[NSP] Re: Alice Burn Emily Hoile
Why did I get Rachmaninov? Richard (Puzzled in Quebec) - Original Message - From: Francis Wood oatenp...@googlemail.com To: Anthony Robb anth...@robbpipes.com Cc: Dartmouth NPS nsp@cs.dartmouth.edu Sent: Friday, September 16, 2011 5:06 AM Subject: [NSP] Re: Alice Burn Emily Hoile Good result, Anthony! This lovely item can be heard for the next 6 days at: http://www.bbc.co.uk/programmes/b014fj7j Emily and Alice's slot is at 1.09 Francis On 13 Sep 2011, at 22:58, Anthony Robb wrote: Some might be interested to know I sent a couple of tracks recorded recently by Emily Alice down to Radio 3. The response has been very positive and as a result they will be playing on this week's 'In Tune' (Thurs 15 Sept. 16:30 - 18:30 local time). Anthony -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Alice Burn Emily Hoile
On 16 Sep 2011, at 13:18, Richard Shuttleworth wrote: Why did I get Rachmaninov? Richard (Puzzled in Quebec) Because that is the first item on in the programme. For Alice and Emily go to 1.09 (hours and minutes). Good luck Francis Ah, I was thinking minutes and seconds not hours and minutes (not used to classical radio programmes lasting more than an hour). Thank you Francis. Lovely playing, I feel old :-)) Richard 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
Dear Adrian, Why cannot all this very positive work be done on the current group that Wayne Cripps set up many years ago for exactly this type of discussion? Richard - Original Message - From: Inky- Adrian inkyadr...@googlemail.com To: nsp@cs.dartmouth.edu Sent: Friday, May 27, 2011 9:54 AM Subject: [NSP] Proper piping group The new facebook forum The Proper Northumberland small-pipe Players has now developed into an array of topics: Traditional reedmaking, smallpipe making , traditional developement and delving into the past to see how things might have worked and possibly revamp them for todays use. The forum is not for those who have a total dislike of of all things traditional, it is for those who have a positive view and a general agreement with each other on what the small-pipes are about. We are actively recording the tunes and how we think the pipes should be sound. Adrian. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Cocks Bryan Book for sale
Mine is a hardback edition in pristine condition. Never used - I prefer the information on Mike Nelson's web site. Richard - Original Message - From: Philip Gruar phi...@gruar.clara.net To: nsp@cs.dartmouth.edu Sent: Friday, May 13, 2011 5:41 PM Subject: [NSP] Re: Cocks Bryan Book for sale I've got one with probably even more oil stains than the one for sale. Perhaps I could get more than $100 for mine. Philip To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Low keys sequence
Hi Philip, Four years ago, Colin very kindly made me a set with a 16 key chanter using his new grouping for the lower keys (down to B). I had previously been playing a 16 key chanter with the more traditional grouping and I must admit that it took me a few hours of practice before I was really comfortable with Colin's chanter. Now I find it a delight to play. The only tune that occasionally makes me want to go back to the traditional set up is Beeswing. Cheers, Richard - Original Message - From: Philip Gruar phi...@gruar.clara.net To: Dartmouth NPS nsp@cs.dartmouth.edu Sent: Wednesday, May 04, 2011 6:43 AM Subject: [NSP] Low keys sequence May I put out a request for opinions from the NSP community? Apologies for raising a subject which has been discussed several times before - though maybe not in precisely the same terms, and I like to keep abreast of the latest thinking among better players than me. Traditionally, the low B and C on an extended chanter have been arranged with the B on the right and the C on the left, but Colin has pioneered various other arrangements - especially three-key groupings with the order going A,B,C left to right. I think there seems to be a growing opinion that even with just the two low keys, B and C, it is also more convenient to have them with B on the left C on the right. Having myself recently tried a chanter by Colin with the low keys in that order, I must say it is much more intuitive, but then I've never regularly played one myself with either arrangement - only made them for other people (always the traditional way so far). Scale order left to right obviously makes sense when there's also a low C# paired with the D in the right side slot - at least when playing scale passages e.g. in the accompaniment to duet slow airs, though in rapid arpeggio playing it may be better the traditional way. I have just given a customer the choice - he is a very good player, and has been professional on other wind instruments, but he is outside the NSP mainstream and has only ever played a 7-key chanter. I explained the options, and suggested the B-on-the-left arrangement, which after consideration he's gone for - but as I said, without the experience. What do people think? Philip 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
Hi Anthony, Perhaps we should also take reed variations into consideration. Cheers, Richard - Original Message - From: Anthony Robb anth...@robbpipes.com To: Dartmouth NPS nsp@cs.dartmouth.edu Sent: Wednesday, February 09, 2011 11:02 AM Subject: [NSP] Tuning/pitch Francis wood wrote today: There's no reason to suppose that Robert and James Reid were careless about the consistency of pitch of their products. No doubt, they would be extremely surprised to know of the latitude in pitch (and indeed tuning) of many of today's pipes. Hello Francis, John and others with the stamina to keep reading this, 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. This degree of variation would make it impossible for these sets to span the gulf by pressure adjustment. Add to that the modern trend to play as near to F (A=440) as possible, with the resulting move away from the Reid pattern, and here we find ourselves. 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. Cheers Anthony -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tweaking pennywhisle to NSP F+ pitch?
Hi Matthew, Don't be fooled by the nomenclature when talking about Northumbrian small pipes. A set of pipes playing in F+ is actually playing about 75 cents below concert pitch i.e. if you finger a G on the pipes it will show F+ on a meter. If you have a tuneable D whistle and can pull the tuning slide out far enough, you should be able to get in tune with a set of pipes playing F+. Conversely, take a C whistle and push the tuning slide in to sharpen it. It depends on how good your whistle is as to whether it remains in tune throughout the range. Richard ps SHAMELESS PLUG: The Pipers' Gathering will be featuring Mike McHale and Andrea Mori teaching whistle and flute. Check out their classes and then jam with some of the NSP players. See www.pipersgathering.org for details. - Original Message - From: Matthew Boris matthew_p...@hotmail.com To: nsp@cs.dartmouth.edu Sent: Monday, January 31, 2011 5:01 PM Subject: [NSP] Tweaking pennywhisle to NSP F+ pitch? At the Potomac piper's gathering a few weeks back, I noticed that few folks had instrument set up to jam with the NSP players in their F+ sets, except for one pennywhistle player. Is there any standard way to play in F+ on a tinwhistle? Is it best to get an F whistle (low or high), take off the head, trim a bit of the top of the body so you can slide the head tighter? Or do the same on a C whistle to sharpen your F scale (the three fingers down pitch)? Or do folks do the opposite and get a 'whistle that can play a G scale and pull the head out to bring the G down to F+? Any advice on how to go about this, and which marques of 'whistle are easiest to modify? Strings instruments are easy to play in F+ with, clearly, though for my concertina it'd take a pretty specific re-tune to play F+! -Matthew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tweaking pennywhisle to NSP F+ pitch?
