[NSP] Re: NPS competition results
On 21 Oct 2012, Helen wrote: Oh that is really sad. I will do what I can for next year. It will depend on where I am. About all I can be sure of is that I will be overseas. Just as an encouragement to others; for all the possible short falls of a competitive situation, the benefits of putting in the preparations for these competitions are enormous. To the committee: Please don't give up on us yet. Just today I was giving a lesson to a possible competitor for next year. Thanks, Helen. I'll pass the message along - I think few comm. members read this list. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: small coals, and the peacock following the hen
On 15 Aug 2012, Matt Seattle wrote: And neither does playing Cuckold or Peacock on NSP against A drones sound nasty, but it does miss a lot of the musical effect of these tunes, the contrasting minor/major strains Coincidentally (yes, really) I spent part of this afternoon playing Peacock followed the Hen with Colin R. We tried both G and A drones, both with and without the dominant d or e harmony running. We also tried playing the only f# (in the B part) as a natural, to test if it was (to our ears) an A minor tune or an A Dorian. The conclusion we came to was that the drones work in either setting, though neither of us cared for the f natural version, and that the use of the dominant in the drone harmony was also optional. If I was performing either on my own I would use G drones (only) to mirror the usage on BP described by John G. Yes, Derek, both are played, though I can recall a request by someone ( not me or any of this list's contributors) for Small Coals causing consternation amongst the regulars because it was in A at an APS meeting in the early 90s. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Question
On 14 Jun 2012, rob@milecastle27.co.uk wrote: Hi Jenny - there's a set attributed to Robert or James Hall in Edinburgh: Someone will no doubt be along shortly with a list of any Hall pipes in the Bagpipe museum in Morpeth There are about 10 Hall sets known of in total. 2 at least I believe are in private hands, with the families of those who bought them from the makers. Others are still with immediate family. There is an article about the pipemaking Halls in a back issue of the NPS magazine (about 12 years ago?), written in co-operation with local descendants. If the one in Edinburgh to which Rob refers is ivory and a relatively recent acquisition, then it changed hands at least twice before it got there. I'm not sure offhand if there is one at the Chantry museum in Morpeth, but I think it highly likely. The best person to ask might be Dr. Graham Wells who recently completed a thesis on historical Northumbrian smallpipes. Although the Halls were not the immediate focus of his attention, I suspect he would know better than most folk where the sets are. I hope this helps Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Book on J. Collingwood Bruce (early NSP supporter) free on GoogleBooks
On 7 Mar 2012, Gibbons, John wrote: Bruce was one of the 2 editors of the Northumbrian Minstrelsy, though Stokoe was the main editor for the tunes. Both were not ideal - but many of the earlier Ancient Melodies Committee, particularly William Kell, Last week I went through the Ancient Melodies Committee correspondence which predates the appearance of the book by some 20-odd years. Bruce had some direct contact with the sources - mainly the Duke's pipers, but I think Robert White, Kell and so forth did most of the actual collecting. Bruce had the most appalling handwriting, anyway, particularly when compared with a surprisingly elegant hand from William Green, who was my primary interest on this occasion. I think, as John says, that Stokoe was primarily an editor of already supplied material. The earlier group obviously made extensive enquiries (within certain social limitations), and also had access to a number of source publications such as Oswald, Aird, and Bewick's MSS, all of which are mentioned. There was a lot of deliberation as to which tunes were Scottish and which rightly Northumbrian - in a way that wouldn't be seen as so important today, I think. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Book on J. Collingwood Bruce (early NSP supporter) free on GoogleBooks
On 6 Mar 2012, Matthew Boris wrote: The life and letters of John Collingwood Bruce of Newcastle-upon-Tyne Just though this may be of interest to other folks interested in history. . Hope someone else might enjoy this as well. If that's the one written by his son, it's one of the most turgidly written volumes I have ever had the misfortune to peruse. Yes, I did struggle through all of it in the hope of useful information. If anything it strengthened my somewhat sceptical view of his patronising activities. But it was some years ago, and I'm not a fan, so YMMV. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Reedmaking book - Colin Ross
An expanded and revised up-to-date version of Colin Ross' reedmaking book is now available. It covers nsp reeds (all pitches), ssp reeds (all pitches) and Border pipe chanter reeds, as well as cane on brass composite drone reeds for all varieties. There is a troubleshooting section. The cost is 9 GBP from Colin himself. Please add 1.50 for UK PP, 2.50 to Europe and 3.50 elsewhere if sending him funds. If you are able to obtain a copy from Colin, please do so. If you wish to purchase a copy using Paypal, the totals including PP / commission are 11GBP (UK), 12 GBP (EU), 13 GBP (elsewhere), which should be sent, with a mailing address, to my receiving account in paypal which is the same as the email I am using for this message. Any queries to me too, please - Colin is not up to to handling a flood of questions. Thanks Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] New tunebook - Continuing the Tradition
Now out - just in time for Christmas. A book of 126 tunes in Northumbrian style by 74 different composers from all round the world, young and older, well-known and less so, most of them pipers, most still with us, but a few passed on. Composers will receive a complimentary copy: otherwise its £4 to NPS members / £7 others. (+1.50 PP UK, 2.50 Europe, 3.50 elsewhere) I won't be mailing anything before 3 Jan 2012 as I've had too much go missing in this period in the past. Have a good one, everybody. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Message from Colin Ross
Colin has asked me to pass on his thanks and seasonal good wishes to all his friends and contacts who have sent Christmas cards and wishes. He is very grateful for your cards, but there are so many that he cannot possibly respond individually this year, much as he would wish to do so. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Spot the tune - urgent
On 8 Dec 2011, Julia Say wrote: This is an untitled Kathryn T composition. Thank you to the various people who responded offlist. I now know that the title is Andy's Slip Jig, but whether I can get a stop press change in the book I don't know - the printers have gone home. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Dots for tune - Our Kate
Does anyone have the dots for Our Kate by Kathryn Tickell transcribed, by any chance? I thought I had it, but it must be on a piece of paper buried somewhere in my filing system. The composer herself doesn't have ready access to a copy - I'm sure someone must have written it out for themselves or others. I'd be grateful for a copy if anyone has one, pdf, jpg, abc, whatever (can't read Sibelius or Noteworthy files, sorry). Then I can get it checked. Thanks muchly Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Dots for tune - Our Kate
On 11 Nov 2011, Geoff Jones wrote: 'Our Kate' can be found on be JC's ABC Tune Finder Thanks, Geoff. Stupidly, I assumed that because it is still in copyright (obviously) it would not be on such sites. I'll hijack it from there and get it checked. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Dots for tune - Our Kate
I now have several copies in two different keys and am getting them checked by the composer. Thanks, one and all. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] NPS comp. results
I've posted these to the NPS bulletin board, in some haste. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: October TOTM suggestions?
