[NSP] Re: TOTM/Drones
If I can change the tune in question to illustrate a point. Oyster Wives' Rant which appears in Peacock's Tunes is also well known in another tradition as Mullen Dhu. In that tradition it is played against A drones and becomes yet another Scottish tune with not a lot to recommend it. When the Northumbrian pipers got hold of it, I am sure they would have played it against G drones and played in this way it becomes to me a very exciting and harmonically interesting tune. In the days of the simple chanter, Northumbrian pipers mercilessly butchered tunes from other traditions to fit them to the pipes. - Anyone remember the story of The Bed of Procrustes? In doing so we got such gems as The Bonny Pit Lad. I remember well being at a 'G' music session with Johnny Handle playing accordion and at one time he stopped playing, and at the end of the tune said, That's a real pipe tune. Ye cannot put any chords to it. I don't think we should expect our music to always obey rules derived from other traditions. From an earlier e-mail Quoting gibbonssoi...@aol.com: But is the best thing we can say about it that it's grammatical? So is Chomsky's 'Colourless green ideas sleep furiously', though it is totally meaningless. The sentence may be meaningless but it is still pleasant to the ear, and very challenging in a 1960s sort of way. Barry To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: TOTM/shameless plug
Images can be posted on the NPS pipersforum. Please can contributors keep their image sizes as small as reasonable. In case of difficulty, e-mail me Barry Quoting Dave S david...@pt.lu: Hi Anthony, Would it be a possibility for you to play the 1697/8 Playford Mad Moll on your primitive set? If you could get a drone pair to G C (assuming it's G setup) Mad moll is in Am and has no Fnats in it. I have attached a scan for you -- I know the NSP site will strip it off --- if anyone wants a copy let me know and I will check with Barry/Tim to get it on site somewhere best Dave S On 7/29/2011 11:16 AM, Anthony Robb wrote: Hello all I've been reluctant to vote on this since our house is fighting back whilst we put in a new kitchen, downstairs loo and new wee studio. There is building dust everywhere and my pipes, mics and other gear are packed away for the duration. Even though I can't contribute musically I would go for Peacock. Perhaps most will be familiar with the snippet: Aal the neet ower and ower And aal the neet ower agyen Aal the net ower and ower The peacock followed the hen The cock's a dainty dish The hen's aal hollow within There's nee deceit in a puddin' An' pie's a dainty thing I also think of (but no idea why or where it comes from) Won't ye come cuddle me cuddy Now won't ye come cuddle me reet Won't you come cuddle me cuddy Just as ye did yesterday neet That's about all I can offer on TOTM but I also thought some might be interested to know that I have put my chanter where my mouth is so to speak and had a very happy off-the-cuff couple of days putting down 16 tracks (4 of them double tracked) on my keyless pipes (The Primitives as maker Bill Hedworth called them). I did it primarily as a teaching resource (even though there are a few finger-busting favourites) but I've been persuaded to go for a proper production of it. Interested parties can go here to see what Stewart Hardy makes of it: [1]www.robbpipes.com Thanks for any interest Anthony -- References 1. http://www.robbpipes.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html - No virus found in this message. Checked by AVG - www.avg.com Version: 10.0.1390 / Virus Database: 1518/3793 - Release Date: 07/28/11 --
[NSP] Re: August tune of the month: suggestions
I have tried to set up a poll on the NPS forum. Why not try it out? www.northumbrianpipers.org/pipersforum/ e-mail me if you have any problems. Barry Quoting Matt Seattle theborderpi...@googlemail.com: On Fri, Jul 22, 2011 at 12:13 PM, Gibbons, John [1]j.gibb...@imperial.ac.uk wrote: My vote would be for the Peacock, and if we use STV, then Herd on the Hill as 2nd preference. Seconded -- References 1. mailto:j.gibb...@imperial.ac.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: August tune of the month: suggestions
Matt Seattle has kindly pointed out an error in my posting. It should have been http://www.northumbrianpipers.org.uk/pipersforum/ Barry Quoting barr...@nspipes.co.uk: I have tried to set up a poll on the NPS forum. Why not try it out? www.northumbrianpipers.org/pipersforum/ e-mail me if you have any problems. Barry Quoting Matt Seattle theborderpi...@googlemail.com: On Fri, Jul 22, 2011 at 12:13 PM, Gibbons, John [1]j.gibb...@imperial.ac.uk wrote: My vote would be for the Peacock, and if we use STV, then Herd on the Hill as 2nd preference. Seconded -- References 1. mailto:j.gibb...@imperial.ac.uk 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