This makes a lot of sense because you don't have to move a C whistle as much to get it in tune with F+ pipes. - Original Message - From: Chips Lanier chips-lan...@vmi70.org To: nsp@cs.dartmouth.edu Cc: Richard Shuttleworth rshuttlewo...@sympatico.ca; Matthew Boris matthew_p...@hotmail.com Sent: Monday, January 31, 2011 11:00 PM Subject: [NSP] Re: Tweaking pennywhisle to NSP F+ pitch? I was the fellow for whom Jerry Freeman adjusted that C whistle. I had tried to do it myself by flattening a D whistle, but it was terribly out of tune in the upper notes. I did not own a C whistle, so took advantage of Jerry's expertise while at Killington to get a C and sharpen it. No need to modify the body or hole locations. 25 cents is not too far and it tunes right on with the NSP. Also, retuning to its original, it matches with an NSP in concert F. On 1/31/11 5:44 PM, Richard Shuttleworth wrote: Hi Matthew, Don't be fooled by the nomenclature when talking about Northumbrian small pipes. A set of pipes playing in F+ is actually playing about 75 cents below concert pitch i.e. if you finger a G on the pipes it will show F+ on a meter. If you have a tuneable D whistle and can pull the tuning slide out far enough, you should be able to get in tune with a set of pipes playing F+. Conversely, take a C whistle and push the tuning slide in to sharpen it. It depends on how good your whistle is as to whether it remains in tune throughout the range. Richard ps SHAMELESS PLUG: The Pipers' Gathering will be featuring Mike McHale and Andrea Mori teaching whistle and flute. Check out their classes and then jam with some of the NSP players. See www.pipersgathering.org for details. - Original Message - From: Matthew Boris matthew_p...@hotmail.com To: nsp@cs.dartmouth.edu Sent: Monday, January 31, 2011 5:01 PM Subject: [NSP] Tweaking pennywhisle to NSP F+ pitch? At the Potomac piper's gathering a few weeks back, I noticed that few folks had instrument set up to jam with the NSP players in their F+ sets, except for one pennywhistle player. Is there any standard way to play in F+ on a tinwhistle? Is it best to get an F whistle (low or high), take off the head, trim a bit of the top of the body so you can slide the head tighter? Or do the same on a C whistle to sharpen your F scale (the three fingers down pitch)? Or do folks do the opposite and get a 'whistle that can play a G scale and pull the head out to bring the G down to F+? Any advice on how to go about this, and which marques of 'whistle are easiest to modify? Strings instruments are easy to play in F+ with, clearly, though for my concertina it'd take a pretty specific re-tune to play F+! -Matthew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Off-topic request for Hymnbook
Hello Philip, I've passed your request on to a friend of mine, Tim Cummings, who runs a small publishing company specializing in the type of music you are looking for. Tim lives in Vermont, USA. You can check out his web site at www.beithepublishing.com Good luck in your search, Richard - Original Message - From: Philip Gruar phi...@gruar.clara.net To: Dartmouth NPS nsp@cs.dartmouth.edu Sent: Monday, January 10, 2011 8:36 AM Subject: [NSP] Off-topic request for Hymnbook This is way off-topic for NSP's, but given the wide musical interests of many list members, I thought I'd give it a try - I'm interested in getting a copy of The Sacred Harp hymnbook - or possibly other shapenote books. I know the 1860 edition of Sacred Harp is available online, in the Michegan State University digital collections, and I also know I could order a copy of the current edition direct from the publishers in the USA, but does anyone know if I can buy a copy here in the UK? Specifically, I'd like to find the music for Sacred Harp no.198 Green Street to the words All Hail the Power of Jesus' Name - ideally this week! That tune is not in the online edition (or if it is, I can't find it there) I'm sure there must be someone reading this list who knows this repertoire well (and for anyone who doesn't, check it out on YouTube - it's amazing) - if so, and if you can send me a scan of it, please contact me off list and I'd be very grateful. Thanks, Philip To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: TV
Hi Anthony, When I tried to log on I got a curt message saying that the show wasn't available in my area. Has anyone any ideas on how we benighted folk in North America can watch this program? Richard Anthony wrote: He's the link for the programme on iPlayer if anyone missed it but is interested to view it. [1]http://www.bbc.co.uk/iplayer/episode/b00wmy5q/Come_Clog_Dancing_Trea sures_of_English_Folk_Dance/ 1. http://www.bbc.co.uk/iplayer/episode/b00wmy5q/Come_Clog_Dancing_Treasures_of_English_Folk_Dance/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Looking to get started - was- My little tune sponge....
Hello Reid, You can find help through the Pipers' Gathering which holds a convention in early August each year in Vermont. Visit www.pipersgathering.org for all the basic details. We have two sets of Northumbrian small pipes and two sets of Scottish small pipes available for rent (although some are already in use) and if John Leistman doesn't have a set available at this time then we may be able to help you out. Through our mailing list, we may be able to put you in touch with pipers living near you or failing that offer you some advice and encouragement via Skype. Keep in touch! Richard ps The Pipers' Gathering is always looking for sets that we can use as rental sets to help prospective pipers get started on their road to ruin. If anyone knows of sets that are currently languishing in a cupboard then we would love to hear from you! - Original Message - From: Reid Bishop greidbis...@gmail.com To: Ian Lawther irlawt...@comcast.net Cc: NSP group nsp@cs.dartmouth.edu Sent: Saturday, November 13, 2010 3:42 PM Subject: [NSP] Re: My little tune sponge Hideeho, I am new to the nsp list serve. I play fiddle and a few other stringed instruments in various Celtic trad styles. My love of Celtic music began when I was 12 listening to Scottish pipers. I am turning 40 this month and have decided at long last that I want to pipe! I play routinely with my family who are also trad players so I need something to play tunes on that context at least occassionally. I am growing in fascination with the NSP. How should I start? Better should I start given that I am now officially over the hill and have never played any kind of a wind instrument. Are Scottish smallpipes more appropriate. I am handy with fixing and maintaining instruments. Help! Cheers Reid - G. Reid Bishop, Ph.D. Director Mississippi River Field Institute National Audubon Society 1208 Washington St. Vicksburg, MS 39183 Office: (601)-661-6189 Mobile: (601)-214-5261 Email: rbis...@audubon.org Web:mri.audubon.org On Nov 13, 2010, at 2:18 PM, Ian Lawther irlawt...@comcast.net wrote: My youngest daughter (10) has always been a little bit of a tune sponge though she has refused to join the school choir (much to the teachers disappointment) and only recently took up an instrument (flute). Last night she was whistling something from Holst's The Planets which she picked up somewhere but right now she is sitting playing with Lego and whistling Morpeth Rantwhich I happened to be practicing on the melodeon about half and hour ago. She does it better than I was doing. Ian To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Shameless Plug - Force 6
In a previous discussion, I said that The Windy Gyle Band's new CD Force 6 was well worth buying. My recommendation was based on a pilot CD that Anthony Robb gave me when he visited the Pipers' Gathering this past summer. I have now received a copy of the final version which includes 13 tracks to the pilot CDs 11 and I would just like to say that it is one of the best compilations I have listened to in a long time. There is a great mixture of old and new played in a style reminiscent of the old recordings of past generations of players; I spent a happy evening listening and re-listening to this disk to discover that I have been playing polkas all wrong for the past 20 years (something that is probably no great surprise to my friends). If a player who has little chance to visit Northumberland but wants to hear some authentic music then this CD should be high on his or her Christmas wish-list! Thanks for listening, I'll shut up now. Richard -- 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
Hi Anthony, Bill Ochs was using a new shareware that slowed down videos while keeping the pitch. That is something I hadn't seen before. If you simply wish to slow down a sound file then The Amazing Slow Downer from Roni Music is a good choice. Visit www.ronimusic.com and click on software A good investment for $50 US for anyone who learns by ear. Anyone wishing to contact Bill Ochs will find him through www..pennywhistle.com Cheers, Richard - Original Message - From: Anthony Robb anth...@robbpipes.com To: Dartmouth NPS nsp@cs.dartmouth.edu Sent: Saturday, November 06, 2010 1:20 PM Subject: [NSP] Slowing down tunes Hello Colin I seem to remember Bill Ochs at Killington this year demonstrating software which can slow down normal recordings whilst keeping pitch intact. Perhaps you could contact him: [1]b...@pennywhistle.com and spread the word if I'm right. Thoroughly agree about abc being useful too, it's certainly better than nowt! Cheers Anthony -- References 1. mailto:b...@pennywhistle.com 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?
