ni nada' (no rhythm and all else), and when I had learnt something about compas I could also hear this. Did Picasso give a hoot? Did the general public? Did Manitas? I don't know if I have a point to make, other than, it's that kind of world we live in. I'd (much) rather hear Rod Paterson than Eddi Reader sing Burns, but she's the one selling the tickets and CDs. Talking of convergence, third time of asking, does no-one have ANYthing to say about presence or absence of rant rhythm in any of Peacock's tunes? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Lisa Ridley
As far as I can remember there are quite a few dance tunes in the Peacock collection. I'm not able to check how ranty they are the moment I'm thinking specifically of variation sets - Cuckold, Cut Dry, I Saw My Love, Jack Lattin (however he's spelt) - which I suspect you can check from your internal hard drive. Seems to me they can be played to fit the rant rhythm without distorting them, though the *written* note values are half those we would use for Corn Rigs etc. etc. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Re:
On 4/13/09, Ian Lawther irlawt...@comcast.net wrote: ... Session A7 among many others. I think you mean Session A9 Ian. Session A7 is me and Bill Telfer, and we rock. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Re:
My mistake Matt - but then you too are a kid from Kent (and more precisely I think you and Tim Edey are both native to the Planet Thanet) 'Tis true, sir (along with Tracy Emin Edward Heath), though my genes are from elsewhere. As are my jeans. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Queries
Now the stupid question - is there any reason why I shouldn't play while pregnant? Of course. Peacock tunes only, though. It might the last chance to save the world. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Lots
if people want to do something genuinely Northumbrian they have a choice of the virtuoso Clough/Peacock repertoire (akin to Ceol Mohr for me) or the more accessible, but still non-intuitive, Ceol Beag which, for me, is the dance music of north Northumberland. Is there no convergence? I asked earlier, and no-one has replied, whether some of the Peacock variation sets might be considered as Rants - though they don't LOOK like rants because of the written note values. For example, Chris Ormston and I play Cuckold as part of a Dashing White Sergeant set after DWS and Jamie Allan, and the dancers don't fall over (well, not much). Cut Dry Dolly is a different type of tune from Morpeth Rant in many ways but it still has that 3-crotchet signature at the end of phrases if you double the written note values. And what was the Oyster Wife doing? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: When did a rant become a Rant?
Some strathspeys have 'Rant' in the title also, e.g. Rothiemurchus' Rant, Carrick's Rant. What's being referred to here is a more specifically regional use. I've been wondering if some of the common-time tunes in Peacock (Cuckold, Cut Dry, Passing By, Jackey L) pass the soup test, and might be used for dancing, or are they purely for inner dancing, with their 'lilts and pauses'? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: stiff fingers and aging
Whether or not this was intended, Anthony Robb's comments on Dick Hensold's playing style came across to me as condescending at best. Well, Dick is my mate, and I'll stick up for him! I know him to be more concerned than most with his articulation, but not in the sense of focussing on one single 'correct' method for all purposes. I've been taken to task here before by Chris Ormston, another mate, fellow Border Director, and a piper I respect hugely, for attempting to put the subject of articulation into a larger context. While I know that the Clough 'peas-out-of-a-pod' approach is the benchmark of traditional playing, I, as a non-smallpiper, find that I am much more interested in WHAT is being played, and the overall musicality of the performance, than in the staccato/legato issue. An illustration: 1/ My Ain Kind Dearie in Peacock's Tunes is a short masterpiece, and is out-on-a-limb in the context of Peacock's collection in that, though it is a variation set, it is not a plain chanter variation set. It explores new territory for the smallpipes while remaining true both to the tune and to the ethos of smallpipe variations. 2/ In the hands of the Cloughs the same tune (aka The Lea Rigges) stretches the technical boundaries of the instrument still further, with a version in A as well as G, but the tune suffers a little, with c replacing B at crucial points, and the variations, particularly the even-numbered ones, tend to lose the plot melodically and harmonically. While Tom Clough was of course capable of masterpieces of his own (e.g. the variations on What Can The Matter Be), this set shows that he did have his musical limits. 3/ Dick Hensold (Big Music for Northumbrian Smallpipes CD) returns to the Peacock setting and expands it into a variation sonata which includes sections in strathspey and jig rhythms. The piece lasts over 8 minutes, is full of variety, and never loses sight of the tune. It is so far off the radar as far as the generality of smallpipers are concerned that it has hardly been noticed, was barely mentioned in the CD review in the NPS mag, and yet it is a highly significant musical advance which is still firmly rooted in the tradition. Whatever you think of Dick's style of articulation, this consumer of Northumbrian smallpiping finds his musicianship to be of a rare order. It's not just *the way* you play it, its also *what* you play. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Keep on Ranting!
Good one! And NEARLY fits the Border pipes too. I use this site http://www.concertina.net/tunes_convert.html for abc conversion, don't know if it's better or worse than the other one. borderdirectors.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