Quoting Dave Shaw d...@daveshaw.co.uk: It is a little clunky and overcomplicated in places Dave's opinion here echoes my own untutored an instinctive reaction to the ms. A related topic, I have a problem with composition competitions where manuscripts are presented to a judge. Written music can be a frail presentation of a complex idea. Given a printed version of a 32 bar tune, how would a Northumbrian or Scottish or English - Irish - American -Shetland - Scandawegian c interpret the dots. There are tunes which occur in these various traditions and have a very different 'feel' depending on the background of the player. When we lived in Durham, we were involved with a Morris side, among whose members was an excellent young fiddle player. She had learnt a lot from Willie Taylor and had had significant interaction with American musicians from the Appalachian Clog Tradition. So she could play Morpeth Rant 'a la Northumbrian' twice through and then kick up the tempo into an old-time American rendition with double-shuffle bowing 'n stuff. The tune exists in both traditions and this combination was something we used as 'entertainment' on 4th July dance-outs. I am trying to say, very forcefully, that in what we call traditional music, there is a huge gap between the written notes and the actual performance. This also applies in ragtime, blues (I think), jazz (I suppose) and other genres. So when a competition judge looks at a manuscript, if they do not have sympathy with the composers background, they could well misunderstand the intention of the piece. Had Chris Ormston's Bigg Market Lasses been presented to a composition Judge as manuscript, what are the chances that any given judge would have had the least notion of what he was on about. Johnny Handle has told a story about the early days of the High level Ranters when they were exploring the old tunes from the Minstrelsy and so forth. He said there would be times when they would try a particular tune and think it strange or un-musical, but at a later practice one of them would come back and say, 'That tune we tried last time? If you play it like this.' Whether HLR got it right or wrong is irrelevant, that to me sums up the attitude we must have if we wish to mine the rich seeds of our tradition. So if 98% of the world think that Mr Dunk was on a different planet, they are welcome to their opinion. If one musician, can make a convincing fist of his piece, then those of us who failed to see the inherent value of his composition must say 'OK, I missed that one, better luck next time'. Just because a piece breaks some notional (artificial?) rules, doesn't make it bad music. Much of Billy Pigg's appeal was his rule breaking approach to his music. On the other hand he wrote some cracking tunes which I am sure will stand the test of time. Enough for now. Barry 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
I would like to thank Dave for the effort he has put into this. I do not believe the piece is without merit, but it is beyond my personal musical capacity. Quoting Dave Shaw d...@daveshaw.co.uk: Well, the educated musicians of Dunks day tended to be snobbish and condescending towards and musicians. We would do well to avoid that pitfall in return. I think that the attitude of educated musicians and the professional classes to what they themselves classified as folk music was a little complex. As well as condescension, there was also fear, suspicion, admiration, envy... I think they didn't get it! If I feel any suspicion towards that class it is hugely mitigated by the Christmas Carols of Ralph Vaughan Williams which I think show how a Classical or highbrow Composer can be influenced by the indigenous music of Britain in much the same way as Middle European composers took the music of their own regions as inspirations for their compositions. Here it is, amended. I hope it reads OK as melody leaves a lot of dross which I had to edit out. I would like to hear an audio clip of your version. I for one do not read well enough to appraise your ABC Pay more attention next time, because it works OK even if a little unfamiliar. You have just echoed my gut instinct. Barry To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Mr Dunk - Inspector of Public Nuisances