I second that! Richard - Original Message - From: Dave S david...@pt.lu To: Dartmouth nsp list N.P.S. site nsp@cs.dartmouth.edu Sent: Thursday, November 04, 2010 1:34 PM Subject: [NSP] Re: Where hast though been all the night? Original Message Subject: Re: [NSP] Re: Where hast though been all the night? Date: Thu, 04 Nov 2010 18:33:22 +0100 From: Dave S [1]david...@pt.lu To: Matt Seattle [2]theborderpi...@googlemail.com Hey Matt, carry on for me -- it's well worth the bandwidth, plus we get to see some new works in progress ciao Dave S On 11/4/2010 5:56 PM, Matt Seattle wrote: Before you read on - is anyone besides John Gibbons, Julia Say and myself interested in this? Seriously, please say so, I'd like to know, because if not, we can carry on the discussion privately. If anyone thinks the three of us are crazy, I would like to point out that I have been crazy for longer than them. I have refrained from reading Julia's and John's versions till I made mine public. I was very taken with this tune at the time of the second Bewick edition (1998) and used to play it a lot. I am pleased that (two) others also enjoy it. I note that it received zero attention until Richard York's hurdy-gurdy query, which is a sobering thought regarding the benefits of publication. You may need to add line breaks, I have just pasted my text as is. X:1 T:Where Hast Thou Been All The Night? C:R Reavely ms (strs 1-3) C:M Seattle (strs 5-8) Aug 1998 M:6/8 R:Air K:G e|d/c/B/A/B/G/ Bcd|dgB c2e|d/c/B/A/B/G/ Bcd|dgf d2:|] [|:e|dgf dgB|dgB c2e|dgf dgB|dgf d2e| dgf dgB|dgB c2e|d/c/B/A/B/G/ Bcd|dgf d2:|] [|:e|dB/c/d/B/ gB/c/d/B/|dB/c/d/B/ c3/2d/e/c/|dB/c/d/B/ gB/c/d/B/|dgf d2e| dB/c/d/B/ gB/c/d/B/|dB/c/d/B/ c3/2d/e/c/|d/c/B/A/B/G/ Bcd|dgf d2:|] [|:e|dGe/f/ gGB/c/|dGA/B/ c3/2d/e/c/|dGe/f/ gGB/c/|dgf d2e| dGe/f/ gGB/c/|dGA/B/ c3/2d/e/c/|d/c/B/A/B/G/ Bcd|dgf d2:|] [|:e|d/c/B/A/B/G/ B/A/B/c/d/G/|d/c/B/A/B/G/ c/B/c/d/e/G/|d/c/B/A/B/G/ B/A/B/c/d/G/|dgf d2:|] [|:e|d/G/g/G/f/G/ d/e/d/c/B/c/|d/G/g/f/d/B/ c/B/c/d/e/G/|d/G/g/G/f/G/ d/e/d/c/B/c/|d/G/g/f/d/c/ d2e| d/G/g/G/f/G/ d/e/d/c/B/c/|d/G/g/f/d/B/ c/B/c/d/e/G/|d/c/B/A/B/G/ B/A/B/c/d/G/|dgf d2:|] [|:e|d/B/G/B/d/B/ g/B/G/B/d/B/|d/B/G/B/d/B/ cG/c/e/c/|d/B/G/B/d/B/ g/B/G/B/d/B/|dgf d2e| d/B/G/B/d/B/ g/B/G/B/d/B/|d/B/G/B/d/B/ cG/c/e/c/|d/c/B/A/B/G/ B/A/B/c/d/G/|dgf d2:|] [|:e/|d/G/A/B/c/d/ g/f/d/c/B/c/|d/G/A/B/c/d/ =f/e/c/d/e/c/|d/G/A/B/c/d/ g/f/d/c/B/c/|d/G/g/f/d/c/ d2e| d/G/A/B/c/d/ g/f/d/c/B/c/|d/G/A/B/c/d/ =f/e/c/d/e/c/|d/c/B/A/B/G/ B/A/B/c/d/G/|dgf d2:|] -- To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html No virus found in this incoming message. Checked by AVG - [4]www.avg.com Version: 9.0.864 / Virus Database: 271.1.1/3236 - Release Date: 11/03/10 20:34:0 0 -- References 1. mailto:david...@pt.lu 2. mailto:theborderpi...@googlemail.com 3. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 4. http://www.avg.com/
[NSP] Re: Recommended new recordings and books
Hi Anthony, The sub-title is well deserved. I thoroughly recommend Force 6. Cheers, Richard - Original Message - From: Anthony Robb anth...@robbpipes.com To: John Dally dir...@gmail.com; Matt Seattle theborderpi...@googlemail.com Cc: nsp@cs.dartmouth.edu Sent: Tuesday, November 02, 2010 5:34 PM Subject: [NSP] Re: Recommended new recordings and books Following Matt's brave suggestion on the recording front there's a new Cd coming out next week from the band that arose out of the Windy Gyle CD. It has piping and fiddling and some lovely clarsach too. Snips can be heard at [1]www.robbpipes.com . Richard Shuttleworth was kind enough to suggest that the CD name Force 6 should be Force 9, so thank you Richard for the subtitle! Cheers Anthony --- On Tue, 2/11/10, Matt Seattle theborderpi...@googlemail.com wrote: From: Matt Seattle theborderpi...@googlemail.com Subject: [NSP] Re: Recommended new recordings and books To: John Dally dir...@gmail.com Cc: nsp@cs.dartmouth.edu Date: Tuesday, 2 November, 2010, 19:30 Well, obviously I'm biased, but I recommend Matt Seattle Band ~ Reivers of the Heart from [1]dragonflymusic.co.uk Traditional and Original Music from the Borders and Northumberland, including state-of-the-art versions of some Northumbrian classics (I did say I was biased) On Tue, Nov 2, 2010 at 7:21 PM, John Dally [2][2]dir...@gmail.com wrote: With the holidays coming up, perhaps it might be a good idea to make a list of the best new (they're all great, I'm sure) recordings and books with Northumbrian/Borders content. I want to make a list to give to my friends and family. ;-) Can anyone recommend good histories, old or new, of Northumberland? To get the ball rolling, I highly recommend Margaret Watchorn's new book. To get on or off this list see list information at [3][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [4]http://dragonflymusic.co.uk/ 2. mailto:[5]dir...@gmail.com 3. [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.robbpipes.com/ 2. http://uk.mc5.mail.yahoo.com/mc/compose?to=dir...@gmail.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. http://dragonflymusic.co.uk/ 5. http://uk.mc5.mail.yahoo.com/mc/compose?to=dir...@gmail.com 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: la Grande Chaine
Hi Sheila, Being neither a dancer nor a fiddler, I hesitate to answer your question. Having made that disclaimer I will jump in with both feet. Many Quebec traditional dances are in the form of a quadrille and are made up of several parts. The Grande Chaîne is one such part. For example, the Quadrille de Rimouski is made up of six parts: la Chaîne, le Changement de compagnie, le Salut par le main, la Grand Chaîne, la Galope and finally les Confitures. The tune we know as The Grand Chain is the tune that is played to the 4th part of the dance. The tunes played to the other parts of the dance also take the name of their particular part. In case anyone is impressed by this show of knowledge, all this information comes from a book entitled La Dance traditionnelle dans l'est du Québec written by Simonne Voyer and published by l'Université Laval. Our tune The Grand Chain appears in a recognizable form on page 275 as l'air de quadrille (4ième partie): La Grande Chaîne. When did it become popular? I've no idea but it is still being danced today. Cheers, Richard ps Sheila, you haven't registered for the Pipers' Gathering yet - are we going to have the pleasure of your company this year? www.pipersgathering.org - Original Message - From: bri...@aol.com To: nsp@cs.dartmouth.edu; bri...@aol.com Sent: Thursday, July 08, 2010 4:23 PM Subject: [NSP] la Grande Chaine La Grande Chaine seems to be a very popular tune on both east and west sides of the Atlantic, so I was most surprised, when looking through The Fiddler's Fake Book , published in 1983, which lists almost 500 of the most played tunes, not to find it there. Does anyone have any idea when it became popular? Richard, living in Quebec, maybe you can throw some light on this? I had always assumed that it was an old, very traditionally French Canadian. Sheila -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: la Grande Chaine
Well Alec, you sent me back to page 284 of my book to look at how the sixth part of the dance, Les Confitures, is performed. Men and women for an inner and an outer circle respectively and then each couple swings around with their partner before progressing (one circle clockwise and the other anticlockwise). The whole thing carries on and perhaps, at some time in the past, it reminded people of stirring jam. Who knows - I dance with one foot nailed to the ground! Richard - Original Message - From: cal...@aol.com To: nsp@cs.dartmouth.edu Sent: Thursday, July 08, 2010 7:11 PM Subject: [NSP] Re: la Grande Chaine Oh, thanks Richard! Now we'll have to figure out what the heck confitures (confections, candies, jams, etc) have to do with a quadrille! Big dogs weren't bad enough! Alec MacLean -Original Message- From: Richard Shuttleworth rshuttlewo...@sympatico.ca To: nsp@cs.dartmouth.edu; bri...@aol.com Sent: Thu, Jul 8, 2010 2:25 pm Subject: [NSP] Re: la Grande Chaine Hi Sheila, Being neither a dancer nor a fiddler, I hesitate to answer your question. Having made that disclaimer I will jump in with both feet. Many Quebec traditional dances are in the form of a quadrille and are made up of several parts. The Grande Chaîne is one such part. For example, the Quadrille de Rimouski is made up of six parts: la Chaîne, le Changement de compagnie, le Salut par le main, la Grand Chaîne, la Galope and finally les Confitures. The tune we know as The Grand Chain is the tune that is played to the 4th part of the dance. The tunes played to the other parts of the dance also take the name of their particular part. In case anyone is impressed by this show of knowledge, all this information comes from a book entitled La Dance traditionnelle dans l'est du Québec written by Simonne Voyer and published by l'Université Laval. Our tune The Grand Chain appears in a recognizable form on page 275 as l'air de quadrille (4ième partie): La Grande Chaîne. When did it become popular? I've no idea but it is still being danced today. Cheers, Richard ps Sheila, you haven't registered for the Pipers' Gathering yet - are we going to have the pleasure of your company this year? www.pipersgathering.org - Original Message - From: bri...@aol.com To: nsp@cs.dartmouth.edu; bri...@aol.com Sent: Thursday, July 08, 2010 4:23 PM Subject: [NSP] la Grande Chaine La Grande Chaine seems to be a very popular tune on both east and west sides of the Atlantic, so I was most surprised, when looking through The Fiddler's Fake Book , published in 1983, which lists almost 500 of the most played tunes, not to find it there. Does anyone have any idea when it became popular? Richard, living in Quebec, maybe you can throw some light on this? I had always assumed that it was an old, very traditionally French Canadian. Sheila -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[NSP] Re: Noises from keys