On 24 Sep 2011, Gibbons, John wrote: I could be beastly and suggest 'Billsmoor', giggle but 'Raylees' is perhaps more user-friendly, and deserves more airtime. And there's a piper there once more, albeit in a barn conversion not the farmhouse itself. But John D's folio idea is also good.. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] NPS autumn newsletter
The autumn newsletter, the fourth folio and notification of an EGM on the subject of Charitable Status for the Society have been posted out today, Weds 14th Sept. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Farewell to Whisky - Niel Gow
On 13 Sep 2011, Rob Say wrote: This book on the haggis: http://www.avrf23.dsl.pipex.com/The%20Haggis%20TYPESET%2016%20feb-2.pdf Both references grain prices and crop failures for the period: 1790s Harvest Failure, 1799 Price of corn was more than double the level of the 1790s, Harvest Failure AND has a substantial reference list ... none of which are on my bookshelf. The prices were additionally hiked by the British government requisitioning foodstuffs for the troops/navies / etc for the various ongoing military campaigns at the time. I can find no reference to whisky in A History of the Scottish People 1560-1830 - generally reckoned a standard social history text, if now a bit dated. The only famine it mentions is the big 1690s one which took out 25% of the Scottish population (and by extrapolation probably a sizeable chunk of the Northumbrian, since the area looked north, not south). Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: (no subject)
On 9 Sep 2011, Francis Wood wrote: Is there an obvious repertoire of tunes for this useful variant? On 8 Sep 2011, at 10:40, Richard York wrote: t a vacuum cleaner attachment, which if you think about it could look remarkably like a large bagpipe set with an extra long open ended chanter... Didn't the inestimable Mr Hoffnung orchestrate for 3 vacuum cleaners and a floor polisher? It was a long time ago, but I have the LP somewhere... Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Sad news for singing and piping
Those of you who knew Colin Ross' wife, Ray, and haven't so far heard from other singing or social forums, will be saddened to learn of her death yesterday. She had been ill for some time and finally succumbed to several conditions. Messages are flooding on to various lists and boards and there is an obit on the Guardian website http://www.guardian.co.uk/music/2011/sep/01/ray-fisher-obituary?INTCMP=SRCH Colin is coping as well as can be expected and has family with him, but as he is himself not totally well, please no phone calls to the family home, they simply cannot deal with the volume of calls. Email messages will be received (though probably not answered, again due to volume) and cards are fine. He is very grateful for the messages received so far and the support and appreciation of the piping community. Ray was of course an internationally respected traditional singer with an extensive family, and singing will play a large part in the farewell ceremony. It is at 2.15 pm on Monday 12 September at Whitley Bay. Pipers have been requested: please email me for more details if you are likely to come, so I know how big a turnout of players to expect. There is a social event afterwards as well. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] nsp for sale (by owner)
Set of pipes by the late Quentin Rose made c. 1996-7. Ebony and a silver coloured metal. 17 key chanter. In Gloucestershire, UK. Contact details available on request. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Wedding in Lyme Regis (UK)
I've been asked if I can find a piper to play a few basic tunes at a wedding in Lyme Regis (West Dorset) on Sat 27th Aug. It's a long shot, I know, and not much notice. Anyone interested? Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Trivia
What tunes does your dog prefer? I saw my dog come p*ssing by me The Lea(d) digs She barked at the greatness o't (Looked a) wally as the wolfhound ran The New Way to Bow-wow My doggie sits ower straight up Gallop and sh*te Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Classical style music for pipes - ebay
On ebay right now is a copy of the oboe adaptation of Alan Bush's Northumbrian Impressions - originally written for pipes. I believe Richard Butler has performed it. http://cgi.ebay.co.uk/Bush-Northumbrian-Impressions-Oboe-Piano- /260819950099?pt=UK_Music_SheetMusic_RLhash=item3cba149a13 Usual disclaimers - I know nothing more than what is listed, it's not mine etc etc. Might interest someone who's into that sort of crossover material. Which I'm not. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Mr Dunk - Inspector of Public Nuisances
On 17 Jul 2011, Dave Shaw wrote: I haven't seen the original ms I have posted a reduced size version of the scan of the MS on the NPS bulletin board in a new thread entitled Whinshields on the Wall. I hope this helps Julia 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 15 Jul 2011, Francis Wood wrote: there is an odd, tenuous and completely inconsequential connection between Shield and Morpeth. Shield is buried in Westminster Abbey. Shield did not include the tune in his 1817 book: he did include other tunes he had collected. There is an article written by David Geddes about Shield (in particular the Keel Row variations) in the 1999 NPS magazine. Clough's assignment to Shield is in what I regard as one of the less reliable parts of his collection. It is a book comprised of Hill and other hornpipes, again with some misattributions (claiming The Arethusa for Hill, for instance). They are also somewhat idiosyncratic versions in some cases. Without strong corroborative evidence, I would not be inclined to use it as a definitive statement of authorship. The Morpeth Rant is listed in Gore's Fiddle Index in a 1790 publication (Anderson), a 1790-1817 (Campbell), 1823 (Nath. Gow), 1790-1805 (Petrie), 1788-1794 (MacDonald - Gow's cellist), and 1798 (two Highand ladies). But these are only published, Scottish, and fiddle sources. What it does indicate is that it was widespread and popular by these dates. So is arguably earlier. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Piping in Truro cathedral
I've had a request for a piper to lead a procession into Truro cathedral (yes, really, I do know where it is!). On offer is expenses, a very modest fee, and accommodation if required. This is an event on Fri July 29, in the evening. (so it's a bit urgent) If anyone would like to take it up, please contact me soonest for details. Thanks Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Missing pipes
A set of concert G pitch nsp has gone missing at a European airport. It is by Colin Ross and has a 17 keyed chanter. If anyone should hear of, or be offered such a thing, could they contact me, please - not Colin - and I'll put you in touch with the owner The owner had insurance, but obviously the loss is distressing. Thanks Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Rants again
On 11 Jul 2011, Francis Wood wrote: Wiktionary helpfully gives: From Dutch ranten, randen (talk nonsense, rave). Well, there you are then. Some might say that covers many posts! Can anybody help to clarify the difference between a Rant and a Rave? PA and flashing lights? E? Or at least, suggest how Rant entered the vocabulary of dance? I have several times wondered if there is any connection between the rant's appearance in the hills of Northumberland and the religious affiliation (Scotch church) of many of the area's people. The Ranters were travelling clergymen and their followers who held meetings in remote areas away from persecuting eyes. Very illiberal, some of them, but did the name stick after they joined the mainstream? In respect of posting to this list I am also sometimes reminded of the Hogwarts motto: Draco dormiens nunquam titillandus Julia 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] NSP Lists duplication
On 4 Jul 2011, Francis Wood wrote: The Dartmouth list is for anyone interested in Northmbrian Small-pipes. It is administered and monitored entirely from without NPS membership. No member or officer of the society has any say in how it is run, although several (only about half) committee members read it and some contribute (obviously). Very occasionally Wayne (who does run it) and I consult on whether names are actual people or not, that is all. The NPS Discussion list was subsequently established for Society-specific discussion. I remain as a subscriber to the second list because I don't know whether it still is useful. I have no means of knowing. Tim I set it up, and do the necessary admin (mostly non-subscribers trying to cross post from Dartmouth) to keep NPS announcements / politics from annoying non- members. It presently has only 89 subscribers. As a consequence it is of little use to reach most NPS members. It was also set up as a stop-gap until a discussion forum could be activated on the NPS website, where political discussions could be held in separate threads which need not bother those had no interest. If (and this is not for me to decide, but NPS-discussion subscribers) we have reached the point where it could realistically be suspended, we can do so. What I would actually propose (wearing my secretarial hat for a moment) is to convert it to an NPS-info list, subscribe all NPS members who have an email address unless they opt out, and use it for Society announcements with the reply function set to come to the sec.only. That is to say, not a discussion list, but an info-list, with discussions pointed to the website forum. This would have to be passed by the committee and announced in the NL, since it is a further change, so it isn't going to happen now before the autumn, although we (the 89 subscribers) could all agree that NPS Discussion has passed its use-by date, and agree not to post to it, but rather use the forum. Hope this helps Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] KVR online
Kohler's Violin Repository, a hard to find but much used source of tunes for fiddlers in this area in the C19. It was sold in weekly or monthly instalments and then copies were passed from hand to hand. http://imslp.org/imglnks/usimg/d/db/IMSLP106889-PMLP217734- koehlersviolinrepository_1.pdf http://imslp.org/imglnks/usimg/9/96/IMSLP106890-PMLP217734- koehlersviolinrepository_2.pdf http://imslp.org/imglnks/usimg/0/02/IMSLP106891-PMLP217734- koehlersviolinrepository_3.pdf The editor possibly knew James Hill, certainly he lived in N. Shields for many years. Disclaimer - not original research on my part - I found the URL on a folk forum I occasionally frequent (mudcat.org) Hope it's of interest to someone, anyway. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: KVR online
On 29 Jun 2011, Francis Wood wrote: The URLs are just fine. Copy and paste them into any browser. Thanks to Julia for providing this valuable information! No thanks to me, Francis, I just came across them. Sorry about the non- functionality, I copied pasted them and I'm on a text mailer if that makes any difference. I see the copy digitised was donated to NLS by Dorothea Ruggles-Brise - she of pulling Dixon out of the flames fame. That lady is seriously undervalued! Tim - I can feel a new NPS website page - music links - coming on. No point digitising MSS / books that are already out there - unless the copies are atrocious. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: KVR online
On 29 Jun 2011, Francis Wood wrote: I see the copy digitised was donated to NLS by Dorothea Ruggles-Brise - she of pulling Dixon out of the flames fame. Not famous enough for me to have heard of her . . . so what's the rest of this interesting story? Lady Dorothea was the daughter of the Duke of Atholl. In 1909 she was offered a MS book by a Charles Mackintosh of Inver. She offered to pay for it whereupon the old man threw it in the fire. She rescued it. It was the Dixon MS. Matt puts the story in the intro to his book. Obviously she had a considerable music collection, which was donated to either Perth library or the NLS. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: more interesting stuff on the same site as KVR
On 29 Jun 2011, smallpi...@machineconcepts.co wrote: an interesting letter to the Duke of Northumberland http://www.archive.org/details/alettertodukeno00doubgoog Ah, yes. The letter that sparked the project that became the Northumbrian Minstrelsy. Julia 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?
