On 26 May 2009, at 16:53, Anthony Robb wrote:
Mmmma| rather harsh Francis.
Hello Anthony,
I'm not sure I've really tried 'harsh' . . .
'Robust' might do quite well. I'd add 'fair'. We'll probably not agree
on that one.
Francis
P. S. I'll leave it to anyone else to respond point by
Can anybody suggest a suitable oil to pour on these troubled waters?
Ideally, it should be capable of spreading evenly and fairly as well
as making the tone of everything seem much brighter. Should lubricate
roughened areas. Capable of curing squeaks as well as growls, howls
and other
an
organisation. Others can do those things perfectly well and possibly
better, and should be permitted to do so.
I would like to express my confidence in the NPS Committee, in their
observance of fair practice, and in their decision on this matter.
Francis Wood
--
To get on or off
I have no opinion whatsoever on the truth of the assertions made in
this recent posting.
However, I believe it is indecent for a child to be publically
criticised in this forum.
Francis Wood
On 13 Apr 2009, at 10:45, lisa ridley wrote:
Apologies, I was under the impression
Quite.
Shouting at the referee may not be unusual in a football match but in
a musical competition anything equivalent is certainly unacceptable.
I was present at both recent Bellingham competitions and thought that
the judging was extremely well conducted and immaculately fair in
fairly
Wayne,
Good to see you around here, and we NSPipers owe you some thanks for
arranging the hosting of all this stuff at Dartmouth College.
Francis
On 20 Mar 2009, at 14:58, Wayne Cripps wrote:
Would this refer to being hung over from Winter Carnival? (;-)
That has been about the biggest
Frivolously off topic, but I keep an Allen key in the bottom of my
chanter. Undoes the grub screw retaining the chanter, and I'd lose it
if I kept it anywhere else.
No doubt it aids tone and stability too.
Francis
On 13 Mar 2009, at 14:17, Chris Ormston wrote:
Or his Irish cousin, Dave -
Hello Mike and others,
Your point about well-known tunes and devoting time to exploring these
is a very good one. This is a topic that I've been discussing recently.
As someone who regularly teaches 'basic skills' groups, I tend to
present familiar tunes and unashamedly use, more or less,
I believe it's an airport, quite close to Paris.
Francis
On 9 Mar 2009, at 22:36, richard.hea...@tiscali.co.uk wrote:
Hi All,
Do we mean oral/orally or aural/aurally ... or perhaps both?
Richard
Fancy a job? - http://www.tiscali.co.uk/jobs/
__
Thanks for pointing out this resource, Rob. Interesting, enjoyable
and, I think, useful.
This issue of pitch sensitivity prompts a couple of questions which
always bother me. How often do you hear a group of NSP players
establishing an achievable common pitch before starting to play? And
Hello Peter and others.
I agree absolutely with your suggestion and would advocate the use of
standard pitches only, whether D, F, F# or G.
The course of instrumental pitch is a complex and controversial one.
Unfortunately, the history of woodwind and brasswind making is plagued
by
Adrian and Pauline playing duets at the Manchester Pipes Day last week.
The best musical experience of the year.
Those who were present will probably agree. Those who weren't, sadly
missed an example of piping at its finest.
Francis
On 20 Sep 2008, at 21:46, [EMAIL PROTECTED] wrote:
Their
Hello Colin and others,
Yes, some good musical sense here. And like you, I've never entered
any competition and share your sense of being entitled to an opinion.
No doubt, the Reids and Dunn never entered any competitions either but
might well had firm and even differing opinions about
On 16 Sep 2008, at 14:06, Gibbons, John wrote:
The question is whether choyting is *morally* wrong.
Undesirable, certainly, but not actually illegal, as is stated in the
item below which I noticed recently during a visit to a town well
known for its piping activities.
Francis
Well said, Chris.
I'd add that, even without the traditional examples, the instrument
itself is a good teacher. All musical instruments have their peculiar
abilities and constraints and this is particularly true of NSPs. Our
pipes alone, among other bagpipes, have the capability of
I'm not altering my nice Tunebook 1 for the sake of that rogue,
villain and scoundrel!
Francis
On 14 Aug 2008, at 13:24, [EMAIL PROTECTED] wrote:
I've recently been in contact with a lady whose 7x great grandfather
was Will Allan. She is descended from Jimmy's brother Robert,
although the
Babtist Church Cheadle
Hulme, Cheadle SK8 7 NP.
Evening Session from 6.30 at the Ship Inn, Styal Village, Wilmslow
SK9 4JE.
Play-arounds and tutor-led workshops and sessions for all levels
with Pauline Cato, Richard and Anita Evans, Adrian Schofield and
Francis Wood. D.I.Y. concert in the evening
Hi Rob and others,
The 'Happy Hours' title is from the original French title 'Plaisance-
Fox' which would have appeared on a French '78. My CD copy of this
says 1927, though annoyingly, I've lost the CD leaflet which would
give fuller information. As far as I remember the piece was credited
On 23 Jan 2008, at 15:58, Matt Seattle wrote:
Well I thought it was pretty good
Seconded.
And for anyone who is unsure about what to do with tunes as abc text,
the site below will take care of everything:
http://www.concertina.net/tunes_convert.html
Francis
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On 10 Jan 2008, at 10:23, Ross Anderson wrote:
Feeding the beast on a
mixture of air and helium should do the trick.
Great idea, Ross!
A similar result might be achieved by running very fast towards your
fellow players. Christian Doppler would agree.
Francis
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On 10 Jan 2008, at 10:47, Gibbons, John wrote:
the F pipes he's
playing will sound G# to me. Nasty
Well, I was thinking of the benefit to the majority of the players.
But you are right, John.
The effect would be almost as bad as a group of pipers playing
together in both F and F plus
On 9 Jan 2008, at 22:09, Richard Shuttleworth wrote:
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?
Richard’s suggestion . . . spreading the finger-hole positions and
widening the bore . . would
Hello Mike,
The use of cord of various types in the bore is an old woodwind
technique which has the primary effect of lowering the pitch but is
also effective in quietening the instrument to some degree. However,
permeable material really needs to be used wet, and in a dry blown
Dru,
Robert Bewick's pipes can be seen in the Chantry in Morpeth. A very
beautiful ivory set by John Dunn. As I remember, it has an engraved
silver ferrule on the drone stock giving details of the provenance.
The chanter presently with the set is without keys, nicely made and a
fairly
A fascinating dialogue.
But I wonder whether this should move on to being a private
correspondance only?
Francis
On 25 Apr 2007, at 09:33, [EMAIL PROTECTED]
[EMAIL PROTECTED] wrote:
K=F6rner
An example of a cybermangled dieresis.
c
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Hello Bart
There are, of course, differences in techniques dictated by the two
radically different repertoires - the complex and stylised decoration
requirements in music for baroque musette are immediately apparent.
But I would say that the similarities between the two instruments are
Its fun to watch the rapid evolution of this little instrument. What
began as a keyless chanter (Paul, on Sunday) has gained one key
(Edmund, on Tuesday) and now three more (Philip, also today). Im
sure well get to seven soon.
Francis
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