Quoting Francis Wood oatenp...@googlemail.com: Another 'traditional' tune, J.L Dunk's Whin Shields on the Wall was unplayable nonsense when given to the NPS in a literate-looking but impossible manuscript. Someone, probably the editor Gilbert Askew has bashed it into the excellent Whinshield's Hornpipe. I think that Francis is being unkind to Mr James Delanoy Dunk. Mr Dunk was heavily involved in the highbrow music scene of London in the early part of the last century. His sister, Susan Spain-Dunk achieved some recognition as a Classical composer. http://landofllostcontent.blogspot.com/2009/09/susan-spain-dunk-note-in-music-student.html James' writings on music theory are widely regarded as incomprehensible but they reveal someone who has thought deeply about the nature of music. Perhaps he has thought too deeply, for that way madness lies! I suspect that Whin Shields on the Wall as submitted was an attempt to make a work which would bring the NSP into the Classical repertoire of the time. I can make no sense of it but then I have no feeling for the works of Schonberg, Stockhausen, Bertwhistle or Cage. I leave such matters to others in the same way as I leave aside recent attempts to take NSP into the world of contemporary classical music. These ventures simply hold no interest for me. The Lass of Falstone is a pretty good tune though. Barry To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: on keilder side
Da Slockit Light. This is a Shetland tune written by Tom Anderson, who was a towering figure in Shetland fiddling. I understand that it was written following the death of his wife when he felt that the way of life he was familiar with was vanishing. I know little of Shetland, but when I visited the Western Isles I was astonished to see how scattered the cottages were. In English villages, the cottages are generally huddled together and the farming was carried on elsewhere whereas in the Hebrides a village was a sprinkling of cottages over several hillsides. Tom felt that there weren't as many pinpoints of lights showing on the hillside, indicating that the cottages and crofts were being abandoned and the old ways were vanishing. At the time he wrote the tune the area did have an electric supply and I understand that the Shetlanders would say 'Slockit Da Light' for turn off the light. However, the term slockit also, apparently refers to the action of snuffing a candle by licking the forefinger and thumb and pinching the wick. So the title also refers to outside, mainland, influences killing the life of the islands. This is the sum of what I have been told. It is part of the myths which surround tunes. It may be true or it may be false but it's a damn good story and we shouldn't let the facts get in the way of a good story. Does this help? Barry 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] Re: PS Forum
Quoting Francis Wood oatenp...@googlemail.com: That would work very efficiently . . . in fact, probably too efficiently. Wouldn't it be better to leave it to the individual writer to decide whether they want their addition to the forum announced on Dartmouth? And isn't there a facility for the individual reader to opt in to an email alert facility? I have tried replying to this once already. Prepare for some nonsense. Be alert, Britain needs lerts. This is because if I use the word subscrib near the top of the message the list thinks I am trying to subscrib... To get alerts: Go to the bottom of the forum and click subscribe. Barry To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Re:
(Suspicious voice) Hullo, Anyone there? I've got my tin hat on. Any incoming fire? (Normal voice) Attempts at humour on the internet are dangerous and generally misunderstood. I am the vile editor of the NPS Journal who changed the title of Anthony's article without his consent and I have apologized to him privately and will publish a full apology in the next issue. Anthony presented two contributions to the Journal, the rant article coming earlier in the year well before any start had been made on compiling the issue and then later I received, the wonderful interview with Hannah Hutton and Jimmy Little which threw so much light on a particular section of our tradition and together with Hannah's photographs it became a very important part of the Journal. i am sure that Anthony remembers that article going back and forth for correction until we got it as right as possible. While this was going on, I was typesetting the magazine which involves competing influences, to get the content balanced , to get articles starting on the left or right as appropriate, to end up with a multiple of 4 pages, and I thought that there would not be room for Anthony's Rant article, until almost magically as I tidied up all the pages, a space appeared which demanded an article of just about that length. A few font changes... and it was in and I was grateful. I assembled the whole thing, hit the build contents key -- and the contents page didn't reflect the energy contained in the publication. I looked down the contents and felt that Anthony's title did not sit well against the previous title, and (woe is me) I tried changing Anthony's title in what I thought was a subtle and slightly humorous way and the magazine felt more balanced. However, I forgot to seek Anthony's permission. OOps. An editor must not offend his correspondents or the Journal will be empty. So again I apologize for my oversight as I will do in any venue where Anthony raises the point. As to releasing Anthony's article to this list, I will try to post another contribution about copyright, the NPS, and the internet, which I hope will generate some interesting discussion. Barry Say (Editor NPS Journal) Quoting david...