On 23 Jun 2011, Gibbons, John wrote: Tom Clough wrote that notes should be played their full length, but clearly separated, and Fenwick is consistent with this. The most important thing in a tune is the spaces between the notes, not the notes themselves. paraphrase of Joe Hutton talking at the Rothbury course, either 1992 or 3, but can't remember if it was in a class or to me personally. Just to reinforce the point. I do think that Barry's description of a complete note including closing the hole is clearer than Mr Fenwick (although its complicated as written) AFAIK, J W Fenwick was regarded as the most competent player (one of the? - there were very few) in the circle of friends who actually ran the C19 NSPS, but I note that he didn't do competitions. Richard Mowat and Tom Clough (both winners c. 1895) were probably regarded as too young at this point (under 21) to be involved in running an organisation, and I suspect Henry Clough was too unpolished - to put it tactfully - to be acceptable to them. I agree with Matt on the tune selections. Sorry, haven't got time to research JWF right now - if anyone wants to go into it, I'll try and help. Hope this helps a bit. Julia 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?
On 23 Jun 2011, Francis Wood wrote: the composer Bruno Heinz Jaja, demonstrated by the musicologists Dr Klauss Domgraf-Fassbaender and Professor von der Vogelweide at the Hoffning Interplanetary Festival 1958 There are three bars of silence . . . the second bar is in 3-4 and this gives to the whole work a quasi-Viennese flavour Ah, yes. Somewhere I have that recording - it was one of the few outbreaks of humour I could share with either parent. Not to mention the quartets, for 3 vacuum cleaners and a floor polisher, or 4 tubas. Etc Etc Delightful. Julia 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 22 Jun 2011, Richard York wrote: Thoughtful and considered artistic advice of a sensitive nature would be most welcome, please. Richard, I think you're maybe asking in the wrong place grin! Good luck with the tune. Julia 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 20 Jun 2011, Gibbons, John wrote: stacc. abbreviated form of staccato (Italian: detached, separated) staccare (Italian) to detach, to separate each note The word has its natural meaning, in other words. Stacatissimo is what some people think it means, but it doesn't! I believe I read (probably in the online dolmetsch.com music theory site since that's what I tend to use) that in classical / art music terms these days, a note with a staccato dot should be played half length of what is printed, (so a crotchet becomes a quaver, for instance), whilst staccatissimo means the note should be played one quarter of the written value. I have more than a suspicion that the precise meaning of these terms varies from instrument to instrument (different characteristics and all that) as well as through historical and musical time. Maybe an exploration of the relevance and meaning of such terms for the nsp is worthwhile. Tenuto also appears to mean separated, but only by a hair's breadth, which I think we should appropriate, as it describes exactly what we sometimes want. Reading (this time on Wikipedia) legato can be either separated or joined (slurred legato?) depending on instrument and context. What / which do we (nsp-ers) mean by it? And under what circumstances? I once played classical flute - where staccato dots often (but not always) meant tongueing, slurs meant no tongueing. And so on and so forth. Each of us is coming to the nsp with a slightly different perspective and experience and we have to bear this in mind in discussions We have staccatissimo marks in Peacock on Meggy's Foot - and all seem agreed that this is a highly exaggerated staccato tune. So, in our case, staccatissimo could be said to be as short as you can possibly make it, whilst staccato is with the bounce that most players seem to apply to (for example) the first of a pair of repeated notes. Not something that's ever been pointed out to me formally but most players do it, almost by instinct. Which makes it traditional in my book. If we can find a consensus on how these terms are / should be used in nspiping, discussions might be a little less confrontational. Julia (who has been told off by both Chris O and I- Adrian for playing too staccato - yees!) 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
On 18 Jun 2011, Ian Lawther wrote: tune arrangements for Northumbrian pipes and other instruments http://www.rossleighmusic.co.uk/ Those who use them seem to think highly of them. Aren't there a couple of LBPS books of such duets etc as well? Hope this helps Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: arrogant
Adrian - if you wish to insult people, please do so offlist. The rest of us (I hope I can safely generalise here) find it embarrassing. Anyone who wishes to contact me, please do so offlist for a while. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: divorce
On 16 Jun 2011, Francis Wood wrote: By the way, does anyone have any good ideas about the right kind of oil to use? Definitely. The sort appropriate for pouring on troubled waters! JUlia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: divorce
On 16 Jun 2011, Dave S wrote: This list served the purpose of introducing the beginner(shy fence-sitter to brash young expert) to light conversation/disagreement/proposition on all subjects around the wonderful instrument known as the NSP. It has done this well for a good number of years, I think it will continue to do that. I have noticed over many years that after any..er...altercation, the list goes very quiet for a while as we all tiptoe away and let things calm down. (Well OK most of us. I'm sure the early archives would show me doing regular foot in mouth exercises before I learnt to shut up occasionally). I expect the same to happen again this time. And like Francis, I think the lists and the various forums and groups are complementary. It's a shame that there have to be so many as it's time-consuming to check them all, but on balance I think that over the years they have helped a lot of people to a greater understanding of the piping world and introduced a lot of people to our instrument. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: forums, mailing lists etc
On 16 Jun 2011, smallpi...@machineconcepts.co wrote: why do so many good players have names starting with an A Totally flippant aside To get to the front of the queue / top of the list, perhaps? v. big grin (I have a relative whose surname began Abe - and always found themselves picked on at school as the first name on the register, so maybe it has it's downsides, though) Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Ovingham Goose Fair
Could anyone planning on coming to this (Sat 18 June) a) let me know so I've an idea of numbers (we are scheduled to lead the procession and do 2 spots on the stage - what is played will depend on who turns up.) b) let me know *asap* if you would like a car pass - which allows parking quite near the playing area, useful for dumping spare stuff. We need to be there by 12.30 at the latest - the procession is earlier than it used to be, and there is no free lunch anymore. Thanks. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Proper piping group
On 27 May 2011, Francis Wood wrote: this kind of discussion is best held in a dedicated area. Perhaps the best destination for this interesting discussion is a dedicated area of an already existing forum. Peacock's Parlour perhaps? http://www.northumbrianpipers.org.uk/pipersforum/ is working and available. Since it allows separate threads, those with no interest in the subject can avoid it. In order to start a Peacock's Parlour...or any other topic, registration is required. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Rules
On 27 May 2011, Inky- Adrian wrote: I don't want a definate rule I would just like thr NPS to acknowledge that there is a traditional way of playing the small-pipes which is detached. If they don' t, then they are saying that the pipes have no playing tradition, therefore I'm playing pipes which are a bastard- no lineage of how they are played. The NPS is the sum of its members, so who is the they to whom you refer? I am making a note of this posting, and treating it as correspondence to the NPS committee. In the meantime, and to the best of my knowledge, the current committee, not all of whom read this list, are well aware that prominent and highly respected players have views - often strong and differing - on styles of playing. They are also well aware that there is a playing tradition that we all strive to continue and develop, each in our different way. If this is not definite enough for you, I suggest you contact the chairman directly and explain your concerns. Andrew has made it abundantly clear that he is interested to hear from members on any subject, and he is a good listener. I hope this helps Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: new group
On 24 May 2011, Francis Wood wrote: What has the NPS ever done for us ? It has been said (not by me) Ask not what the NPS has done for you, but what you could do for the NPS Discuss (politely). Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: whatever
