Toby Rider wrote:
they don't feel comfortable asking their peers, and don't have anyone
to go to for lessons. I am talking about the boondocks here, not San
Francisco or D.C. or Seattle or Boston.
Okay, thanks for explaining your positions on this stuff. It's good that
Toby Rider wrote:
One of my buddies who runs a recording studio in Venice (who knows
nothing about Scottish music) when he first met me said So you play
Scottish music? Like Ashley MacIsaac and Wolfstone? Wow, those guys
really rock.. That's really cool! Another traditional artist who has
BH? Heavy metal attitude with more music
theory and the tightest electric band I've ever heard. They play with
the precision of Acadamy of St. Martin in the Fields.
Oh yes, I've heard Bad Haggis.. They're pretty interesting :-) I think
your description fits them to a tee. They're kind of
Cynthia wrote: re Highland march:
Rather, Mike told me it was a swinging fast walk. Maybe he
was thinking of the kilts, but a louping jog could fit the description
as well.
I think the great kilt (full thingy, huge length of fabric in one piece
for cloak and all) pretty much forces a
Cynthia Cathcart wrote:
Dancing maybe, but not marches writes my friend David (hi David!)
Actually, that's not true. The brosnachadh (the incitement to battle)
was a march, and was originally played with the wire strung harp,
perhaps solo or perhaps as accompaniment for a chanted poem.
I
In a message dated 1/19/03 5:34:19 PM Eastern Standard Time, [EMAIL PROTECTED] writes:
We certainly know that harpers accompanied warriors/chieftains into
battle, but we don't have a very clear idea of the protocol of battle.
The more I read about this, the more I get the impression of a
I'm working up a Time Line of the harp in Scotland and Ireland.
I wanted to see where all the different styles and types of harps
and music come in to play in relationship with each other. It's
been very enlightening! One thing I haven't been able to track
down is the first appearance of the
The sad thing is that to be a master harper according to the Scottish
Harp Society one must be able to play a March/Strathspey/Reel set and
not much else. The repertoire requirement is 40 tunes, 75% of which is
MSR's. (one also has to have 10 airs which are broadly defined. For
example,
In a message dated 1/17/03 11:50:04 AM Eastern Standard Time, [EMAIL PROTECTED] writes:
Still this is interesting and surprising info. on the requirements of
your organization. Can you elaborate on how these requirements were
developed?
My understanding is we looked at the Fiddle competition
[EMAIL PROTECTED] wrote:
The sad thing is that to be a master harper according to the Scottish
Harp Society one must be able to play a March/Strathspey/Reel set and
not much else. The repertoire requirement is 40 tunes, 75% of which is
MSR's. (one also has to have 10 airs which are
In a message dated 1/17/03 11:50:04 AM Eastern Standard Time,
[EMAIL PROTECTED] writes:
Still this is interesting and surprising info. on the requirements of
your organization. Can you elaborate on how these requirements were
developed?
My understanding is we looked at the Fiddle
Toby Rider wrote:
My next move is to buy an electric fiddle, either a Zeta or a Yamaha,
and start pluging it into all my guitar effects, just to see how much I
can tweak the tones out of 4 little strings. Guitarists have been
experimenting with this stuff since the 1940's, I think it will be
- Original Message -
From: Carla and Bob Rogers [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Wednesday, January 15, 2003 11:29 PM
Subject: Re: [scots-l] Tempos
mary umbarger wrote:
Toby!!
I can't believe you know where I live!! It, indeed, is a small world.
I
On Thu, 16 Jan 2003, George Seto wrote:
This is alot different then a competition. As soon as you
say competition and offer prizes, then it becomes something entirely
different.
It begs the point of WHY.
Most people would know from the playing if the person is good at all.
Beyond this,
Re Toby Rider and Sue Richards comments on traditional music and
musicianship.
I have been listening to and studying Cape Breton fiddle music for over
60 years now. The best known CB fiddlers over that period of time were
those with the highest skills on the instrument, without a single
Sue Richards wrote:
At 10:00 PM 1/15/03 -0800, Steve wrote:
In the San Francisco branch of the RSCDS, every year at the Pleasanton games
we have an adjudicated dance exhibition. What that means is that each
participating group gets up on a stage and does a 3-dance medley in front of
2
George Seto wrote:
Most people would know from the playing if the person is good at all.
Beyond this, why compete?
The people who are good, know it, and don't have any need to prove it.
The ones who are not AS good, know it, and would be learning from the
ones they admire. The way it is
I don't know about this Sue. I have to say that I disagree with the
people who are into these contests. Especially the ones who use
competitions as a balm to their egos.. IMHO, there's something wrong with
that. In Ireland they have trad. music competitions as well and I think
those are not good
Harmony, NC
From: Toby Rider [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Wednesday, January 15, 2003 11:08 AM
Subject: Re: [scots-l] Tempos
I don't know about this Sue. I have to say that I disagree with the
people who are into these contests. Especially the ones who use
NOW- the thrust of this is : If I did not enter these competitions
I
would not put forth the effort to learn, understand, express and
perfect. I would only learn and play - and it would be acceptable for
my audiences. I love performing more than I do competing, but the
competing , I
them!!
Mary U
- Original Message -
From: Toby Rider [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Wednesday, January 15, 2003 1:44 PM
Subject: Re: [scots-l] Tempos
NOW- the thrust of this is : If I did not enter these competitions
I
The whole musical competition atmosphere creates a bunch of players who
sound like robots. I can't stand listening to those GHP competition
recordings, they're dull as cold oatmeal, because they all sound the
same.
The Lowland and Border Pipers Society have an interesting method of
judging
mary umbarger wrote:
Toby!!
I can't believe you know where I live!! It, indeed, is a small world. I
Mary Umbarger
Harmony, NC
One of the few towns in North Carolina I *haven't* worked in...
Bob Rogers
mary umbarger wrote:
Toby!!
I can't believe you know where I live!! It, indeed, is a small
world. I
Mary Umbarger
Harmony, NC
One of the few towns in North Carolina I *haven't* worked in...
Well Harmony is
mary umbarger wrote:
I AM familiar in traditional Old Time competitions. You are absolutely
correct when you speak of egos and grandstanding, but I must admit that most
of these folk are really good musicians and much can be learned from them.
Here again, I enter for the love of the music,
At 10:00 PM 1/15/03 -0800, Steve wrote:
In the San Francisco branch of the
RSCDS, every year at the Pleasanton games
we have an adjudicated dance exhibition. What that means is that
each
participating group gets up on a stage and does a 3-dance medley in front
of
2 adjudicators (who are
I surfed on the web for Toby and read all about him. He should know what
he is talking about and, despite the fact that I am a judge for the SHSA
Comps I agree with almost everything he says! Competitions are a real
problem in the trad. music world.
I don't really know what I'm talking
There is an excellent article by Elke Baker on reel tempos
at the SHSA website:
http://www.shsa.org/music.
She talks about many of the issues we have discussed here.
At 05:21 PM 1/14/03 -0500, Sharon wrote:
(snip)
despite the fact that I am a judge for the SHSA Comps
I agree with almost
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