@pt.lu: Hi Antony, How about posting the article here? There are lots of people who are interested but are not NPS members -- I like the hint of lilt in your playing - always have A regards Dave S Anthony Robb wrote: Hello John That's sounds great. It's exactly the response I was hoping for when I submitted the article on Rants to the NPS Journal. I'd titled the piece Anyone For a Rant? but it was apparently unsuitable and altered without my consent or knowledge to A Bit Of a Rant which rather missed the idea of an invitation to try them. Cheers and every good wish for some enjoyable music making, Anthony --- On Thu, 30/6/11, Gibbons, John j.gibb...@imperial.ac.uk wrote: -- 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?
Before Jaja, music was all flagellated Cream Fassbender offers some grudging compliment to Schoenberg but to show Jaja's superioriity added Jaja has never written a note of harmony in his life! Before Music was witten on manuscript paper with a pen, but Jaja introduce the schlip-rule and now every good German composer is villing to put his spanner in the verks. Must transfer those to CD. Barry Quoting Francis Wood oatenp...@googlemail.com: This is also consistent with the musical principles of the composer Bruno Heinz Jaja, demonstrated by the musicologists Dr Klauss Domgraf-Fassbaender and Professor von der Vogelweide at the Hoffning Interplanetary Festival 1958 Each note is dependant on the next. Each note is like a little polished diamond There are three bars of silence . . . the second bar is in 3-4 and this gives to the whole work a quasi-Viennese flavour Before Jaja Music was all flagellated Cream Fassbender offers some grudging compliment to Schoenberg but to show Jaja's superioriity added Jaja has never written a note of Harmony in his life! Before Music was witten on manuscript paper with a pen, but Jaja introduce the schlip-rule and now every good German composer is villing to put his spanner in the verks. Must transfer those to CD. Barry 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
Quoting richard.hea...@tiscali.co.uk richard.hea...@tiscali.co.uk: Is that the crispy stuff they put in their toblerone's, then? Toblerone's? trombones? - whatever! Who can Tell? Richard The Lone Ranger, of course. Tonto 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
Quoting Richard York rich...@lizards.force9.co.uk: All of which goes to show that it's really, really difficult writing down on paper the precise quality of something which we hear and/or play in such a way that other people can do it. Perhaps Aural Transmission really is the best method. (waits for someone to produce a dubious double entendre) I think this is where we hit the difference between what is generally called 'traditional' music and on the other hand 'classical' music. 'Traditional' musicians played in their communities or where they would. Jimmy Allen played for the crowds, so his accomplices could lighten their pockets. In a more modern time rock musicians played enthralling music which wowed millions with only the sketchiest of musical theory. Now go into a decent guitar shop and their is some guitar-nerd (technical term) reproducing a famous lead solo on a fender stratocaster they will never be able to afford. That is perhaps also Aural transmission. Conversely, much of what we refer to as 'Classical' music was composed by courtiers, retainers, civic employees or household members, who owed their livelihood too being able to please their paymasters. In particular, they had to 'write' music which professional musicians could play either almost or completely at sight, and all the directions had to be on the page. The larger the group of musicians, the more more meticulous the directions had to be. To my way of thinking, in the classical mode (as I have described it) the technical terms are prescriptive and the Composer to the Elector of Wotsitburg can say to his orchestra, When I say this bit is staccato I mean Proper Poppa dopadumds, or whatever. Either they got the message or they should set out for the next city state and find a different employer. For Traditional music I think we should regard such technical terms as descriptive. The music is as it is played by those who represent the tradition (you choose). We imbibe it, we imitate it, and we develop it. It is useful and helpful to talk to others as we grow into the tradition, and for this we need a language. We may reach to the 'classical' world for descriptive terms or we may invent our own terms, such as 'detached' to describe: Playing NSP with a fresh start to each note but not necessarily a clearly audible silence (Chirz) Any thoughts? Barry PS my spellchecker offered as alternatives to 'stratocaster': 'toastmaster' or castrated. Ah! the wonders of a digital age. 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