Possible causes: - Not properly covering the finger holes with the left hand (lick finger tips before playing. If squeek goes away pay more attention to covering holes), - Dry, leaky pad on one of the upper keys (oil all key pads to improve seal) - Air leaking between reed seat and reed staple (seal around base of reed with a small amount of bees wax) - Not hitting lower key square on causing it to not open cleanly (possibly due to slack pivot support or weak spring) Good luck, Richard - Original Message - From: colin cwh...@santa-fe.freeserve.co.uk To: nsp@cs.dartmouth.edu Sent: Wednesday, March 17, 2010 8:54 PM Subject: [NSP] Re: Noises from keys Pure guesswork on my part but has the cotton bung become saturated with oil? I had some very unusual things happen when that occurred and I had a pool of oil in there. Only other thing I could suggest is to make sure the pads seat and lift off cleanly - and don't try and sneak the key off - lift it off smartly (half open holes can make funny noises). Sorry, that's all I can think of from my own experience. I'm sure lots of good suggestions will follow. Colin Hill. - Original Message - From: neihutch...@yahoo.com To: nsp@cs.dartmouth.edu Sent: Thursday, March 18, 2010 12:03 AM Subject: [NSP] Noises from keys I am just starting to try and use the keys on my 7-key chanter. I'm having a bit of a random issue with the lower 3 keys, when i open them i sometimes get a high pitched squeak rather than the appropriate note. Does anyone have any idea why this might be? Cheers - Neil -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: pipe cases
I also use a Pelican 1550 case for my NSP when I am traveling between Canada and the UK. As Derek says, it is too big to use as carry-on for Air Canada but it meets British Airways carry-on dimensions. - Original Message - From: DEREK LOFTHOUSE dloftho...@shaw.ca To: Philip Gruar phi...@gruar.clara.net Cc: Dartmouth NPS nsp@cs.dartmouth.edu Sent: Thursday, February 18, 2010 9:30 AM Subject: [NSP] Re: pipe cases I use a Pelican 1550 case that holds my NSP, Border Pipes, Flute, assorted whistles and even a few tune books. It is pretty big and bulky but Pelican cases are literally indestructable. I used last fall flying from Canada to England and back, had no hesitation giving it to the baggage handlers. I dont' think it even got scratched. The 1550 is a touch too big for Air Canada carry-on, and I was carrying a hurdy gurdy anyway. There is a Belgian on the HurdyGurdy list, who is in the military, who has tried to blow up his Pelican case (empty) with grenades but it survived intact. Granted the case is large, but if you travel and or fly it could save your instruments. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Sliabh na m'bhan (was Gaelic Pronunciation)
- Original Message - From: Julia Say julia@nspipes.co.uk To: nsp nsp@cs.dartmouth.edu; Dru Brooke-Taylor drubrooketay...@btinternet.com; Richard Shuttleworth rshuttlewo...@sympatico.ca Sent: Saturday, February 06, 2010 5:16 AM Subject: Re: Sliabh na m'bhan (was Gaelic Pronunciation) Julia wrote: I've never met Geoff either, but in the 1960s he was a member of the London pipers who travelled north to hear Billy Pigg amongst others. We have corresponded. In 1990 he kindly presented all his group's transcriptions to the NPS. The book you have, Richard, was a very temporary production for one specific Pipers Gathering. I am currently working on a version of the tune to be included in a book of Billy's repertoire. Thank you for placing Geoff Warren, now I know why I have never met him. How many more books on Billy Pigg can you find to write? (Big grin here) The tune in it may be heard here: http://www.youtube.com/watch?v=Le1rntXsDsg played by Gay McKeon who is the CEO of the Uilleann Pipers Society (NPI). So presumably should know. Excellent! Thank you! This version varies quite a bit from Billy's in the second part but it is certainly the same air. I shall study this. Another unaccompanied vocal version that Bart sent me can be found at http://www.youtube.com/watch?v=Or-f3JSJtYA It is interesting to compare the two. Adrian recorded it on his cassette Jane of Biddlestone and called it Sliabh na mban but with the English subtitle of The Iron Man and attributed to Scott Skinner. I don't know what happened there, I don't have the tape insert to hand, but Billy played both The Iron Man by Scott Skinner, and Sliabh na m'bhan. He may have learnt Sliabh from the Doonans, again I don't know. There are recordings of both, which were correctly identified by Adrian in the collection of material he gave me. This was a mistake on my part, I misread the liner notes. Adrian plays Sliabh na m'Bhan followed by The Iron Man. My liner notes are so old I didn't see the forward slash in the printing and mistook the English for a translation of the Irish. Thank you, Julia, for separating my enquiry from the bitter correspondence it seems to have generated. My apologies to the list for having unwittingly caused this latest spate of nastiness. Cheers, Richard To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Gaelic Pronunciation
Hello Dru, Although the tune on page 44 of book 2 is a really nice tune, it isn't the same one that caused my original enquiry. However, your tune (Slievenamon) agrees with a tune identified as Sliabh na mban in the Roche Collection of Traditional Irish Music, which I have always found to be a pretty authentic book. I am working from a version that appears in print in the old Billy Pigg's Compositions and a Selection of his other Repertoire that was produced some years ago by Adrian, Colin, Julia and G Warren (who I unfortunately do not know). Adrian recorded it on his cassette Jane of Biddlestone and called it Sliabh na mban but with the English subtitle of The Iron Man and attributed to Scott Skinner. I have a vague recollection that Pauline Cato has also recorded this tune under the title The Iron Man but I haven't had time to check my CDs yet. Sliabh na mban translates roughly as Hill of the Women so it would appear that Billy did get it wrong as Adrian says. Bart Blanquart very kindly sent me a link to a YouTube rendering of the air I am working on, which was introduced, in Gaelic, as Sliabh na mban. The pronunciation agreed with versions that several other people sent me. So there seem to be two melodies wandering around with the same title. All rather confusing really :-)) My grateful thanks to all those who responded to my original query. I now know how to pronounce the title that could be either the right or the wrong name of the tune I will be playing. There's never a dull moment! Cheers, Richard - Original Message - From: Dru Brooke-Taylor drubrooketay...@btinternet.com To: nsp nsp@cs.dartmouth.edu Sent: Friday, February 05, 2010 2:19 AM Subject: [NSP] Re: Gaelic Pronunciation Is this a version of tune on page 44 of book 2? If so, it's a great tune, and as far as I know, the title is pronounced Slievenamon, as Adrian says. It's a mountain. There's a lot of variation in the way it is sung, from an air, to a belter. But I think it may have got into the repertoire either from people listening to Radio Athlone or from a tune book published in Glasgow about 80 years ago. There's a youtube of Maureen Hegarty singing a particularly attractive version at http://www.youtube.com/watch?v=NraclF8vRX8 , with a link to her own youtube with her singing a lot of other Irish classics. Dru On 5 Feb 2010, at 00:28, inky adrian wrote: Billy got it wrong. Slieve na whatever is not what Billy played, unless there is another tune with same title. But that title, I've always pronounced it sleeve na mon. see http://www.irishpage.com/songs/slevmoan.htm Adrian To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Gaelic Pronunciation
I am thinking of including the Irish slow air Sliabh Na M'Ban (Billy Pigg version) in a concert performance this coming Sunday but have no idea how to pronounce the title properly. Can anyone help? Thanks, Richard -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] NSP maker Ian Ketchin
A friend of mine has noticed a set of Northumbrian small pipes for sale on e-bay and has asked me what I think of them. I have never heard of the maker, Ian Ketchin, but he has a very impressive web page. Is there a reason why he is not listed as a maker on any of the usual web sites? Any information would be appreciated. Richard -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Northumbria Pipe Course 11-16 October - Places available
I have been on this dartmouth list for more years than I care to imagine. I have always understood it to be a forum for ANYONE who is interested in the Northumbrian small pipes. A meeting place where we can discuss any topic of general interest relating to the pipes including courses, instruments for sale, contacting long-lost piping friends, helpful hints on maintenance techniques, where to find tunes, etc. In short - anything and everything to do with our hobby/passion/fixation with the pipes. I was very happy when the NSP discussion group was formed because I naively thought that it would take all the dirty linen and go wash it somewhere else so that the rest of us could continue sane discussions about piping topics and leave the backbiting Society members to fratch among themselves. Could we make an effort to separate these two discussion groups? At the moment there is far too much cross-over. Richard I wonder if this advert for a privately run course is allowed on this list. This is a course that is not run by the NPS but for the benefit of the person who is running it who although taking the risk and time to organise it is also taking any profit that may arise. CR -Original Message- From: suzefis...@aol.com To: nsp@cs.dartmouth.edu Sent: Mon, 10 Aug 2009 15:24 Subject: [NSP] Northumbria Pipe Course 11-16 October - Places available There are still a few places left on this course, if anyone is interested in attending or would like some more information please contact me offlist. Thanks Susan. 2nd NORTHUMBRIA PIPING WEEK Sunday 11th – Friday 16th October 2009 A residential piping course suitable for all playing levels (except absolute beginners) based in a licensed hotel in Whitley Bay. Tutors for the week include Andy May, Chris Ormston, Chris Evans. Plus other guest tutors and performers. Limited accommodation for non-playing partners. Some non-residential playing places will be available. Costs: Tuition (over 5 days), events, outings etc. Includes lunch, tea and coffee – £230 per player (individual lessons may be available at extra cost) Accommodation – BB £140 - £245 for 7 nights (depending on level of facilities chosen) Evening meals at participants’ expense Part-week bookings will be considered. For further details and an application form contact: Susan Craven 166 Plessey Road, BLYTH, N’land NE24 3JA 07764 483595 suzefis...@aol.com AOL Email goes Mobile! You can now read your AOL Emails whilst on the move. Sign up for a free AOL Email account with unlimited storage today. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html AOL Email goes Mobile! You can now read your AOL Emails whilst on the move. Sign up for a free AOL Email account with unlimited storage today.
