If anyone wants the dots of the Dixon version, they're in 'The Master
Piper', available from NPS. If they need to transcribe it into G before
playing it that will be a useful exercise.
See the credit for the photo of the Edinburgh pub sign 'Jingling
Geordie' which appears with the
Reading in A and playing in G is also a skill worth learning!
It opens up an awful lot of the Scottish repertoire.
John
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Matt Seattle
Sent: 29 February 2012 10:24
To: Dartmouth NPS
Sorry about the spelling. ;-)
Wouldn't anyone somewhat familiar with the tradition assume Dixon's
collection to be smallpipe tunes just by perusing the table of
contents? It's after reading your insightful text, Matt, that one sees
the connection to Border pipes. Your proof
-Original Message-
From: brimor bri...@aol.com
To: theborderpiper theborderpi...@googlemail.com
Sent: Wed, Feb 29, 2012 3:48 pm
Subject: Re: [NSP] Re: March 2012 TOTM: Adam a Bell selected by Julia Say
It certainly is also useful to read in G and play in F, if you are a fiddler
and
On Wed, Feb 29, 2012 at 7:46 PM, John Dally [1]dir...@gmail.com
wrote:
Sorry about the spelling. ;-)
Wouldn't anyone somewhat familiar with the tradition assume Dixon's
collection to be smallpipe tunes just by perusing the table of
contents?
From the titles, yes, but not
On Wed, Feb 29, 2012 at 11:52 PM, Gibbons,
John [1]j.gibb...@imperial.ac.uk wrote:
There is also the question of what did Dixon intend by his blank key
signature?
Did it mean 'this tune is in Gmix/Cmajor or Adorian'?
Or did it mean, as with Highland pipe music,
'I
From the playing the tunes on my various sorts of pipes, it seems clear
that Dixon did play an instrument with a flattened 7th. But in my
experience the flat 7th is sharper on Highland pipes than on SSP or
most BP. I don't think his fingering was anything like modern Highland