On 21 May 2011, Richard Shuttleworth wrote: I say poor old Inky even though I have never met the man. Friends of mine who have had that pleasure report their encounters in glowing terms, he must be a really nice person. Unfortunately, his contributions to this column don't seem to reflect that. It saddens me to see the mean-spirited way in which some members of this list express their feelings. Adrian is one of the most helpful, generous with his time, and gentlest people that I know. He is an excellent teacher, and what he says in the workshop sessions that I've had the good fortune to be in has made eminent sense, and has been universally well received. He has thought through everything that he recommends, and his playing well justifies the approach. He is also a skilled fettler with an acute ear. I think my observation would be that he rarely does himself justice in print - it is not his natural medium of expression, perhaps. I first found this in the preparation of the first Billy Pigg book, where it rapidly became obvious that his notes needed the services of an editor - that job fell to me. His (and Colin's) generosity with their expertise and time in that project alone have left me with a lasting and profound respect for both of them, which transcends any apparent shortcomings in communication. We all have our bad days. I could frequently do a splendid grumpy old woman act on this list if I wanted (I have, occasionally). Adrian has views to which he is entitled, as does Anthony. As are all of us. Alice is a very competent young player who has demonstrated that she is capable of the sort of playing of which Adrian is a principal protagonist. I've heard her. (I don't know her competition record exactly, but she certainly became the youngest player to win the NPS Open class - I was there, I came a poor second). If she now chooses to play at virtuoso standard in a different style, then she is fully entitled to do that - she has earned her place. Welcome to the list, Alice, if you're reading this. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: even more on G and D
On 10 May 2011, Christopher.Birch@ec.europa.e wrote: I don't understand the reference to temperament here. It may be irrelevant, Chris, I'm rather busy and have a lot going on in my head. I don't claim to have thoroughly thought through every word of my posting. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: even more on G and D
On 8 May 2011, a.d.s wrote: More you get away from the keys of G and D, and play in A maj., C maj., F maj., B maj., the more keys are played with the thumb and little finger in succession; like playing the piano with one finger! .Have we got to the key of C yet? Having played the guitar somewhere back in the dim and distant past, I have been very surprised that few pipers seem aware of the circle of fifths in chord sequences and it's relevance to keys we can play in using drones. I hold the personal position that if you're going to play without drones you're not a piper, you're a misdirected oboist, but I fully accept that others differ on this. Taking the drones as chords (a bit like saying consider a cow as a perfect sphere, I know), they are set up primarily and historically for G - which could be said to be our root key. In the circle of fifths, which partially goes: B - E - A - D - G - C - F - Bb - Eb etc - I've left out the ones with lots of flats and sharps and only considered major (Ionian?) scales - G has D one side (the sharp side) next to it. We use D. Some of us can use A, also on the sharp side. But sitting there, right next to G, is C - so the drones are not being forced into unnatural contortions to get there in terms of temperament, nor should the tuning be. (Let's leave those issues to another discussion) It became obvious that Tom Clough used C for Bobby Shaftoe and the like. I could find an argument that F nat. would have been a more useful 7th key on a short chanter than d#, but that's not the way things went. Knowing that Pauline C and possibly others had drone extensions to assist with altering drones to non-standard keys, and Andy M has interchangeable drone parts to achieve something similar, I elected to make a five drone F set with two tuning beads on the A drone so I could reach C, and made an extension for the big D to drop it to C, which allows a 3 drone tuning of C - G - C, gives a phenomenal ghostly 3rd E when it's working properly, and allowed me to establish for myself that Clough's Bobby Shaftoe set was well worth the exploring. Yes you need F natural keys but they're both within the compass of the 7 key chanter so are not outlandish to handle, and yes it takes a bit more effort than G, but I think it sounds really good. My twopennorth Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Pipes for sale
I have been sent a slightly-used set of David Burleigh pipes by an NPS member, for sale. It is an 11-key set - 7 + 2 G#s, 2 F nats. It is only 2 years old, the owner says. No. 2829. It is a fairly typical example of a set that costs (according to David's website) 800 pounds new. Green bag cover, black ends etc, brass. It is in pretty-well original condition. 2 of the drone reeds need the services of a pipes-fettler (little g and big D) as they are currently either not sounding (big D - it's cutting out) or needing adjustment to achieve correct pitch (little G). The drone reeds are all cane. The chanter plays nicely at pitch, reasonable pressure: one keypad needs gluing back on. Depending on the purchaser's preferences and ear, there may be some minor tuning work desirable. The bag is stiff, but useable. It is a bit on the big side, so might not suit a very slim or short person (replacement could be an option for a purchaser of this persuasion). The bellows seem adequate. I am offering it as seen since I don't have time or space to do any tweaking right now. Sensible offers to me asap, please - I need it out of the way. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] D chanter for sale on ebay
I've just been told of this item on ebay by the vendor who has asked me to publicise it. http://cgi.ebay.com.au/ws/eBayISAPI.dll?ViewItemitem=140526902815ssPag eName=STRK:MESELX:IT The description in the listing seems fairly comprehensive. I have no connection with the auction nor interest in it. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] (Fwd) Invite for folk music and smallpipes fans - North East i
I've been sent this: I know nothing more about it than what is here. Anyone know who the piper/s are? Hope this of interest to someone, anyway. Julia --- Forwarded message follows --- From: Andrew Simpson a...@youngheartsrunfreefilm.com To: i...@youngheartsrunfreefilm.com Subject: Invite for folk music and smallpipes fans - North East independent Dear Folk music and Northumbrian smallpipes fans, Could you please help me spread the word about the release of award-winning North East independent film 'Young Hearts Run Free' which is screening at the Tyneside Cinema? These screenings are the start of a national cinema tour and we're looking to return to other towns in the North East. The film is set in Northumberland during the 1974 miners' strike and it celebrates our region's history and heritage. As well as 1970s style tunes the film also uses folk music and is the first film I can think of which has Northumbrian Smallpipes as part of the soundtrack. It has sparked a lot of interest in the region and is something many people will enjoy so I would be very grateful if you could spread the word to your friends and members. I'll be doing a Director QA session after each screening so audiences can learn how the film was made and discuss the mining history. Early booking is recommended. DATES 'Young Hearts Run Free' and director QA, Award-winning North East independent film Launch of UK cinema tour Tyneside Cinema Sun Apr 3rd 3:10pm Mon 4th Apr 12:00pm (over 60s only) Tue 5th Apr 12:45pm Early booking is highly recommended to avoid disappointment Concessions apply More screenings in Newcastle may follow depending on demand. We're in the process of arranging screenings in Hexham, Durham, Darlington, Sunderland and Teesside. View trailerand book tickets http://www.tynesidecinema.co.uk/whats-on/films/view/young-hearts-run-free 'Young Hearts Run Free' Community, Friendship, First Loves, Rebellion! 1974; during a violent miners strike in a quiet North East Village a teenage artist falls in love with the gorgeous new girl from London but their attempts to escape cause him to betray his family, community and best friends so he must choose between his old friends and his new love. A coming of age story against the backdrop of a crumbling economy; the 1970s setting is very relevant for today. The film was made on a low budget in the former mining areas of Northumberland but its main themes are universal; community, friendship, first loves and teenage rebellion. This award-winning film is an uplifting and soulful mix of cool 1970s styles, warm-hearted romance and gritty social realism. Screenings are followed by a QA from Director Andy Mark Simpson so audiences can discuss the making of the film. For more details see www.bedefilms.co.ukor www.youngheartsrunfreefilm.com You can also follow us on Facebook and on Twitter @YoungHeartsFilm Hope to see people there. Andy Mark Simpson Director and Producer 'Young Hearts Run Free' Bede Films Ltd. --- End of forwarded message --- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Has there ever been an NSP with _all_ keys (no open holes)?