[NSP] Re: How the brain reads
When I was a young boy, my father, who was a professional flautist, taught me how to read music by following the shape of the notes so that I could recognise arpeggios, scales, etc. rather than read the individual notes. His analogy was that when you read a newspaper you don't read the individual letters on the page, you read the words. Then if you are reading quickly, you don't even bother with the individual words you simply scan the sentences. So it is with music, once you recognise the words in the music you don't have to read individual notes and before long you find yourself stringing the words into sentences so that an 8 bar phrase becomes just one sentence. Try it - it works! The great advantage is that once you have an 8 bar phrase in your head as a sentence then it is much easier to commit it to memory. Then BINGO you don't need the music. Richard Pfreviously: The ability to read (and hear in your mind's ear and feel in your fingers) in increasingly large chunks just comes with practice - providing you go about it in the right way to begin with. The extreme case is that of the conductor of a symphony orchestra, who is able to read - or at least keep track of - anything up to about 40 parts at once (anyone know the record figure? - I believe the closing pages of Britten's War Requiem, for example, have an astounding number of simultaneous threads). And these parts are written in a variety of clefs, and include transposing instruments. c To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: re notes v. ear
Here here! I was hesitating about saying exactly the same thing, only you put it better than I could. Cheers, Richard Philip Gruar wrote: I think Peter makes just the point here that I was going to make, when Anthony (I think) first started the debate. Also, Dick made very good points. The flatness and mechanical playing problems which many people perceive with playing from dots is only inevitable for people who struggle with the reading, and those who think that the dots represent *exactly* how music should be played. Only a computer plays music exactly as written - good musicians will always lengthen/shorten certain notes, pull the rhythm around subtly and put life expression into the music as they read it. I'm sure everybody with a so-called classical music training here (and jazz or whatever) - i.e. anyone for whom the purely mechanical act of reading written music is completely second nature, does the reading without consciously thinking about doing it. Playing the music sensitively, with the right style or expression or whatever, is what you do with it on top of the reading so to speak - well or less well depending on your musicianship and understanding of the music. People who do jazz or early music maybe depart from the written notes more than main-stream classical players do - but all competent musicians would surely reject idea that reading inevitably leads to flatness. Philip To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: this list is safer now
Hello Richard, A distinction should be made between playing for dances and playing for pleasure. Dancers need the music to be quite fast otherwise they feel clumsy and uncoordinated; to move along and feel light on their feet they need speed - which the player has to provide. When the piper is simply playing for his/her own pleasure then the music can take over and set its own tempo. Cheers, Richard S. Richard York wrote: I find this very reassuring, Matt! I'm still bashing away at Peacock, and only recently took note of the metronome settings in the recent edition, some of which are, to me, stratospherically fast. I've been wondering if these were based on general practice, either current or historical, or other evidence, or personal editorial preference. I know that in other traditional dance music I play, slow is often increasingly better, but was ascribing my falling well short of these target speeds here to my lack of nsp experience skill. - but I also noted that on some recent CD's I've heard, some of the pieces feel as if they're played slower than the figures given, and they feel right to my untutored southern ear. I'll have to go check now with CD metronome! Best wishes, Richard. Matt Seattle wrote: On 6/9/09, Di Jevons [1]d...@picklewood.info wrote: I do think however there is a danger that 'life and bounce' can be mistaken for 'breakneck speed' Well said, Di. Going further, 'life and bounce' are (imho) incompatible with 'breakneck speed'. Try, for example, to play a jig with any kind of lilt AND to play it fast, and you'll soon stop wanting to play it fast. This is so obvious to me now, but I admit it took me years to arrive at the obvious. Breakneck speed with accuracy IS impressive, as Paul points out with some irony; it is unattainable for many (self included), and more importantly - do you want to be impressed by music, or caressed by music? To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:d...@picklewood.info 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: None piping query
Many thanks to Ian and Paul for clearing up this little mystery. Cheers, Richard ps And thank you Rick for your offer of spam to assuage my desperate need for contact with fellow pipers :-)) - Original Message - From: [1]Paul Rhodes To: [2]irlawt...@comcast.net ; [3]rshuttlewo...@sympatico.ca Cc: [4]Dartmouth NSP Sent: Monday, April 20, 2009 12:41 PM Subject: RE: [NSP] Re: None piping query That sounds like Rupert, who lives in my village and doesn't think the same way as the rest of humanity but is one of the very nicest people I know. Paul Rhodes Date: Mon, 20 Apr 2009 09:09:38 -0700 To: [5]rshuttlewo...@sympatico.ca CC: [6]...@cs.dartmouth.edu From: [7]irlawt...@comcast.net Subject: [NSP] Re: None piping query I think it should have contained a card sending you thanks from Rupert Boulting for your contribution to the 30 tunes project. I received one this weekend. Ian Richard Shuttleworth wrote: An envelope has just arrived in the mail bearing an Oxford postmark and dated April 15, 2009. It is addressed in what looks like an older person's handwriting and has no mention of the sender's name or address. Unfortunately, the envelope was empty and I have no idea who the writer was. I am sending this note to the NSP list in the offchance that a piper in the Oxford area is trying to get in touch with me. If so, perhaps he or she could respond to this e-mail. My aplogies to the rest of the list. Richard Shuttleworth Philipsburg, Quebec -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html ___ Windows Live Messenger just got better. [8]Find out more! -- References 1. mailto:oxpi...@hotmail.com 2. mailto:irlawt...@comcast.net 3. mailto:rshuttlewo...@sympatico.ca 4. mailto:nsp@cs.dartmouth.edu 5. mailto:rshuttlewo...@sympatico.ca 6. mailto:nsp@cs.dartmouth.edu 7. mailto:irlawt...@comcast.net 8. http://clk.atdmt.com/UKM/go/134665230/direct/01/
[NSP] Re: stiff fingers and aging
Now Matt, don't take offence where none was intended. I also read Anthony's interesting post and I thought that he went out of his way to make it clear that he was in no way criticizing Dick's playing. Having said that, your comments on what Dick does with his variations was perfectly put. At one workshop Dick admitted that he had a lot of fun seeing just how far out he could stretch the variations before running foul of the drone settings. My problem is trying to memorise 8 minutes worth of variations, or even 3 minutes worth for that matter. Anthony may feel that age is affecting his fingers but what tricks do other older players use to commit these long variation sets to memory? Richard Matt Seattle wrote: Whether or not this was intended, Anthony Robb's comments on Dick Hensold's playing style came across to me as condescending at best. Well, Dick is my mate, and I'll stick up for him! I know him to be more concerned than most with his articulation, but not in the sense of focussing on one single 'correct' method for all purposes. I've been taken to task here before by Chris Ormston, another mate, fellow Border Director, and a piper I respect hugely, for attempting to put the subject of articulation into a larger context. While I know that the Clough 'peas-out-of-a-pod' approach is the benchmark of traditional playing, I, as a non-smallpiper, find that I am much more interested in WHAT is being played, and the overall musicality of the performance, than in the staccato/legato issue. An illustration: 1/ My Ain Kind Dearie in Peacock's Tunes is a short masterpiece, and is out-on-a-limb in the context of Peacock's collection in that, though it is a variation set, it is not a plain chanter variation set. It explores new territory for the smallpipes while remaining true both to the tune and to the ethos of smallpipe variations. 2/ In the hands of the Cloughs the same tune (aka The Lea Rigges) stretches the technical boundaries of the instrument still further, with a version in A as well as G, but the tune suffers a little, with c replacing B at crucial points, and the variations, particularly the even-numbered ones, tend to lose the plot melodically and harmonically. While Tom Clough was of course capable of masterpieces of his own (e.g. the variations on What Can The Matter Be), this set shows that he did have his musical limits. 3/ Dick Hensold (Big Music for Northumbrian Smallpipes CD) returns to the Peacock setting and expands it into a variation sonata which includes sections in strathspey and jig rhythms. The piece lasts over 8 minutes, is full of variety, and never loses sight of the tune. It is so far off the radar as far as the generality of smallpipers are concerned that it has hardly been noticed, was barely mentioned in the CD review in the NPS mag, and yet it is a highly significant musical advance which is still firmly rooted in the tradition. Whatever you think of Dick's style of articulation, this consumer of Northumbrian smallpiping finds his musicianship to be of a rare order. It's not just *the way* you play it, its also *what* you play. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Canny Shepherd Laddies o' the Hills.....
