HI Julia,

This is the e-mail he sent me under his 'what me' address. I assume it was 

Just read your long reply to the detached note debate with that quote from 
Clough which was right on. There is always something to be learnt from other 
folk in whatever field they are working which has been what I have been doing 
in reed and pipe making as well as playing. The bit about what folk were trying 
to do was exactly what drew me to Billy Pigg's playing despite all his 

My idea that that there should be an extended spot for players on courses who 
are booked as tutors is borne out by what has been said about Adrian and 
Pauline at Manchester whoe seem to have done their usual high performance 
double act there. Not all tutors can do this,e.g. myself, but for those who can 
there is probably more done to teach piping in those spots than in the tutorial 

This debate about detached notes is almost pointless as the nature of playing 
closed fingering produces that effect anyway and we all instinctively know that 
this is the essential feature of playing the small pipes. The debaite should be 
more about how we can vary it with associated gracings and vibrato to bring out 
the variation in interpretation that makes the music interesting to play and 
listen to.

Colin R

-----Original Message-----

From: what.me <[EMAIL PROTECTED]>


Sent: Fri, 19 Sep 2008 0:33

Subject: Re: [NSP] George Atkinson

Mr Ross,?

have you competed in any piping competitions? (I do not think so)?

I have.?

What are you trying to say??

I am playing, now, in a most 'proper' form and you are trying to change it.?

The correct method is closed fingering; if you cannot do it, give up; or at 
least try.?

Mr Schofield ?

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