On 23 Mar 2011, inky-adrian wrote: yes, it's in the Bowes museum. A bagpipe, part Northumberland-all keyed and part Union. There was a short article about it in an NPS mag many years ago (late 80s? - I haven't time to check) Off the top of my head, I think the conclusion was road-to-nowhere (if it ever worked at all). I haven't seen it. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Spring NPS newsletter
On 18 Mar 2011, Julia Say wrote: The newsletter has been posted (18 March). Judging by early reports, it's on a very slow train this time (like 4 days to get 7 miles!) Don't know what the mail is up to, but hopefully it will reach most Uk members by the end of the week. If you want to report receipt (or non-receipt!) please do so _off-list_ to me, as the annoyance value of multiple I've got it type messages is rather high. Thanks Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Funeral - 9 March - Somerset
Short notice, I'm afraid - these things always are. Is there anybody who would be able to play Water of Tyne (probably etc) at a funeral in the Yeovil, Somerset area next Weds 9 March. I'm trying to get a more specific location / time, but please contact me offlist asap if available / interested. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Remember Me - the Whinham book
Graham Dixon has been clearing his loft, and has had bound a number of copies of his book about Robert Whinham, containing all the Whinham tunes he could find, and originally published in 1995. Copies are available from the NPS at 12 pounds each , + 2 pounds PP UK, 4 UKP - Europe, 6 UKP elsewhere. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tuning/pitch
On 9 Feb 2011, Philip Gruar wrote: I'll just say that with care, a flat-ended drill and delicacy of touch, there should be no need for rods down the bore. You just stop the drill before it goes too deep! Well, quite. One can both hear and feel the drill reaching the bore. Nevertheless it was something I was warned about, and was checked up on. Now I'm wondering about the acoustic effect of all those dimples that do occur in various makes of pipes (historical and otherwise) on what I believe is supposed to be a smooth shiny bore. (Not to mention all the agricultural standard bores that are about - this a phrase which makers fettlers sometimes use!) My ivory chanter is jointed near the low E and when I got it, squeaked on that key at the least provocation. Adrian had a look at it and suggested there was possible unevenness in the jointing. We had a bit of a go at sorting it and the matter improved (so did my playing, which probably helped too). The point being that I'm wondering whether the uneveness caused by drill marks in the bore would be sufficient in some cases to upset or affect the standing waves and therefore tuning / tone / stability / reed / whatever. Since that's physics, which frightens me rigid due to some very poor teaching in my yoof, I'm going to tiptoe away now and let the heavy duty theorists get to work on the suggestion. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tuning/pitch
On 9 Feb 2011, Anthony Robb wrote: The puzzling thing is that we have had two reports in recent postings of Reid sets happy to play up near F# (for example Billy Pigg) and yet Andrew Davison's Reid set are said to be happy at F+20. We know that Billy was in the habit of making his reeds as sharp as possible -and not just so that he could get over the John Doonan problem but all the time - he liked them that way, apparently. Annie Snaith played in F# to accompany him, she said. He learnt to make reeds from George Storey who learnt from Richard Mowat who learnt from...? (Obviously with influence from other players but that's the basic chain) 10-12 of us, on an assortment of modern makers' pipes (5, I think, but at least 4) happily played along with Andrew on Monday without much perceptible difficulty. I didn't have a tuner out but my ears would tell me we were certainly no sharper than F+20, and probably a bit shy of that. Add to that the modern trend to play as near to F (A=440) as possible, eh? Not on my watch! Based on the meetings I go to I would have said F=20 to F+ 30 was about the norm, varying a bit depending on the season, the venue temperature, the degree of exciting-ness, the amount of alcohol consumed etc etc Concert F and below I reserve for the top of the Wannies and suchlike Arctic locations. It was E one year with the windchill. I've had my wrist slapped on reaching F+40/50, but that's where I want to play if I can. What would be interesting, Francis, is to see the figures for Reid's scale length (say top g down to bottom D) and compare that with Ross/Nelson figures. Are the Reid ones not in CB (don't have it to hand)? We also have Clough figures, there are Hedworth ones and I'm sure I've seen comparison charts of this kind in at least two locations in the past few years. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tuning/pitch
On 9 Feb 2011, Francis Wood wrote: What Julia said was that when a reed was first put in the chanter it was said to have played at F+20. I took that to be an interesting and amusing anecdote without any specific conclusions to be drawn from it [is that correct, Julia?] When I was told it, it was with a little surprise, I think - they had perhaps expected it to be sharper. That it played in easily with other pipers was felt to be an immediate bonus. However, he acknowledges that the performance at F+20 of that historic set is not ideal at the present pitch My understanding is that they both regard it as a work in progress. It sounds very agreeable, although Andrew remarked that they are not yet happy with it. He played a solo set and then folk got a chance to look at it. If he is compensating for non-ideal tuning then it is certainly not obvious from his playing that anything is amiss. I find my own (modern made) ivory set has a more brilliant tone than the equivalent in wood, even using the same reed. If I were to nit-pick on Monday's playing, I would say I would be interested to see if the fettling team can coax a bit more brilliance from it, but maybe this is not what Andrew is looking for. I have recorded hole positions from several Reid chanters. their original position is usually indicated very clearly on the opposite wall of the bore where the Reid drill made contact. This can also be seen on some modern sets (various makers), although I have been taught to put a rod down the bore before drilling to prevent it happening! (And had the bore inspected closely to check I'd done so!) Sets have been observed where the maker has absent-mindedly drilled right through the far side, I believe.
[NSP] Re: [NPS-Discussion] Sharing Thomas Sander
On 19 Jan 2011, richard.hea...@tiscali.co.uk wrote: I'm afraid I can't write abc, so I can't post a transcription of it. It's a 4/4 march in D. Here's what was submitted for the NPS folio (as abc), which I think originates with Margaret W's transcription: X:7867 T:Thomas Saunders C:? M:C E:10 L:1/8 K:D dB|A2 d2 d3 e|f4 e2 d2|G4 B2 d2|A4 A4|\ d2 A2 d3 e|f2 d2 A3 d|f d3 a3 f|e4 e2 f2|\ A2 d2 d3 e|f4 e2 d2|G4 B2 d2|A4 A4|\ B2 g2 f2 e2|a2 f2 d3 B|A2 g2 f2 e2|d4 d4||\ c3 d e2 A2|g3 f e4|d3 c d2 e2|f2 d2 A4|\ B3 c d2 B2|A2 d2 f4|f d3 a3 f|e4 e2 f2|\ A2 d2 d3 e|f4 e2 d2|G4 B2 d2|A4 A4|\ B2 g2 f2 e2|a2 f2 d3 B|A2 g2 f2 e2|d4 d2||** Now to locate and contact the composer - do the GHB players amongst us know if Karl L Walford of Ontario is still living, or his approximate dates if not?. Hope this helps Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: CD's books at Halsway
On 14 Jan 2011, Gibbons, John wrote: Seconded - and probably thirded too, before long! The Bewick book will be (assuming I can find transport for the NPS bookcase). I shan't be there myself, this year. Julia 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-conditioning ...
On 13 Jan 2011, Victor Eskenazi wrote: for the verdigris. . . in this country we have a clear liquid ... rubbing or isopropyl alcohol. turns out it works to get rid of the green IPA will degrease everything in sight, but is a bit drastic. Sold in the UK as a computer cleaning fluid. Good for degreasing springs and metal slots, but it'll take oil out of your wrappings too which you don't want. The one we have in the UK is a form of ethyl alcohol which has been adulterated so it can't be drunk. Could someone fluent in both forms of English translate methylated spirit into USA-speak, please? until now i have used, i thought successfully - cold press, extra virgin, olive oil. aaargh!No wonder. If you must use olive oil you want the cheapest, nastiest, hot presssed clear cheapy variety - the exact reverse of what you have used. Or use neatsfoot oil (from a saddlers, but make sure it's pure oil, not neatsfoot compound which has water in it). Or liquid paraffin/mineral oil / baby oil / baby gel (another terminology minefield) a while ago i remember there was some discussion of oils. . . And then another one, and then another one. Its one of the recurrent topics. Julia 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-conditioning ...
On 14 Jan 2011, Bo Albrechtsen wrote: /Julia is perfectly right/ in exclaiming her gh ! Thank you, I have been well trained! Vegetable oil such as the cold press, extra virgin etc in time any such oil will change from being an oil and into first a gummy substance ...which was known as a snotomer in the Polymer Research Unit in which I spent 10 years as a technician. As I've said before. Wonderful term, so descriptive and generally recognisable. Olive oil will solidify a lot slower than linseed oil but it will become sticky and gluey relatively fast Particularly when in contact with metals such as brass and nickel silver whose components are sometimes part of catalysts - ie they speed the process up. Which I'm convinced doesn't help. Paraffin oil/liquid paraffin etc etc is a mineral-oil product which is cheap, not drying and does not smell at all. It does tend to evaporate however very slowly over time I have observed a tendency for it to start causing rotting of the cotton threads that I use, a process I'm still keeping an eye on and I'm not drawing any conclusions yet. At present it's just something to bear in mind. Others disagree. Julia 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-conditioning ...
On 14 Jan 2011, Bo Albrechtsen wrote: Hmm - this opens up a whole spectrum of technologically exuberant solutions for tuning your drones and chanter with a battery of small pressurized gas bottles and a multi-valve setup for variable continous mix-gas administration. Should look nice made in polished brass and with glass tube flow meters. Any steam-punkers out there ?? Come back, Fred Dibnah. You're needed!! grin Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: re-conditioning ... (dangers of brass tarnish?)
On 14 Jan 2011, Colin wrote: Gold fittings won't tarnish (well, people have gold flutes so why not). There are gold-plated sets. The cost, in the current metals market, involves the phrase arm and a leg when compared to silver plate though. Gold plate is also applied much thinner than silver plate (to keep the cost down, presumably). So it might wear through on much used keys for example. It's probably cheaper than a solid silver set right now even so. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Burleigh 9-key NSP on eBay
On 10 Jan 2011, Matthew Boris wrote: Starting bid is $899, currently 0 bids and almost 7 days left. I don't _think_ I'm in the market at this point, but is this a decent deal? Or is the fact that we don't know how long it's been unplayed make it a no-go, or at least an assumption of some major re-fettling and replacing pads, tweaking keys, etc? It's 5 tuning bead set - complicated in David's terminology. Check his website for equivalent new prices. You could ask the seller for the serial number, which should be stamped on the low E key. It looks fairly recent (size of chanter foot + style of chanter astragals) but the number would help. 500about 1981 1000 - around 1987 2000 about mid 90s He's now in the high 3000's. May even have reached 4000. If there is no number it's very early, but I don't think so, from the pics. Hope this helps Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Intonation
On 8 Jan 2011, gibbonssoi...@aol.com wrote: Long notes are good practice for this - I wonder if this is one reason Tom Clough liked playing hymn tunes? 'Oh God our Help in Ages Past' (aka St Anne, or 'The Goldfish') is a good one for this, dead slow. Tommy Breckons told me that Clough used Drink to me only for this type of thing, also for hearing the ghostly third on the drones. Julia 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-conditioning ...
