the special quality of the smallpipes is that they can be played in tune
But unfortunately often aren't, even by respected players! If the cap fits...
csirz
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what
Northumbrian pipes can do better than any other; that precise
delivery of detached notes with duration and silences perfectly timed.
But unfortunately the obsession with detaching the notes sometimes lead to the
durations and silences being somewhat random - thus destroying the rhythmic
I think the discussion was really about the best that can be heard in
Northumbrian piping.
Random timing and poor intonation can be heard in abundance whatever the
instrument and has nothing to do with NSPs in particular.
Rather than dwelling any further on mediocre musicality, I'd rather
Yesterday John Gibbons wrote:
Is 'the NSP don't move Anthony as much as the fiddle does', a sentence
about the NSP or about Anthony?
He has now explained that this is his own paraphrase based on something
I wrote about one particular tune played by two top rank players on the
Hello inky-adrian,
This is interesting and thought provoking, but I would like to have your
insight on where, and how, the precision can be found and appreciated.
At my level of fumbling I need all the help I can get to begin to feel
the phrases the composer unconsciously put together to make
There is no more expression in those who can play the detached method with
feeling.
This seems an odd statement from one such as Adrian. Is there a word missing?
E.g. than ... (... in those who can play the detached method with feeling)?
Or shouldn't the word no be there?
c
To get on or
two best instruments in the world.
You forgot the viols!
I have always been moved by music and it affects me often at a
physical level. Not just bringing me to tears when it is
beautiful but
also hurting when it's not right.
I can sympathise with this. Personally, I find bad tuning
Talking about expression outwith the context of tone, technique and rhythm is
like talking about tone as detached from tuning. The most moving performances
are always a combination of all three. One may play the greatest expression in
the world, but if it is on an instrument the is not well
We've been at risk of straying onto the which instrument is best?
territory here, methinks, but Jim's points are right, to my mind.
And they bring me a few more thoughts which I hope are useful and not
merely pompous!
Some instruments are easier to make an acceptable sound on than
From John Gibbons
or the horrible slurred playing some people go in for
I take it this is a very different thing to the slurs in Chris
Ormston's Blackbird?
Anthony
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Quote from Anthony Robb:
May I suggest picking one tune that really speaks to us but isn't yet
inside us (this includes brain, heart and fingers) and devote half our
practice time each week to that single tune for 1-6 months (depending
on time allocated to practice and complexity of tune).
Richard York wrote a very thoughtful posting ending:
And yes, a really good player can make a poorer [insert instrument name
here] sound better, and a music-less player is never going to make
anything sound wonderful, but I do feel there are too many
instruments
of
Na - keep it up! Far better than a boring silence and complacency :)
All this reminds me of a sermon we once heard preached at a massed
Morris event, by Father Kenneth Loveless, the concertina (previously
owned by Wm Kimber) playing Rector.
The essence of it was that Spirit was the most
Quote from Anthony Robb:
May I suggest picking one tune that really speaks to us but isn't yet
inside us (this includes brain, heart and fingers) and devote half our
practice time each week to that single tune for 1-6 months (depending
on time allocated to practice and complexity of tune).
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