Brilliant Ian! Ian Lawther wrote: Anthony's CD and emails here about it have made me nostalgic for my visits to Rothbury Festival and perhaps the romanticised view I, as a southern towny, have of living in rural Northumberland, through songs like Canny Shepherd Laddies o' the Hills that Hannah Hutton used to sing. In the midst of this nostalgia a relative sent me a link to a Youtube video of what shepherd really get up to with their sheepenjoy http://www.youtube.com/watch?v=D2FX9rviEhw Ian To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: George Atkinson
Good grief!! There I was, trying to create some middle ground between the NSP staccatto police and the Irish free-for-all gang and I end up being branded as a Heretic by the NSP player who lives nearest to me (within 3 hour traveling distance anyway) and cause Adrian (whom I have never met but am told I would have no trouble recognizing) to muse about throwing away 30 years of Northumbrian small pipe playing to take up the Uilleann pipes. Ah well, such is life. I shall continue playing quietly in my little corner of Quebec. Yours choytlessly, Richard Rick wrote: Ok, Colin, since you're so brave as to risk being called a heretic, let me entice you further out on the branch! I no longer have the original posting, so I hope I'm not getting it wrong, but I believe Adrian tossed a bit into the choyting discussion which was had no follow-up. As I recall and understood it Adrian suggested that grace notes should always be the note(s) below the melody note, and that a grace note from above detracted from the melody note. I apologize if I'm misrepresenting what you said, Adrian. I have been experimenting with a rigorous application of this theory, and I'm on the fence about it. This approach gives a very different feel to the music, to me, but I can't identify what it is. I quite like the sound of the notes graced from above, but I fear greatly developing bad habits, living so far from any other Northumbrian pipers. And now the closest piper to me, Richard S., has come out in public siding with the Heresy! I look forward to Enlightenment. Thanks, Rick On Sep 19, 2008, at 10:15 AM, [EMAIL PROTECTED] wrote: Dear Adrian, Come on let's get?some musical sense into all this. The fact that I have not competed does not mean I do not have any idea of the nature of the instrument. My experience of playing the pipes both as an amateur and semi- professional as well as my broader experience of music other than small piping means that I can put the playing of the pipes in some sort of perspective that perhaps the less experienced in playing and listening to a wider range of music cannot. I fully appreciate the characteristics of closed finger playing that is almost unique to our pipes but the fundimentalist dogma of only one finger up at a time and playing every note detached closes off a range of other means of expression attainable on our pipes to make up for the lack of dynamics that the pipes suffer from and which I have mentioned previously. I am not trying to change the style of playing the pipes that older and now deceased players have established only to feel free to develop varied techniques while retaining the essential quality of the playing style. Be aware that in insisting on this rigid form of playing you are? putting off beginners who feel that they will be derided in playing in public if they cannot acheive this level of expertise and may put them off piping altogether. I have posted this on the list to widen the discussion. Colin R To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Belly Dancing, Waltzes, and Jazz? It's Opera Theater!
Dear Sheila, Will there be choyting? If so, we can't go. :-)) Richard To: [EMAIL PROTECTED] Message-ID: [EMAIL PROTECTED] Subject: Belly Dancing, Waltzes, and Jazz? It's Opera Theater! MIME-Version: 1.0 Content-Type: multipart/alternative; boundary==_Part_649673_1237153.1221772730178 X-CampaignID: patrontechnology-141917 X-CampaignEmailID: AdVBvFM2cg-Jxmrt7lq-rR2lME-D X-AOL-IP: 209.123.82.21 X-AOL-SCOLL-AUTHENTICATION: domain : m1.amsnet.net ; SPF_helo = n X-AOL-SCOLL-AUTHENTICATION: domain : operatheater.pmailus.com ; SPF_822_from = + X-Mailer: Unknown (No Version) --=_Part_649673_1237153.1221772730178 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Opera Theater of Pittsburgh Contact: http://operatheater.pmailus.com/pmailweb/f?cide=AXi2NE9XaIOkD6RxzQ .. A Season Only Opera Theater of Pittsburgh Could Offer! Visit Opera Theater Pittsburgh on the Web! http://operatheater.pmailus.com/pmailweb/ct?d=F7haMwCAAAH-AAIqXQ Two Sensational Series in One Stunning Season! Our Byham Theater series opens with a return of Pittsburgh-s newest holiday tradition, Die Fledermaus by Johann Strauss, the king of waltzes. Then in February, bring your Valentine to George Gershwin-s masterpiece, Porgy Bess, with its thrilling musical mix of classical, jazz, and blues. Join us for our new Salon Series, a trio of comic one-act operas preceded by cocktails and canapés performed in unusual, intimate spaces. First comes Djamileh by Bizet performed in a Persian rug emporium at Artifacts. Then comes Salieri-s Prima la Musica at a Fifth Avenue mansion. Lastly, we-ll have you rolling in the aisles of Buon Sapore - a church transformed into an art gallery - with Puccini-s Gianni Schicchi. All Operas Sung in English! Guarantee Great Seats... SUBSCRIBE NOW! Subscribe to 5 fabulous operas...or the stellar ByhamTheater series of Die Fledermaus and Porgy Bess...or the exciting Salon Series. Call 412.456.1390 or visit operatheaterpittsburgh.org Click Here! http://operatheater.pmailus.com/pmailweb/ct?d=F7haMwCHAAH-AAIqXQ Buy Tickets to Opera Theater's 2008-2009 Season *( http://operatheater.pmailus.com/pmailweb/ct?d=F7haMwJ0AAH-AAIqXQ )* This e-mail is powered by PatronMail, professional e-mail marketing for arts, nonprofits creative businesses. *( http://www.patrontechnology.com/lp/lp_gen1.htm )* --- NOTE: URL links included in this e-mail may be long and may wrap across several lines. When viewing the desired link, please be sure to copy the entire link into your browser. To help you to identify the entire link, we have started each link with *( and ended each link with )* --- To forward this e-mail to a friend or colleague, use the following link: *( http://operatheater.pmailus.com/pmailweb/raf?ide=AdVBvFM2cg-Jxmrt7lq-rR2lME-D ) * --- This e-mail was sent from Opera Theater of Pittsburgh Immediate removal with PatronMail(R) SecureUnsubscribe. *( http://operatheater.pmailus.com/pmailweb/uss?ide=AdVBvFM2cg-Jxmrt7lq-rR2lME-D ) * -- To change your e-mail address or update preferences, use the following link: *( http://operatheater.pmailus.com/pmailweb/setup?pide=ATTIP0uzhZrTw1YVPQ )* --- --=_Part_649673_1237153.1221772730178 Content-Type: text/html; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable htmlbody !-- If you can read this text, your mail client does not support HTML mail. Load the following link in your browser to change your mail preference to PLAIN TEXT: http://operatheater.pmailus.com/pmailweb/uss?ide=AdVBvFM2cg-Jxmrt7lq-rR2lME-D -- table width=500 bgcolor=#99 cellpadding=0 border=0 cellspacing=0 align=center trtd align=center bgcolor=white table width=100% border=0 cellpadding=10 tr td align=center font size=1 face=arial,sans-serif font style=font-size:8pt; color=black Sent by: Opera Theater of Pittsburghbr /a href=http://operatheater.pmailus.com/pmailweb/f?cide=AXi2NE9XaIOkD6RxzQ; target=_blankReply to the sender/a /font /font /td td a href=http://operatheater.pmailus.com/pmailweb/raf?ide=AdVBvFM2cg-Jxmrt7lq-rR2lME-D; target=_blankimg src=http://operatheater.pmailus.com/pmailimages/template/f2f_icon.gif; alt=Forward to a friend width=155 height=24 border=0 //a /td /tr /table /td/tr trtd table width=500 border=1 style=border-color: #CC cellspacing=0 cellpadding=0 align=center tr td table width=490 border=0 cellpadding=0 cellspacing=0 align=center tr td align=center style=border-bottom:1px solid #cc;img
[NSP] Re: George Atkinson
Dear all, While agreeing with Chris Ormston's approach to playing, I also agree with Colin Ross that we can get too dogmatic and inhibit ourselves from expressing a tune in the best way possible by inflicting rigid rules. I am talking about general playing for pleasure and not competitions (which do not interest me in the slightest). The opposite extreme to Chris' approach was expressed to me in an Uilleann piping workshop some years ago when the instructor said Look, we have this damn piece of wood and we can't change the volume or the tone of the sound, any little fingering trick we can come up with to add interest to the tune is welcome. Having set those outer boundaries, perhaps the essence of good playing lies somewhere between the two. How far each piper goes in one direction of the other puts an individual stamp on his or her playing. Cheers, Richard Colin Ross wrote: Dear Adrian, Come on let's get?some musical sense into all this. The fact that I have not competed does not mean I do not have any idea of the nature of the instrument. My experience of playing the pipes both as an amateur and semi- professional as well as my broader experience of music other than small piping means that I can put the playing of the pipes in some sort of perspective that perhaps the less experienced in playing and listening to a wider range of music cannot. I fully appreciate the characteristics of closed finger playing that is almost unique to our pipes but the fundimentalist dogma of only one finger up at a time and playing every note detached closes off a range of other means of expression attainable on our pipes to make up for the lack of dynamics that the pipes suffer from and which I have mentioned previously. I am not trying to change the style of playing the pipes that older and now deceased players have established only to feel free to develop varied techniques while retaining the essential quality of the playing style. Be aware that in insisting on this rigid form of playing you are?putting off beginners who feel that they will be derided in playing in public if they cannot acheive this level of expertise and may put them off piping altogether. I have posted this on the list to widen the discussion. Colin R -Original Message- From: what.me lt;[EMAIL PROTECTED]gt; To: [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 ? AOL Email goes Mobile! You can now read your AOL Emails whilst on the move. Sign up for a free AOL Email account with unlimited storage today. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: tchuning