On 8 Jan 2011, Victor Eskenazi wrote: my pipes have sat for too long 1 - the weather here is very damp Where is here (roughly)? turns out the joints are stuck. any suggestions on how to unstick them - without waiting for the right brief immersion in hot water or gently heating with a hot air gun on a lowish setting (depends on model), followed by a gentle twisting action. I'm assuming this is primarily the drone slides though the air gun would work on chanter stock joints too. Mind the chanter foot if it's plastic - the gun could melt it if used incautiously. And mind your fingers on any ferrule in the area you are heating. 2 - any suggestions on cleaning the green off the brass? Methylated spirit (the purple stuff in the UK -industrial alcohol elsewhere?), applied with a cloth, followed by brass polish. And don't use olive oil or keep your set shut in a box in the future - it aggravates the verdigris problem at the least. The jury is out on whether it actually causes it. Good luck Julia 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
On 8 Jan 2011, Francis Wood wrote: After the initial shock you go back. In my case, quite a lot. N'brian music with pizzazz. Or as it is known in my immediate circle, with b*ks. Music with Rocks in... (Pratchett!) And passion. So sadly lacking in some places I can far too easily think of. http://homepage.ntlworld.com/tracy.firby/WyrDGeneS/WyrdgenesDownloads.html It's someone called George.I know who I suspect, 'cos whoever it is has a really good grasp of the idiom. Weird Genes - WG - alias GW, I think. Anyone know? Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: key question
On 17 Dec 2010, John Dally wrote: Mr. Doubleday I would like to know more about the cultural context of the document. What prompted Doubleday to write this? Here's a bit about him as a starter: http://en.wikipedia.org/wiki/Thomas_Doubleday Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Last orders....
I've had a mini-avalanche of sales orders for NPS publications in the last couple of days. Last post for Christmas in the UK is Saturday, and I'll do my best to fulfil any last-minute requests, but I fully expect to have no electricity (and therefore internet / web) for an unspecified chunk of tomorrow, and I'm busy Sat. If you were thinking of placing an order please do so asap. In addition I don't like posting anything between Christmas and the first workday after New Year (that's Jan 4, 2011) as I've had stuff go missing on several occasions. And I've got to dismantle my office at the weekend. Normal service for booksales etc will be resumed as soon as practicable. Thanks Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: key question
On 15 Dec 2010, John Dally wrote: But try playing 'Bigg Market Lasses' without a Bb key. The composer does! (Or did) A careful slide/roll with the A finger... But if seventeen keys are a guilty pleasure, what is the right number? My personal answer is 14 (no Bbs, no low D#), for one chanter, or 15 (add low A) for another (in F#, for an extended Wild Hills of Wannie) or 16 (add low A + G). Everyone's mileage will vary - my guilty pleasure is Gow style fiddle airs, hence the low notes. Top c is, I think you will find, no longer available, pipemakers who have tried doing it having decided it is not possible to get it reliably in tune with different reeds, though my information may not cover all makers. I have tune book (and CD) lust. Not only do I play through tune books as a form of entertainment and relaxation, as well as research, I also enjoy reading tune books. My girlfriend, a professional musician, finds it very funny that I'll curl up with a tune book instead of a regular book. Oh goody, customers!!! grin I'll get writing.even bigger grin Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Tune error - NPS journal
The wrong tune has been printed on p. 44 of the just-published NPS journal. The observant will notice that the first tune on the page is the same as the one on the bottom of p.43. The Bricklayer's Rant (which should be on p. 44) may be found at: http://www.facebook.com/photo.php?pid=236562l=bf16c7df8bid=10860900639 The Christmas reel (p. 43) is correct as printed. The composer is reminded she can't write an Exasperation Reel since that already appeared, a few years ago. ...but might just manage an even more exasperated rant in due course.. depending Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: How to play Northumbrian Smallpipes with Detached Fingering
On 23 Nov 2010, Richard Evans wrote: Excellent instructional video. I don't know who did this, but it's superb! I believe the perpetrator is either Helen Fish or Paul Rhodes. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Help please
On 16 Nov 2010, John Clifford wrote: I can add that I've had the same result as Rick and Sheila It happens here as well (Firefox on windows in one case, Linux in the other) Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Looking to get started - was- My little tune sponge....
On 13 Nov 2010, Richard Shuttleworth wrote: We have two sets of Northumbrian small pipes if John Leistman doesn't have a set available at this time then we may be able to help you out. Failing all that, the NPS is currently negotiating to have a hire set permanently lodged on the American continent under the care of Mike Sharp in CA. Realistically this won't now be before Christmas, but it is intended to be available anywhere that it will be useful. If it is much used, we will consider providing a second set. I look forward to another starter in a new state! Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: W. F. Ord
On 9 Nov 2010, friendm...@aol.com wrote: He was an important link in that delicate chain that kept the NSPs alive during the thin times of the 40s and 50's. His name, and that of his wife Dorothy often appear in the minutes of the period, frequently as leading work parties doing jobs such as essential cleaning of the Morden tower and other such events. Both served on the committee. He also became known as something of a reedmaker at this time, talking of visits from John of Carrick amongst others. His son Bob still takes an interest and receives society information, though not a player himself. I stll have the Drummond lathe used by Fred originally in a wooden shed in his back garden in Stanley Co Durham. Fred was an expert jig and toolmaker, and I also use some of his things on a regular basis. They are beautifully made. When he died, Bob asked Colin R, Barry and I to clear the remaining stuff. We have discarded very little, and I know Colin still uses tools that Fred made for him. Fred made a good number of tools and jigs for Colin, and also made pipe parts. In particular he supplied the ball ends, and I think plungers, for most of Colin's drones through the 90s, to my knowledge. He also did rough turning work, but preferred metalwork, I think. I believe there are several sets of his about - if Colin was rushed, he would get Fred to make parts, or on occasion whole sets. Colin would then finish the sets off and tweak them till he was happy with them. I am sure that Fred made several sets in various sorts of plastic / filled resin type stuff. I believe he researched the material that is now used for interchangeable stock sockets (acetal). Fred was definitely one of the Characters in the Northumbrian piping fraternity and is sadly missed by me and all who knew him. He was indeed. I first met him at Monday Chantry meetings, where he sat in the corner with Colin, and occasionally Bill Bohill, fettling things and talking. At that time fettling pipes was far more required, it seems, and often they would hardly get a tune in, but we did regularly have Pauline and Adrian leading the playing side at the time. Fred was a great talker and when he discovered we had lived in Norfolk would hold forth almost unstoppably on the region. He had a lifelong friendship with Benjamin Britten's secretary, Jeremy something or other, of which he was very proud. I couldn't follow him into his radio and boat-building interests, but I have the tapes of Billy Pigg which Adrian was first given (mine are copies of Adrian's), and there is also a taped interview with him if memory serves. Fred was very happy to see the Pigg book come out, though occasionally his recollections differed from those of others and I had to tread a careful path as to whose version to use in the final text. Fred and his family were at Biddlestone Hall when The Raindrop Waltz aka Achie's Fancy was written - Fred recalled that his then small sons were racing about getting the various containers in the right place to catch the drips that constitute the staccato bars I hope this adds to the picture. Julia 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 thou been a' the day, waggin' thy hand?
