On Tue, 17/5/11, inky-adrian inky-adr...@ntlworld.com wrote:
Dear all,
Who is this Allis thingy person?
What are you on about, Anthony?
E major..no!
She can't do it-unless it's crap
Adrian
Hello Adrian
I'm wonderting if you need to get out more?
Alice Burn is a
Hi Anthony
Any idea what the E major reel was? It would be fun to give it a go.
Dave
Dave Shaw, Northumbrian and Scottish Smallpipes, Irish Pipes and SHAW
Whistles
www.daveshaw.co.uk
- Original Message -
From: Anthony Robb anth...@robbpipes.com
To: Dartmouth NPS
--- On Tue, 17/5/11, Dave Shaw d...@daveshaw.co.uk wrote:
Hi Anthony
Any idea what the E major reel was? It would be fun to give it a go.
Dave
Hello Dave
I'll try and find out - I noticed the different tonality and only asked
what key it was in. Once I got the answer I did
Hello Dave all
Catriona has got back to me:
The tune was called the Lounge Bar - written by Norwegian fiddler
Annlaug Borsheim.
I've asked her for the dots if poss.
Something has clicked in my old brain and I'm thinking it might have
been a jig - not a reel - but it fairly
It is remarkable that an Emaj tune can be played successfully, 4 sharps away
from the NSP's home key. It might be easier if the tune was on a gapped scale
rather than full-blown E major, but it is hard to avoid the E-B interval, which
isn't quite a 5th on NSP, but should be in this key.
--- On Tue, 17/5/11, Gibbons, John j.gibb...@imperial.ac.uk wrote:
It is remarkable that an Emaj tune can be played successfully, 4 sharps
away from the NSP's home key. It might be easier if the tune was on a
gapped scale rather than full-blown E major, but it is hard to avoid
the
Anthony, can you explain why one would want to play such a tune in Emaj, when
it fits nicely in Gmaj?
Just wondering...
On May 17, 2011, at 10:19 AM, Anthony Robb wrote:
--- On Tue, 17/5/11, Gibbons, John j.gibb...@imperial.ac.uk wrote:
It is remarkable that an Emaj tune can be
Hello Rick
That's probably a one for Catriona but I'll take a stab -
a) It's the key it seems to have been written in
b) It probably fits well on the fiddle and that's what the teacher
played
c) When people alter keys like that (eg. Calliope House from Emaj to
Dmaj) something
Thanks, Anthony. That is helpful.
Now I'll just have to give it a try both ways to see how each sounds I guess.
I don't think an ABC player cuts it for this sort of thing.
-- Rick
On May 17, 2011, at 10:45 AM, Anthony Robb wrote:
Hello Rick
That's probably a one for Catriona but I'll take
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
It's interesting reading about the view that the Cocks and Bryan book was
criticised for revealing 'secrets'. Pipe making wasn't the only 'secret'
treasured by by those in the know' from the North East of England. Leek
growing was another area of expertise where tempers ran high when secrets
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
Hi Philip,
This is another idea -- the bottom keys ( D - Eb I think) allow choice
of finger -
regards
Dave S
On 5/5/2011 11:10 AM, Philip Gruar wrote:
a.d.s wrote
Clough played in A maj and C maj. The arrangement of the Clough
arrangement of key's was C low at the left side and B at the
I have one of those too, but nobody seemed to be interested in it.
Wayne
On May 12, 2011, at 5:41 PM, Steve Bliven wrote:
Posted on the Chiff Fipple Used Instruments Board by flutemaker Casey
Burns;
[1]http://forums.chiffandfipple.com/viewtopic.php?f=35t=82144
Am selling my old
Wayne,
I'd be glad to store it for you!
--Rick
On May 13, 2011, at 2:04 PM, wayne cripps wrote:
I have one of those too, but nobody seemed to be interested in it.
Wayne
On May 12, 2011, at 5:41 PM, Steve Bliven wrote:
Posted on the Chiff Fipple Used Instruments Board by
I've got one as well. They can't be all that rare.
Marianne.
Date: Fri, 13 May 2011 14:09:16 -0400
To: wst...@cs.dartmouth.edu
CC: steve.bli...@comcast.net; nsp@cs.dartmouth.edu
From: richard.a.damon@dartmouth.edu
Subject: [NSP] Re: Cocks Bryan Book for sale
I have a 1967 hardback copy in blue that is marked Tankerville and
came from the sale of the contents of Chillingham Castle.