I love it! This tells you it all you need to know. ;-) [1]http://www.youtube.com/watch?v=jhHAojVyeG0 Cheers, Paul Gretton -- References 1. http://www.youtube.com/watch?v=jhHAojVyeG0 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Plaid 'n stuff
Colin wrote: The only example of deliberate choyting I know is to be found in the Peacock Collection in the tune Lochail's March where the small pipes are meant to imitate the Highland pipe. end of quote What about Dargie (Spelling?), or am I just playing it wrongly - choyting away to my heart's content :-)) Richard To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: dots
If you don't receive any helpful replies, try www.musicnotes.com/features/artists/beatles/ Hello nsp, Do not suppose any one has any dots of beatle tunes hey jude etc they could send me for a work's concert based on beatle numbers playable on the pipes of course, would do it me sel but busy at mo and needed for next weekend. Greeting from North Shields :o -- Best regards, Paul mailto:[EMAIL PROTECTED] --- [This E-mail has been scanned for viruses but it is your responsibility to maintain up to date anti virus software on the device that you are currently using to read this email. ] To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Finger spacing
Dear Colin, Now you have set me off measuring my chanters! My F and G chanters both have a bore of 4.4mm while my D chanter checks in at 4.5mm. The pitch is therefore governed by the length (how's that for showing my grandmother how to suck eggs). I have F and F# chanters from a different maker (don't ask me why I wanted an F# chanter) and they check in at 4.3mm and 4.85mm respectively. The F# chanter is virtually the same length as the F chanter, so this maker has simply drilled out the bore to lift the pitch (it is also very loud). Hence my thought that an F chanter designed for a beginner could have the hole spacings widened to be more comfortable if the bore were narrowed. The lack of volume could possibly be made up for by drilling larger tone holes? Add the idea of drilling the holes on the slant into the mix and you have the ingredients for a pipemaker's nightmare :-)) All this from someone who has yet to make his first chanter. Cheers, Richard Dear Richard, Sound reasoning re the bores but at 4mm bore (5/32) it could be a little quiet altho I have found it sound the same tone and volume as the regular 4.4mm (11/64). The sharpening effect does work at 3,8mm (3/16) but can sound a little too loud altho once again I have found it OK as my first chanter that I got from Forster Charlton was that bore and it never bothered me. I did try to widen the hole spacing for the G chanter some years ago now by boring out the bore to 3/16 and drilling to F# spacings which was in-between the F and G spacings. I drilled two chanters and found that one was perfect in playing in G but the other would not move a fraction above the F#. I think that John Liiestman had the same problem.?I did not pursue that any further as I could not afford to make chanters that would not reliably play in the key I wanted and therefore waste my time. Despite what I said last time about drilling the finger holes at an angle to widen the spacing I have not consistently tried it although I know it works. Colin -Original Message- From: Richard Shuttleworth [EMAIL PROTECTED] To: nsp@cs.dartmouth.edu; [EMAIL PROTECTED] Sent: Wed, 9 Jan 2008 22:09 Subject: Re: [NSP] Re: Finger spacing Dear Colin and everyone,? ? This is a quest for knowledge and not a suggestion, but would it be possible to lower the pitch of a chanter by narrowing the bore and, conversly, raise the pitch by widening the bore? If so, would it be possible to make a longer F chanter (with correspondingly wider finger positions) by widening the bore (but countering this by lengthening the chanter to maintain the pitch?? ? I may have got the whole thing backwards but Helen's question has set me thinking along these lines.? ? Cheers,? ? Richard? ? Dear Helen,? I actually made a D set for someone with larger fingers which was comfortable for him and didn't worry him as he was not intending to play with other F pipers and to be realistic might be the only way to fix him up with a playing set he can manage.? However if the finger holes are drilled at 45 degrees downward from the top and upward from the bottom of the chanter he may be able to spread the holes to make it possible for him to play in F.? The holes on a bassoon are drilled this way to make it possible to cover the holes but in the other way,i.e. upwards for the top holes and downwards for the bottom holes.? Cheers,? Colin? ? ? ? -Original Message-? From: Helen Capes [EMAIL PROTECTED]? To: [EMAIL PROTECTED] Sent: Wed, 9 Jan 2008 8:29? Subject: [NSP] Finger spacing? ? ? Ok this is a bit technical, for those who understand the link between bore width and finger spacing.?? I have been approached by a man who would like to learn to play the NSP but he really cannot squash his fingers onto an F chanter.?? One solution would be a D chanter, but that doesn't give him the future of social playing with other pipers that he was looking for.?? He has made some very nice practice chanters for the GHP and wondered if anyone could supply some ideas on how to make a keyless F chanter for the NSP with wider fingers spacing.?? Helen ?? ?? To get on or off this list see list information at?? http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html?? ? ? ? AOL's new homepage has launched. Take a tour at http://info.aol.co.uk/homepage/ now.? ? -- ? AOL's new homepage has launched. Take a tour at http://info.aol.co.uk/homepage/ now. --
[NSP] Re: Extended chanter key positions
Wasn't it the other way round? The country was awash in serfs but there were no more aristocrats to pay them so they stopped playing. Richard I wonder if the decline in the Russian aristocracy led to a decline in the number of serfs available, leaving only a couple to play along. Thus the invention of drones... Best wishes. S.O.B. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: wedding
Sorry Anita, that's the Pipers' Gathering weekend in Killington, - we will all be in Vermont (shameless plug). Dear List, Is there anyone who would be willing and able to play NSP for a wedding in Perthshire on August 11th this year? -- Anita To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Practice
Thanks Chris, I lent my old copy to someone and never got it back. I appreciate you posting the new set. Cheers, Richard Subject: [NSP] Re: Practice Attached is a link to some exercises I devised http://www.chrisormston.pwp.blueyonder.co.uk/exercises.htm Chris - Original Message - From: Roger Howard [EMAIL PROTECTED] To: NSP nsp@cs.dartmouth.edu Sent: Saturday, May 19, 2007 9:06 AM Subject: [NSP] Practice As someone who is, I think, a =B3nervous intermediate=B2 player, I was interested to read in =B3The Clough Family of Newsham=B2 - such a good book =AD about the lessons and exercises of Tom. I live well away from the North East so I am rather finding my own way, and my own practising tends to be pretty undisciplined working at tunes I like at the time, so the comment that =B3it would be possible to reconstruct a plausible set of =8CClough-style=B9 exercises=B2 made me prick up my ears. Has anyone ever attempted such a reconstruction, I wonder? And what suggestions might more accomplished players make for a good set of exercises for daily use? All suggestions welcome, you might expect! Roger Howard -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: thumb injury
Hello John, What a nasty thing to happen to a Northumbrian piper! Luckily, I have no experience of this problem but I would suggest that, after surgery, you seek out the services of a sports physiotherapist rather than simply attending your local hospital's physio. unit. Physiotherapists who specialise in sports related injuries are used to working towards particular goals and results rather than simple rehabilitation. They will pay attention to your special needs. Just a thought. Good luck, Richard John Dally wrote: Last Saturday I crashed on my bicycle avoiding a couple of dogs at the bottom of a long downhill. The worst of my injuries is a torn ligament between my thumb and forefinger on my right hand. I was in the drops when I hit the pavement and jammed my thumb against the handle bar, pushing it in the opposite direction of its normal bent. It requires surgery to reattach, which I'm scheduled to have next Monday. The orthopedic doctor gave me some very bad news about how this will effect the movement of my right thumb. He said I need physical therapy to do regular things like typing on a key board, so I'm very concerned how this will effect my ability to hit keys with my thumb. Has anyone here ever had this injury and how did you get back up to speed on the pipes after surgery? I hope the doctor was just giving me a worse case scenario. all the best, John Dally -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: re reeds