On 6 Nov 2010, Julia Say wrote: I think I'm heading in some of the same directions Here's the draft. I've taken a different approach to John, combining the theme strains in a different way, according to my current prejudice that 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). I've chosen to use both of the possible bar 2 patterns, one as an A strain, one as a B. Contradicts what I said earlier, but that's what it wanted to do. X:1 T:Where hast thou been all the night?(up writing variations) M:6/8 S:JS E:12 L:1/8 K:G e|dBG Bcd|dgB d2e|dBG Bcd|dgf d2 e|\ dBG Bcd|dgB d2e|dBG Bcd|dgf d2 e||\ dgf gdB|eAB c2 e|dgf gdB|\ E:14 Ggf d2 e|\ dgf gdB|eAB c2 e|dBG GB/c/d/B/|dgf d2||* L:1/16 E:9 e2|dcBABG B3cd2|d2BcdB d4 e2|dcBABG B3cd2|d2g2f2 d4 e2|\ dcBABG B3cd2|\ E:10 d2BcdB d4e2|dcBABG G2BcdB|d2g2f2 d4||\ e2|d2BcdB g2BcdB|e2ABcB c4 e2|\ E:8 d2BcdB g2BcdB|G2g2f2 d4 e2|\ d2BcdB g2BcdB|e2ABcB c4 e2|dcBABG G2BcdB|d2g2f2 d4||* e2|dcBcde dcBcdB|dcBcdB d4 e2|dcBcde dcBcdB|d2g2f2 d4 e2|\ dcBcde dcBcdB|\ E:9 dcBcdB d4 e2|dcBABG B3cd2|d2g2f2 d4 ef||\ gfefge dcBABG|edcBAB c4 e2|\ E:8 gfefge dcBABG|d2g2f2 d4 ef|\ gfefge dcBABG|edcBAB c4 e2|dcBABG B3cd2|d2g2f2 d4||* E:8 L:1/16 e2|dBGgdB dBGBdg|d2g2B2 d4 e2|dBGgdB dBGBdg|d2g2f2 d4 e2|\ dBGgdB dBGBdg|\ E:10 d2g2B2 d4 e2|dcBABG B3cd2|d2g2f2 d4||\ e2|dgdBdg bgdBGB|e2ABcB c4 e2|\ E:8 dgdBdg bgdBGB|d2g2f2 d4 e2|\ dgdBdg bgdBGB|e2ABcB c4 e2|dcBABG B3cd2|d2g2f2 d4||** It needs some editing and probably some bits throwing away. Likewise with mine. With the three (Matt's, John's and mine) in front of me, I'd now settle down and play them - if it wasn't 6am. Later I'll combine the bits I like from all three and come up with a revision sometime - if I wasn't due out to Edinburgh in an hour or so. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Slowing down tunes
On 11/6/10 1:20 PM, Anthony Robb anth...@robbpipes.com wrote: I seem to remember Bill Ochs at Killington this year demonstrating software which can slow down normal recordings whilst keeping pitch intact. In addition to the ones mentioned, Audacity 1.2 will do it (free). Audacity 1.3 doesn't seem to have this function. I used it to reduce Mr Pigg to a speed where I could follow him recently. Julia 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 thou been all the night?
On 5 Nov 2010, Gibbons, John wrote: Crawhall's tags... are harmonically as well as melodically different from Reavely, Exactly - which is why I think there's two possible sets there. the illegibilities in Crawhall seem to be mostly his fault... Was he noting this down in haste, I wonder? There are similarities in parts of the Clough MSS, where the writing is obviously that of Tom (3), but not the considered and legible stuff of the best collection... I will happily contribute to the medal fund for a sight of Reavely! Copy, I think, is what we need (OK, so it's a wish list). It's easy to look at an MS and make an index, but with an anxious owner hovering one cannot spend enough time to even abc much. Matt's strains ... definitely don't require an open-ended chanter. OK, thanks for that. Thanks to a damaged right elbow, I'm not very fluent on anything at present. some work before I get home Working out how to rake in all those tuition fees?? grin Julia 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?
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 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Where hast though been all the night?
On 4 Nov 2010, Matt Seattle wrote: If anyone thinks the three of us are crazy, I would like to point out that I have been crazy for longer than them. 1994, I think in my case, but I came to that point with a pre-disposition, I suspect. I note that it received zero attention until Richard York's hurdy-gurdy query, which is a sobering thought regarding the benefits of publication. But all a tune needs is one person to take up its cause and interest will spread. If we help to put the tunes out there, someone may, just may, get adopted by them. Julia (with crazy head on) 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 25 Oct 2010, friendm...@aol.com wrote: Jim Grieve was a civil servant who?travelled abroad alot etc Thanks, Steve. That helps a lot. There is an obit in the NPS mag vol 11, 1990. I therefore presume he died somewhere between very late 1988 and early 1990. The obit. states his home town to be Edinburgh, which was the centre of his Boys Brigade activity. There is not much reference to his actual piping (the writer knew him through Scottish country dance), except that he was a Scottish piper first. It does however give a link to well-known local clog dancer Shona Harper who is said to have his Northumbrian pipes, and her brother Andrew, a half-long player. a memorable night it was with Adrian and Pauline being the stars. His This would be around 1980/81. I suspect nearer 1985 since Adrian only started piping in 1981. the Half Longs?Jim did tell me they had belonged to Anthony Charlton. They were unusual in that the drone standing parts??had chased silver overlays. They are of Robertsons manufacture and are revived half longs from the 1930s This must be a different set to the ones that Jim McG has bought, which have two tenor drones and a bass, not the aberrent arrangement of the half-longs (and they are a very elegant design). It is possible that Andrew Harper's half-longs are Jim Grieve's set? JIm Richmond or Jock Agnew might know - or this info might be in Dennis Dunn's papers, now at the Chantry museum. Anthony Charlton was I belive a publican, primarily a highland piper Correct - but no immediate relation of the Charltons of Hesleyside or with Forster Charlton's family. At one time he was at Boulmer (see photo in NPS mag about 2-3 years ago), then later at Wark, although there were several in between - I can look it up if it is important. I can remember trying a set of his Northumbrian pipes which were at least partly made by Jim Bryan His time involved in the NPS was roughly contemporaneous with that of Jim Bryan so this is extremely probable. I seem to recall being shown this set by Andrew H bwhen he was on the committee briefly about 10-12 years ago, now that I think of it, in which case its probably not the one in the ebay sale. I hope this helps JUlia 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 25 Oct 2010, Matt Seattle wrote: Robertson half-longs were made in the 1920s-30s. If Jim was a Boys Brigade piper they may well be Robertsons. The piper who taught the early NPS half long players, and made the pipes, was James Robertson, not Hugh. It may be the same firm, I don't know. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Websites - software to build same
Has anybody out there used CMS programs to build websites? Ideally I'm looking for a Which? Guide to CMS, with Best Buy, but I guess that's optimistic. I know the no substitute for learning HTML discussion off by heart, thank you, so please don't bother ( I don't have time), and from what I've seen I want nothing to do with Microsoft Frontpage, in any form. Constructive advice or warnings about specific programs all gratefully received, particularly if folk have had experience of several. Piping connection, well there's 9 of the things on our host site. I can stick a pin in a list, but.. Offlist, possibly, if it gets technical. Thanks Julia 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
On 7 Oct 2010, Matt Seattle wrote: Simple mistranslation - plano = plan (noun) or flat (adjective) Thanks, Matt, for the explanation, and Ina for the kind offer, gratefully accepted. I'm just a little busy this weekend (!!) so if someone else can deal with it Muchas gracias.or something Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Bewick's Pipe Tunes - reissued
Matt Seattle has revised, and expanded the notes to, his original Dragonfly publication (the pink one). The NPS have re-published it, adding in Iain Bain's 1983 article from the NPS mag, also revised by its author. The resulting book is now available, price 4 UKP to NPS members, 7 UKP to others. Carriage is 1.50 UKP in UK, 2.50 in Europe and 4.00 elsewhere. Cheques payable to the NPS, and sent to me please, or Paypal to secret...@northumbrianpipers.org.uk. (For orders including other items as well, please ask for a carriage quote before sending money) Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tune Information
On 28 Sep 2010, Ann Sessoms wrote: Hazlewood was written by Roy Hartnell and published in The Jack Armstrong Tune Book in 1995 by Rossleigh Music, Newbiggin-by-the-Sea. It was also in the 1982 book published by Jenny Armstrong., but as Hazelwood. Holmes Fancy first appears in Peacock's Tunes, published 1801, as Holme's Fancy, but is a keyless tune so could be much older. My Home comes from our kilted brethren: typing it into google in inverted commas followed by Highland pipe tune gave me more links than I could be bothered to follow. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Competitions