Quoting christopher.bi...@ec.europa.eu: OK, I shouldn't have called it staccato, Unfortunately some people do seem to think staccato means short. Chris, May I point you to the Dolmetsch dictionary http://www.dolmetsch.com/defss4.htm Personally, staccato is a word I use for musical effects and never for a piping style. I think it merely confuses matters. Barry 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
Quoting Francis Wood oatenp...@googlemail.com: Hello Richard, I think we pretty much agree. Who, for example, would want to play Rothbury Hills in a staccato manner? Detached playing is not necessarily staccato. When the notes are long, the spaces seem even shorter. (Who, indeed would want to play RH in any manner whatsoever, some might interject.) The Rothbury hill-billies, I guess However it was composed by a significant piper who happened to be the official piper to the Duke of somewhere or other. Joe Hutton seemed a bit lukewarm about that. (Jack lived in Wideopen and I understand he wasn't always flavour of the month with the Powburn Lads. So like it or not, it's part of the tradition. Often improved, if you get the chance to hear it, by Inky-Adrian's farmyard impressions. That harpsichord comparison is mightily good, since that and the NSP have some principles remarkably in common. However, I think we differ over the harpsichord's ability to play 'long-sustained'. That famous Northumbrian tune Jocky's long sustained in the organ loft That has as much to do with what the contemporary listener actually heard, knowing the style and nature of the music, rather than the acoustic output of the instrument. While we're usefully on this topic, here's an opportunity to quote one of the greatest of harpsichordists in one of the bitchiest-ever remarks about taste: Well, you play Bach your way and I'll play him his way. Ah. harpsichord duets. The sound of skeletons copulating on a corrugated tin roof. (Boult? Arnorld? cant remember!) oops should have been can't (Henri l'apostrophe) That's enuff B. 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 OR just bemused
Quoting smallpi...@machineconcepts.co.uk: Can anyone remember which famous smallpiper once fitted a regulator to a set of smallpipes and reinvented the melodian (or at least the sound of one)? Yes, I can. As I remember, to my ears it sounded rather like a harmonium. Barry To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Rules
I think Adrian is expressing some of my personal opinion. I think that the NPS has a significant duty to provide information to its membership, particularly new pipers, about the various approaches to piping and to offer encouragement to those who wish to take a disciplined approach to piping. I think some might call this the pursuit of excellence. The tutor book which indicated a proper style of piping was the product of a former, late 19th C society which did not last very long. I fear that such researches as I have carried to not lead me to suppose that the founders of the NPS (est 1928) were not shining lights in the piping firmament. No wonder Tom Clough could not see the point. But, We have a strong piping community We have a viable society We have an excellent range of top-class pipers for all tastes We have several first class exponents of detached playing. We have pipes that play in tune We have abundant CDs We have more tunebooks than most know what to do with Are we perhaps experiencing the 'penalties of success' Barry - Ask not what you can do for the NPS but rather what you can do for piping. Then bang on the NPS door until they give you the wherewithall to do it. Quoting Inky- Adrian inkyadr...@googlemail.com: 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. -- 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