Peter Dunn wrote: . Having examined the practices of Colin Ross, Richard Butler and John Liestman, I cannot find any great difference in science, but merely a difference in the subtleties of method which are to be expected in the work of any craftsman. Would a completely standardised reed be any better? In some ways, yes it would. It would make the production of reeds more uniform in quality (hopefully!) and the teaching of reed making as an accepted practice more widely able to be disseminated. end of quote ---xx-- Having attended many reed making workshops over the years, both for NSP and for Uilleann pipes, I have the impression that there are as many methods of making a reed as there are reed makers. However, most recognized reed makers seem to adhere to a narrow range for the overall dimensions of their reeds but allow themselves minor variations (particularly in the scrape) to account for the variability of the cane. Let us not forget that arundo donax is a plant, and as such different pieces of cane vary in hardness, density and the structure of their fibres. A totally rigid, standardized reed making process would be doomed to a high failure rate because only reeds made from cane that suited the chosen dimensions would be successful. Na piobanri uilleann (the Irish pipers' club) has produced a DVD called The Heart of the Instrument where four highly regarded pipemakers give a masterclass in reedmaking for Uilleann pipes. One of them, Benedict Koehler, bases his whole approach to reedmaking on how the cane feels in his hands, how it flexes, etc. On the Youtube video put up by Steve Douglass (thanks Steve), Colin also flexes the cane slip at one point in the process as he decides how to continue working on it. What lesson could all this hold for an amateur reedmaker: stop treating the cane as though it were a standardized, man-made material and give more thought to achieving the desired result by listening to what the cane is trying to tell us. That way, we can begin to understand our failures and work towards a higher success rate. Well, that's my inadequate contribution... Cheers, Richard To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Ormston video
Nice one Steve! I have posted a video of Chris at North Hero in 2003 (I think) on YouTube. I have a fair amount of piping on video and when I get permission from the musicians I will post it as a resource for tunes and style. I'll post a quick notice with the link,( if this is OK with the moderator.) Cheers Steve D link. http://www.youtube.com/watch?v=gydGIBp6qaU To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: tune
Dear Paul, I have just had a chance to play though you tune. I really like it, but I feel the need to add a bar to the end of each part so that each part is 2 x 8 bars and not 8 + 7. A sustained G does the job. The current last bar can be changed to G A F to lead into the sustained G. Hope you don't mind me meddling with it. Cheers, Richard Ok, fair enough. I wasn't brave enough to be the first but I have done it know and shall be trying the tune tomorrow (bit too late tonight) Sorry for being suspicious but once bitten. I can also confirm for others that there's nothing hidden in it Colin Hill. - Original Message - From: Richard Shuttleworth [EMAIL PROTECTED] To: Paul Bo [EMAIL PROTECTED]; nsp nsp@cs.dartmouth.edu Sent: Wednesday, February 14, 2007 9:38 PM Subject: [NSP] Re: tune yip it was an attachement so here is a link instead tell me if it works OK http://swirllygig.my-bulldog.com/pages/swirllygig_my-bulldog_com/tunes/Karena1.gif Worked for me Paul. Thanks, looks like a nice tune. Richard To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Piping Modernism
Hi Simon, Your comments are very interesting. How did you record this piece? I only managed to listen to it the once, maybe it would grow in me if I heard it several times on a decent sound system (like you mentioned, my computer speakers were not up to the challenge). Richard Simon Knight wrote: My reaction on first hearing was negative. After I recorded the stream, enhanced the sound and played it on a decent hi-fi the pipes were much more audible. They're quiet but well recorded and separated in the mix on the far right. If you listen on headphones or computer speakers they're lost. The same musical doubts remain though - there's little of the Northumbrian tradition and harmonically the piece is foreign to the sound of the pipes. I think Chris hit the right issue - there must be some tuning and harmonics challenges with a just G scale and the other instruments, especially with the 'modern' scales and harmonies. But there are some melodic sections I like and the blend with cor anglais works at times. Instruments out of their métier seldom seem to satisfy ( I play the bassoon and wonder why people try to play jazz on them), but after a few hearings the piece is beginning to grow on me. Simon -Original Message- From: Stephen Douglass [mailto:[EMAIL PROTECTED] Sent: Saturday, October 28, 2006 9:02 AM To: nsp@cs.dartmouth.edu Subject: [NSP] Piping Modernism Maxwell Davies comes from the musical influences of modernism, and pieces like Schoenberg's Pierrot Lunaire.. (some might switch that piece off after 30 seconds) The piping in the composition was unlikely to be expected, resolving or traditionally presented. It still managed to make it to Radio 3 though (and the play again button) . no publicity is bad publicity...eh? Steve Douglass To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Pipers' Gathering photos
Hello Paul and list members, I was the one who ran the workshop on straw bagpipes, which everyone thoroughly enjoyed by the way. I had learnt how to make these wonderful little instruments at Halsway Manor one year when Francis gave a workshop there. From the discussion around the table at that workshop, I received the definite impression the Francis would not mind other people spreading the word on his straw bagpipes. Please rest assured that full credit and acknowledgement was given to Francis Wood at the workshop that I ran. One of these years, perhaps Francis will come to the Pipers' Gathering and give the workshop himself. Richard Shuttleworth Paul wrote: A good set of pictures, it would be good to go one day. I note that someone ran a workshop making straw pipes identical to the ones developed by Francis Wood. I wonder if permission was sought or acknowledgement given? Paul Rhodes From: Matt Seattle [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: nsp@cs.dartmouth.edu Subject: [NSP] Re: Pipers' Gathering photos Date: Sat, 30 Sep 2006 10:28:45 +0100 I hear that photos from the 2006 Pipers' Gathering are now up on our website at: http://www.pipersgathering.org/Gallery2006/index.shtml Just had a look - what a relief I didn't go this year - all the blokes are now bald, even the ones who weren't bald last year. Is it something in the water? Does Halsway have the same effect? We should be told. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html _ Be the first to hear what's new at MSN - sign up to our free newsletters! http://www.msn.co.uk/newsletters
[NSP] Re: Any NSP players near Idaho?
Read Sandy Ross and Laurie Franklin... Carline and Don Watts are learners in Boise...not certain if they are on this list or not. Depending on how you define near there are Sandy Jones and Laurie Franklin in Montana, Gail Gibbard and others in Oregon and a whole bunch of us in Washington. Ian - Original Message - From: The Irish Flute Store [EMAIL PROTECTED] To: nsp@cs.dartmouth.edu Sent: Thursday, July 13, 2006 6:28 AM Subject: [NSP] Any NSP players near Idaho? Hi Gang, I know it's a long shot but thought I'd ask. Are there any NSP players near Idaho USA? Cheers, Patrick http://irishflutestore.com/ PH. 208-543-2600 Call any time 7 am to 10 pm MST :) -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: (Fwd) Re: choyters choice
Hi Julia, Now you have me interested. What is this that Anne has in stock? Richard Julia wrote: I received this from Anne Moore today, I think it may have meant for the list. Julia --- Forwarded message follows --- I've had copies of this in stock at the Bagpipe Museum, and can get more if anyone's interested...Anne Bagpipe Museum --- 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: NSP Birl?
Hi Chris, My, my. You do know a lot about her. You must really like her playing! It's good to have someone to look up to. See you at the Pipers' Gathering in August - I'm looking forward to learning how to do NSP burls. Richard Chris wrote: Next, who was born in the West Midlands, brought up in Scunthorpe, then Tynemouth, then Gateshead? Nowhere near Wark! Answers on a postcard Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: NPS Dec N/L etc
The newsletter arrived in Quebec today, December 9th. At least the envelope did, the flap had come unstuck and the magazine must have dropped out somewhere over the Atlantic. If anyone happens to see it as they fly back and forth, grab hold of it and send it on :-) Gratefully yours, Richard S. Subject: [NSP] NPS Dec N/L etc The Dec issue of the newsletter, annual magazine, and AGM details have been posted to society members today, 2 Dec. -- Julia Say, Hon Sec. NPS [EMAIL PROTECTED] Tel 01670 860215 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