Just that bit special so I`ll hang onto it!!!
Regards,
Guy Tindale
--- On Fri, 13/5/11, Marianne Hall allerwa...@hotmail.com wrote:
From:
Hello all.
I've just enjoyed re-reading Francis Woods' excellent article, In
Praise of Old Pipes, in the 2010 Vol 31 NPS Journal.
There he refers to the myth [which] holds that instruments inevitably
deteriorate if they are not used. [...] what really wears them out is
using
Maybe not totally relevant, but in my (much) younger days when
carrying around a sliderule as a student, it was claimed that the
best sliderules were made of bamboo coz they didn't expand like metal
ones and were self-lubricating. Indeed, to smoothly ease into small
gradations a prior
Why do you think Mythbusters is such a popular show? Because there's
such a vast pile of pseudo-science out there.
Assuming we're talking about dry-blown pipes, there's next to nothing
to create a difference in lifespan between playing them and keeping
them in the box. Yes, sound
On 12 May 2011, at 16:00, cal...@aol.com wrote:
You'll note that flutes, shawms, sackbutts (gotta love that name) and other
instruments that are directly mouth-blown are far more prone to
cracking,
Flutes and shawms, yes. But sackbutts, definitely no!
Francis
To get on or off this
Posted on the Chiff Fipple Used Instruments Board by flutemaker Casey
Burns;
[1]http://forums.chiffandfipple.com/viewtopic.php?f=35t=82144
Am selling my old copy of The Northumbrian Bagpipes by Cocks and
Bryan, published by the Northumbrian Pipers Society in 1975
There are a few
Pipers All, hello and greetings
Next four are - 4th June, 9th July, 6th August and 3rd September 2011.
All meetings are from 1400hrs to 1700hrs at the Grove Lane Baptist
Church, Pingate Lane South (off Grove Lane), Cheadle Hulme, Cheadle SK8
7NP. Everyone most welcome.
Cheers
right next to G, is C - so the drones are
not being forced into
unnatural contortions to get there in terms of temperament,
I don't understand the reference to temperament here.
C
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
The main trouble in C major is the third, E.
If it is tuned a fifth above A, which is a fifth above D, which is a fifth
above G, which is a fifth above C,
then it will be too sharp for C major. A major third is perceptibly flatter
thanfour fifths minus 2 octaves.
Either this chain of fifths all
Thanks, John. I actually knew this. Maybe what I should have said was I don't
understand the reference to 'drones' here.
so the drones are not being forced into
unnatural contortions to get there in terms of temperament, nor should the
tuning
be.
The appropriateness of the reference to
On 10 May 2011, Christopher.Birch@ec.europa.e wrote:
I don't understand the reference to temperament here.
It may be irrelevant, Chris, I'm rather busy and have a lot going on in my
head. I
don't claim to have thoroughly thought through every word of my posting.
Julia
To get on or off
I'm rather busy and have a lot
going on in my head. I
don't claim to have thoroughly thought through every word of
my posting.
Been there, done that, my sympathies!
c
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
So...
Can I (temporarily?) get this thread back on track and ask my original
question again?
There have been some promising replies coming - and Adrian began to develop
a useful thread which has now gone off into rarefied realms of temperament
and drones when playing in C major.
However
My thought is that there aren't enough long chanters and extended range
players to form a solid judgement at the moment.
I don't think it will be either an 'annoying one-off' nor yet a 'more
logical trend'. There are already quite a number of 'specials' around
but anyone buying a top end set
On 10 May 2011, at 14:08, Rob Say wrote:
My thought is that there aren't enough long chanters and extended range
players to form a solid judgement at the moment.
I agree totally, Rob. And would add only this: that there are even
fewer'extended range players' than there are 'long chanters'.
On 8 May 2011, a.d.s wrote:
More you
get away from the keys of G and D, and play in A maj., C maj., F maj.,
B maj., the more keys are played with the thumb and little finger in
succession; like playing the piano with one finger! .Have we got to
the key of C yet?
Having
Here's an example of what you're talking about: Chris Evans using a
drinking straw to extend his D drone to C.
[1]http://www.youtube.com/watch?v=OaYiveqihscfeature=mfu_in_orderlist
=UL
I wish Chris would put a few more videos up on youtube. Nigel made him
a lovely set of
a.d.s wrote
Clough played in A maj and C maj. The arrangement of the Clough
arrangement of key's was C low at the left side and B at the right side
and that would allow player's to play in B and play the Beeswing,
Underhand and whatever.
