Vibrato is fine by me!  It's crept into my playing more and more over the
years and nowadays I find myself adopting some Pigg approaches to vibrato. I
recall being amazed on first hearing (was it really 30 years ago????)the
birdsong effect he obtained in "Lark in the Clear Air". 

Here I'm at odds with Clough - off the top of my head I can only think of a
couple of places where he used it in his recording (and I suspect, having
played that chanter for a time, that it may have had a lot to do with
keeping his top B in tune!!!) 

Vibrato doesn't interfere with keeping melody notes detached, so I don't see
it as a threat to proper closed fingering, but rather a means of enhancing
expression in the absence of dynamics.

No doubt there'll be more discussion about approaches to vibrato, chanter
shaking, etc later, but I've just had a horrible recollection of some
Eastern European pipers I came across at the Sackpfiefen in Schwaben
festival.  These pipers obtained vibrato not from their fingers but by
jiggling their whole bodies up and down!  Now, who does that remind you


-----Original Message-----
From: John Liestman [mailto:[EMAIL PROTECTED] 
Sent: 25 May 2006 19:57
To: Sam Edwards
Subject: [NSP] Re: to choyte or not to choyte

Actually page 33, I believe, describes those squiggly lines as vibrato
(whereas a small TR denotes trills), and the music for Rusty Gulley has the
vibrato squiggles. I agree with you that vibrato is better there than a
although my trill is lousy. I will now yield the floor to better players
me to discuss trills vs vibratos.

And, on that topic, what do the more knowledgable players think about
since it is a multi-holes-open technique (or can be)?

Quoting Sam Edwards <[EMAIL PROTECTED]>:

> Hi John, and other NSP veterans,
> On a topic somewhat related to choyting...
> The Rusty Gulley in John's tutor has markings for trills on a couple
> Trills, as described in the tutor, involve raising and lowering the finger
> above the principal note. However on the NSP, trills seem a bit choppy or
> harsh. When instead, I put a vibrato on the principle note, by rapidly
> raising and lowering a finger one or more notes below the principle note,
> the effect is sweet and aeral. It is possible that my execution of trills
> the NSP is the problem, that more experienced player have sweeter results.
> What do the veterans have to say on this?
> Thanks,
> Sam
> -----Original Message-----
> From: John Liestman [mailto:[EMAIL PROTECTED]
> Sent: Wednesday, May 24, 2006 6:37 PM
> To:
> Subject: [NSP] Re: to choyte or not to choyte
> I thought "choyting" was restricted the gracing of lower notes with a cut
> (quick grace note of a higher note preceeding the playing of a lower
> Does it just mean this (which is common in some NSPers playing) or is it
> full Highland gracing arsenal?
> And whatever the definition of "choyting" turns out to be, is it always
> frown upon or just when done frequently?
> Not wanting to be known as a "choyteur",
> John Liestman
> -----Original Message-----
> Sent: Wednesday, May 24, 2006 4:41 PM
> To:
> Subject: [NSP] to choyte or not to choyte
> My interpretation of the word 'choyte' is that it refers to gratuitous
> gracings applied on the small pipe chanter in the manner of the highland
> pipes.  It
> is interesting that the word 'teuchter' (pronounced chookter), that is
> applied to Highlanders speaking in the Gaelic in Glasgow, referred to
> speech
> sounding like chickens clucking. Is it possible that Clough had this in
> mind
> that when he used the term to choyte he was thinking of the Glasgow
> derisory
> term in speaking of pipers playing in that same clucking manner?
> I think that Chris is dead right in saying that the main theme of New
> Highland Laddie should be played like slow march and not like the reel
> Rachel  Rae
> that it is the same as.
> Colin Ross
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Yer pal,
John Liestman

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