On 7 Sep 2010, bri...@aol.com wrote: in the performance section:- 1. How many times does each tune have to be played? Twice is usual unless the tune is very long - sets of variations, and things like Mme Bonaparte or Cameron Highlanders are only played once, on the whole. 2. Supposing it is an A B tune, does each section have to be repeated each time (i.e. AA BB, AABB, AABB ? If the tune is written with repeats then AABB would be normal (this is the advice I would give to a beginner), but (particularly in the case of slow tunes) some are written with repeats but not normally played that way (Keening in the Wind and Elsey's Waltz are two that spring to mind). In the more advanced classes there is room for personal taste (on the player's part) in this matter. 3. Classes 12, 13, and 16 - Duets , Must the tune first be played through completely in unison (AA BB ), before it is played as a duet with tune + harmonies/counter melody? Most judges I have encountered will comment unfavourably if it is not - the test of being able to play in tuneful unison being regarded as important. You cannot enter class 16 (overseas duet) if you will be there and competing in 12 and / or 13 on the day. Does this apply also if there are 5 or 6 players in the group? Don't know. I've only once seen a group of 5 and I can't remember what they did - probably did play some unison. 4. May the duet, if there are actually several people in the group, (for example, Small Pipes, Fiddle, Harp) have several distinct lines - similar to a classical trio or quartette - when playing the second or third time through? Yes. 5. Is the initial Tune to be played each time by the Small pipes? Or may one of the other instruments play the tune while the Small Pipes play the harmony? There is no requirement other than that the group contains a small pipes/BP player. All else is up to the judge. 6. Must the tunes chosen come from one of the NPS published books, or may they be from any source provided that they lie well, and sound well, on the Small Pipes? A complete program of non-Northumbrian music mght be frowned on. However not all N'brian music is in NPS books by any means. Again, up to the judge. Class 3 Compositions: 1. Recently I have been playing through the winning compositions printed in the NPS Magazine. (Many are delightful!) I notice that most are 16-bar tunes. Is this considered to be the ideal length? This is one of the common dance tune lengths in this area. There are also 4-bar reels, 48 bar jigs..etc etc 2. I notice also, that they are all a solo melodic line. Are duets are not considered? It is a melody composition class - I can't speak for other judges, but the tune is the important thing. IIRC, one of the tunes last year had a harmony line as entered and I pointed out politely to the entrant that this had not been considered. When a few have harmony and the rest don't, that's all that can be done. 3. Most of these tunes are easily sight-read I think you would find some quite prominent players who would disagree with this as they are primarily aural players and read ony with difficulty. Perhaps a tune the judge can't interpret is not likely to get on a shortlist. (Sometimes a tune can have interesting, though unexpected, bars, which may seem difficult initially but become easy after having been practiced a few times. Would these tend to be thrown out immediately by a judge?) Depends on the judge. Some like to think of it as tunes accessible to many players, others go for the best tune. Its a very personal thing. I do remember early in m piping career, a tune requiring more than 7 keys being highly commended but not placed on the grounds that it was not accessible to many nsp players. Again, judge- specific. 4. Are compositions sent in showing the actual name of the composer? Or are pseudonyms used so that the judge is not biased in his/her expectations? In theory they are judged anonymously. How that it is interpreted by individual judges I couldn't say. I am not sure whether Anne Moore removes composers' names before sending them on - the one year year I took over that job (the flood year I think) I passed the tunes on to the judge with code numbers only, and provided a sealed key. I don't know what the judge did. Class 4, Composition of Variations 1. The majority of sets with variations for the Small Pipes seem to keep the last 2 bars of each section of the theme unchanged in each strain of the variations. Is this considered to be essential? desirable? Traditional for melodic divisions is the way I'd describe it - but the tag can be varied later in the piece, and is in any case of varying length. Study of existing sets is the only way to understand this one. 2. Are the variations supposed to maintain melodic and rhythmic interest with, or despite,
[NSP] Re: 4-bar reels
On 8 Sep 2010, Gibbons, John wrote:
Probably not a typo.
No, John is correct. Not a typo.
There are quite a few of these scattered through society publications (and
elsewhere, but I'll stick to what I know about). As a tune form they are
widespread, but survive alive and played in our area and Shetland for just two.
Try The Steam Plough and Harlow Hill Lads (early C19) in NPS 3 , Dear Tobacco
(prob. C17) in the Charlton Memorial (amongst many others therein).
As to who writes those now? well here you go:
(fans of simple abc may need to remove the mtex dialect bits)
X:5943
T:The Snow Wind
C:J Say, Jan 2009
M:C|
L:1/8
E:11
K:G
DF|:G2\
\segno r
BG dGeG|cBAG FGAD/F/|G2 BG dGeG|1 cAFA G2 GD/F/:|2 cAFA\
E:11
G2 Gd||\
g2 eg dgBg|Ggfg agfg|g2 eg dgBg|\
agfd g2 gd|*
g2 eg dgBg|Ggfg agfg|g2 eg dgBg|cAFA G2 \
GD/F/\
\zcharnote s {D.S.}
||Ggaf\
\zcharnote t {Last time}
g2 g2||**
There's a picture of this on my Facebook page which can be seen by all at:
http://www.facebook.com/photo.php?pid=218192l=7627d258f1id=10860900639
(or so the Facebook instructions tell me!)
I am not the only one who writes them, nor is this the only one I have.
Hope this helps
Julia
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[NSP] Painting on ebay
Ebay item no. 110558617159 Anyone know anything about this chap? (Or fancy having him at home?) I have no connection with or interest in it apart from mere curiousity. Julia 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] Monday NPS meeting at The Chantry
On 3 Sep 2010, richard.hea...@tiscali.co.uk wrote: The regular NPS monthly meeting will be held on Monday (6th) at 19:30 at The Chantry Bagpipe Museum in Morpeth. The session was to have been run by Margaret and Andy Watchorn This Monday's meeting wiill therefore take the usual form. Well, as a backstop, (and if no-one has any better ideas) I'll bring a box of Billy Pigg books and we can trawl through some of his lesser played tunes and the stuff that wasn't published before, and have some discussion about why his playing is so inspirational to some and a complete no-no to others. (Oct. week participants who are there may suffer a sense of deja-vu in a few weeks, but I'll do my best!). If it helps Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Pipes for sale
I have just been told of a very early D. Burleigh set of pipes for sale. The vendor / owner writes: My pipes have not been played for some time, but nor they have they been actively neglected. They would probably need minor attention before playing. I was thinking in terms of about £400. They are in Northumberland, and the chanter has 7 keys. If anyone would like contact details, please contact me offlist. The only caveat is that they probably (and I haven't seen them) have ivory ends on chanter and drones, with all that that implies. Hope this is of interest to someone. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Bag cloth
On 12 Aug 2010, Richard York wrote: Barry's reply suggests a possible need for a new sub-group within the NPS, the naturist section Richard - you owe me a new keyboard to replace the one I just spat tea all over!! v. big grin what an 'orrid thought at 10am Julia 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
On 8 Jul 2010, Ian Lawther wrote: Later someone discovered the original French title was Le Grand Chien not La Grande Chaîne I am that someone. Well all right, actually Rob Say told me. Having one grand chien already and hankering after at least a couple more, plus grand if possible (http://www.dogbreedinfo.com/images15/IrishWolfhoundFrankBrendan.JPG), the title tickled my fancy, as well as being a correction. I think that the new book is showing the correct title as well the adopted Northumbrian title. I hope so, said the editor. A grand chain is a common figure in English country dance and I suspect that the original mistranslation assumed that this was being referenced in the tune title. One of Alistair A's recordings is called The Grand Chain, but whether he or The Shepherds collectively imported it I am uncertain - doubtless someone will know. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] nsp on ebay
Item number:330436232666 Set with 9 key chanter, 4 tuning beads, made by Henry Knox, 5 years old. Standing at 275.00 GBP with a buy it now of 325.00 In the UK I have no knowledge of the set nor interest in the sale (beyond seeing what it goes for!) HTH Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Border pipes on ebay
Some members of the list might be interested in these, which are on ebay: Item number:260599551515 Item number:120567535013 Both are in the UK. I know nothing further about them and have no connection with sellers or interest in the sale. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Stolen pipes
I'm happy to say that the stolen pipes I reported a week or so ago are back with their owner, no damage. Thanks to those who made suggestions or offered to keep an eye out. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Swallow Tail Reel
On 19 Apr 2010, Matt Seattle wrote: Malcolm is probably(?) looking for the Billy Pigg version - somebody here will have transcribed it? -- Sent to Malcolm offlist, if that's what he's looking for. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Jack Dodd
On 5 Apr 2010, John Dally wrote: Playing through some of Jack Dodd's tunes today, I wondered if anyone on the list could tell me about him, or send me to some resource on the web that might have information about him. Jack Dodd is still with us, and lives in Embleton. He is father to Margaret Watchorn (of this parish) - who presumably would be best placed to provide details. AFAIK he doesn't do the internet. He used to play pipes, and in my time, played banjo with Dishalagie. I received a lot of help from him when I first went to Alnwick pipers' meetings in the early 90s. He and George Mitchell (separately) gave me some really good advice, which I try to remember. I consider his tune The Flowers of Ashgill - in Alnwick's book 2 - to be one of the best old-fashioned waltz tunes ever - YMMV. Hope this helps Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Jack Dodd, OT: acronyms
On 6 Apr 2010, Richard York wrote: AFAIK I hadn't met YMMV, so looked it up on the acronym finder Your Market May Vary? I used it as I've encountered it: your mileage may vary - ie, my personal opinion that Flowers of Ashgill is a superb old-fashioned waltz may not be universally agreed upon. HTH grin Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