Quoting Anthony Robb anth...@robbpipes.com: Hello Vernon If we stick with Barry's fruit analogy idea, Richard Suttleworth was comparing apples past their sell-by datenbsp;with fresh ones. Pardon. Where does tradition come into this. Are Reid pipes past their sell-by dates. I do not think I said anything which should discourage potential makers from paying close attention to Mike Nelson's website but I did make it clear that I felt that what Mike brought to the pipemaking discussion was a clarity of view based on engineering design. On the other other hand, I went through my pipemaking apprenticeship at the Killingworth classes with Colin Ross as tutor. Colin and Mike have exchanged views in the past to mutual benefit. Colin has freely admitted that the way his key-stems attached to the pads on double keys came from a suggestion from Mike Nelson. I heard him say as much in a workshop at the Rothbury Festival. Regarding hole positions, I work from the scale I learned at the Killingworth class which is to all intents and purposes the same that Mike produced in his book of the 1980s and Mike has, as I remember, acknowledged Colin's influence on his hole spacing. In the time I studied and worked with Colin, I gained the impression that he felt that Mikes design was driven by technology, whereas Colin felt there should be a more artistic, sculptural influence in the outer form of the pipes. The technical inner workings are another area altogether. Anyone who sets out to make a set of pipes, or become a pipemaker must form their own opinion on this matter. It is possible that an individual will at some times favour the artistic approach, while at other times the engineering attitude will come to the fore. Such is life! Barry 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
Personally, I think that any attempt to compare Mike Nelson's Book and website with the Cocks and Bryan Pipemaking book is a bit like comparing apples and pears. Jim Bryan's book was an honest attempt at getting at getting information about pipemaking as it was understood within NPS circles into the public domain and he received some criticism for 'revealing secrets'. The main value of the book lies in the drawings as far as I am concerned. They have there inaccuracies and in some cases errors but nevertheless they contain much valuable information about classic pipe design. Many pipemakers (including Mike Nelson) have started their 'careers' by making the a set of pipes using the drawings of a simple set made by Dunn for Peacock. Mike Nelson brought his skills in engineering design to pipemaking and made a small number of sets (which are highly valued by their owners) and made his knowledge available to the piping community, initially through his book (published by Richard Butler) and more recently via his website. I have certainly encountered many parts of pipes which obviously came from Mike's drawings and I am aware that his book was widely photocopied. Barry Quoting Richard Shuttleworth rshuttlewo...@sympatico.ca: 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: Tuning/pitch
Quoting Francis Wood oatenp...@googlemail.com: In response to your question about unevenness at those drill points and the effect on standing waves, I strongly doubt (and this is just a guess) that it would have any effect on standing waves. Consider that the volume of the cavity caused by a tiny drill point is virtually nothing compared with the volume of the huge cavity that lies immediately opposite; the tone-hole itself. That would be my understanding also. It is a matter of scale. Barry To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: rotting of the cotton threads
Quoting Francis Wood oatenp...@googlemail.com: Liquid-anything tends not to stay where you put it. That's a significant disadvantage. Francis Indeed, Liquid paraffin seems to have some superfluid tendencies, creeping out of the bottle on its own. Barry To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Piping on the Wannies
Hello All, Season's greetings to all especially those who, like me, have been laid low by the lurgy. Julia and I are on the mend, but our plans for the weekend are still fluid. It seems very unlikely that either of us will be on the Wannies on Sunday and it is a dead certainty that I wont be providing baconinabun, because I have bought neither buns nor bacon. However, the Gun Inn at Ridsdale seems attractive, and I have spoken to the landlady and she says the Car Park is clear and transport is OK. Barry To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] solo vs. group playing
In historic times (before 1990) I am told that there was a fair proportion of solo playing at NPS meetings, and presumably elsewhere. Some pipers found the prospect of playing on there own before their peers a daunting and nerve-wracking prospect. Since that time we have come to a point where large numbers of pipers can play relatively in tune with one another, and to a great extent solo playing has taken a back seat except for the top-class pipers and competitors. I will not condemn playarounds or sessions or performance groups. Playing pipes 'tout ensemble' can a very sociable activity and undoubtedly can give those with less experience an opportunity to stretch their playing without feeling unduly exposed. However, playing in a herd does not allow the piper to develop their own style, nor to hear the style and manner of playing of their peers. It also seems to generate a reluctance for pipers to play in front of their peers. I think that we should reintroduce some solo piping performance into the life of the NSP community. We should encourage pipers of all abilities to demonstrate their capabilities at the level to which they have progressed. Those of us who have more experience should lead by example, praise should be given where it is due and criticism should be withheld (both at the time and in the pub afterwards). As well as developing the courage to perform we should have the patience to listen to others and support their endeavours. There is my pebble in the pond. Any ripples? Barry Say 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 recordings
I have found the link to the recordings but the files themselves are apparently ont there. Has anyone had more luck than me? Barry On 16 Sep 2008 at 10:20, Mike Sharp wrote: From: Francis Wood [EMAIL PROTECTED] You mentioned George Atkinson as a good exponent of that style. I have heard only the three tracks on the Wild Hills O'Wannie LP. I like them a lot. Are there other recordings of him? There are a two recordings of him on FARNE. ( http://www.asaplive.com/FARNE/Home.cfm ) 1. Hexham races, Atholl Highlanders, Masons Apron 2. Sweet Hesleyside, Proudlocks Hornpipe, Redesdale Hornpipe --Mike -- 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 recordings
OK. I managed to get the Sweet Hesleyside set, and having listened to it I managed to view it in Audacity (an audio editing program). In general. I am reluctant to give an opinion based purely on my own aural judgement for three reasons. 1) hearing is very subjective and it is easy for the listener to deceive themselves in order to comfirm their own prejudice. 2) I don't think I have spent enough time listening closely and playing to be certain of my own judgement. 3) I have heard the dogmatic opinions expressed of musical performances with which I profoundly disagree although I often can't explain just why. (My lugs are a bit slow). I have later gathered further information which confirmed my gut instinct. To my ears (lugs) George's playing seemed to be very clearly articulated, and viewing the waveform confirmed my opinion. Except for one or two instances, all the notes have clear space between them varying between 1/25 sec and 1/10 sec. One exception is the last note of Sweet Hesleyside where the grace note is apparently joined to the main note. (I have on occasion heard Mr Ormston taking gross liberties with the Clough method at the very end of a tune, so perhaps it falls into the same category.) The rendition of Sweet Hesleyside is very patient and extensively graced. If it seems laboured to some modern ears then I would venture to remind readers that it is playing such as this which has enabled our instrument to retain its popularity over 2 centuries and more in the North-East of England and we neglect it at our peril. Our instrument has very little dynamic capacity, but the one thing we can do is ensure that each note pops out of the chanter after a short period of silence. This is I feel where our strength lies. I often say that the chanter should feel like it is full of notes eager to get out. Some time ago, I made a mental list of the pipers I would wish to emulate, and I then wondered what they had in common. I decided that it was that they either learnt the pipes early in life or it was the instrument on which they came to understand music. They did not bring the prejudices of another instrument to the pipes. Leaving space between notes is not solely the province of the pipes. The moothie (mouth organ / harmonica) plays in the hands of Will Atkinson (George's Father) is a very 'blocky' instrument. The notes/chords are either on or off and the volume is very consistent. The subtlety of the music is in the precise lengths of the notes and the spaces between - as in the Clough style of piping. Willie Taylor's fiddle playing is very spiky. There is a great deal of attack at the beginning of the note and it decays substantially before the next note. Often there is almost silence between notes. I have heard it remarked that the characteristic of Willie's fiddle style was the amount of daylight you could see under the bow. Add to this the piano. Annie Snaith of Elsdon springs to mind but for those who never heard her, Andy May can do a passable imitation. This is a very percussive style. Returning to the pipes. If we repeat a note using closed fingering there will be a space between. I think we should put a similar space between all notes, so that all notes have the same shape whether they are repeated notes (tipping) or part of a scale. We should try to get notes on keys to have the same shape as notes on finger holes. This is not staccato, this not staccatissmo, it is the inherent sound of the pipes. Comments? Much more later BArryy On 16 Sep 2008 at 13:55, Honor Hill wrote: Barry, after several tries, I succeeded in saving and opening the Sweet Hesleyside set, mp3 form. The other tune link is still telling me the page isn't available. I'm wondering if the site only allows for a few to access at a time, and many of us have been trying at once. Honor -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 16, 2008 1:52 PM To: nsp@cs.dartmouth.edu Subject: [NSP] Re: George Atkinson recordings I have found the link to the recordings but the files themselves are apparently ont there. Has anyone had more luck than me? Barry On 16 Sep 2008 at 10:20, Mike Sharp wrote: From: Francis Wood [EMAIL PROTECTED] You mentioned George Atkinson as a good exponent of that style. I have heard only the three tracks on the Wild Hills O'Wannie LP. I like them a lot. Are there other recordings of him? There are a two recordings of him on FARNE. ( http://www.asaplive.com/FARNE/Home.cfm ) 1. Hexham races, Atholl Highlanders, Masons Apron 2. Sweet Hesleyside, Proudlocks Hornpipe, Redesdale Hornpipe --Mike -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Peacock's Wylam Away
On 9 Sep 2008 at 21:13, Richard York wrote: Both mathematically musically I assume the last B should have been a semiquaver as well, but would like to know if there are other accepted corrected solutions in use. In the 1999 version in modern type setting, we made the same assumption. The original Peacock version is easily explained as a slip of the pen Barry Say To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Drones and tuning
Hi all, I tried sending this a day or so ago but it ended up in a bit-bucket somewhere. I am tremendously glad that Chris has made this contribution as it fits in with what I have felt for years. As I understand it, the single beating reed which we use in the drones is inherently less responsive to changes in pressure than the double beating reed of the chanter. This makes it entirely possible to bend the pitch of the chanter by changing bag pressure without substantially affecting the pitch of the drones. Let us say that a player wishes to play in concert F or F+20 cents or any other pitch to fit in with other pipers,( or even musicians). It should be possible to tune a drone to the appropriate pitch with an electronic tuner and then tune the remaining drones to match it. Then the piper can adjust the bag pressure when playing to bring the chanter in tune with the drones or if this is not possible, open, close or change the reed to achieve the desired pitch. If players have trouble keeping the pitch of their drones steady, they should look to their reeds. I have checked this with Adrian Schofield and Andy May and the pitch of their drones is remarkably constant even with fairly large changes in pressure. I would like to be able to make drone reeds which give a constant pitch from 12 to 20 of water gauge. With such reeds, the problems beginners have in getting steady drones would be much reduced. I think many beginners are fighting pipes which are poorly set up. The worst case of all is to have a drone reed which decreases in pitch as the pressure increases. This is what I call a 'hiding to nothing'. I believe that when the reed is removed from the drone and sucked to sound it, it should cut in cleanly and maintain a steady pitch even with increasing suck. I would not consider fitting a reed to drone until it was stable on its own. My twopennorth Barry On 28 Aug 2008 at 10:00, Ormston, Chris wrote: In practice, of course, slight tempering can be applied and pressure tweaked (oops, heresy aaarghh!!) I'd not consider this heresy at all. I'd bet most competent pipers will (sometimes without even realising they're doing it) make slight adjustments to pressure to get the best tuning from their chanters. Of course, you need good, stable drones that are not too pressure-sensitive to achieve this. I've not measured this scientifically, but I think I drop pressure slightly when playing in D. I find that I also make slight pressure changes to bring out the tonal quality of each note too, or to enhance the quality of vibrato - this works well for slow tunes, but may not be practical when playing Holey Ha'penny :) Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