Thanks for the replies on and off-list so far.
Just a thought - clarinets have at least two duplicated little-finger
keys to help certain passages.
Thomas Green
On 5 May 2011, at 10:10, Philip Gruar wrote:
a.d.s wrote
Clough played in A maj and C maj. The arrangement of the Clough
arrangement of key's was C low at the left side and
Hello all,
the hornet's nest is being stirred here!
the problem is that the best keying arrangement for any one key will be
compromised due to the arpeggios and runs in the different key
signatures. Also, the keying arrangement would be different if the tune
has arpeggios and no
On 4 May 2011, at 09:52, Matt Seattle wrote:
Also, I wonder whether the keywork added by Dunn was 'chromatic' at
this stage, but others will know more about this than I do.
Hi Matt,
I think the problem with this text is that it allows some ambiguity. It's true
that Dunn was the first to
- Original Message -
From: Matt Seattle
Also, I wonder whether the keywork added by Dunn was 'chromatic' at
this stage, but others will know more about this than I do.
No it was not chromatic, being just the four keys for low D, E, Fsharp and
high A, which just extended the
This sentence, as well as the omission of editorship,
It is the inaccurate '2nd edition' rather than the 3rd which is of more
concern than the omission of editorship
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Afternoon Philip - I don't know the dates on the chanters you have
seen, I'd be interested to know.
I discussed the design of my big chanter with Colin back in 2001/2002.
the original plan was to get ABC# on a triple block at the back with
paired CD on the right and just the single low E
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
The awesome image of the engraving, and much of the text, were added by
[1]John Gibbons 3 as noted in the History tab at the top of the page.
That is one of the cool things about Wiki as well; every draft can be
seen and compared. So if anyone wants to shoot him a line on Wiki and
Hello all,
Clough played in A maj and C maj. The arrangement of the Clough
arrangement of key's was C low at the left side and B at the right side
and that would allow player's to play in B and play the Beeswing,
Underhand and whatever. I don't know of any player's since Clough that
Greetings,
I've been helping drum up support for the blog Alternative Pipers of
North America. If you haven't checked it out, you should; it's a great
collection of articles on pipes (generally non-GHB/UP) from the North
American perspective. Loosely a North American complement
I have been sent a slightly-used set of David Burleigh pipes by an NPS member,
for
sale.
It is an 11-key set - 7 + 2 G#s, 2 F nats. It is only 2 years old, the owner
says.
No. 2829. It is a fairly typical example of a set that costs (according to
David's
website) 800 pounds new. Green bag
Well I'm glad someone else was wondering. I thought I might just be being
stupid again.
The top end looked fairly standard to me with what was clearly an Fnat key.
It would be nice to know what the other two were.
CB
-Original Message-
From: lute-...@cs.dartmouth.edu
The key in the Fnat position is Cnat on a D chanter
The top thumb hole is D - the picture shows four keys with holes
positioned above this. Two on the little finger (e,g) and two on the
thumb (f#,a)
R
Quoting christopher.bi...@ec.europa.eu:
Well I'm glad someone else was wondering. I
This is a bit confusing as the key in the Fnat position is Eb on an F chanter.
So, using nominal pitches the keys would be Fnat, a, c (little finger) and b, d
thumb?
Indeed an odd selection. I have a nominal top c on my F chanter, but it hardly
ever gets used and I frankly wish I hadn't
I compared the fourth and fifth pictures.
4th: the hole for the key on the back is in the centre of the key block (Cnat)
5th: the top hole on the front is at the top of the key block (C#)
For a D chanter it makes more sense to extend up - it doesn't get
squeaky like on an F or G. I guess the
I've just been told of this item on ebay by the vendor who
has asked me to publicise it.
http://cgi.ebay.com.au/ws/eBayISAPI.dll?ViewItemitem=140526902815ssPag
eName=STRK:MESELX:IT
The description in the listing seems fairly comprehensive.
I have no connection with the auction nor interest in
I've been sent this: I know nothing more about it than what is here.
Anyone know who the piper/s are?
Hope this of interest to someone, anyway.
Julia
--- Forwarded message follows ---
From: Andrew Simpson a...@youngheartsrunfreefilm.com
To: i...@youngheartsrunfreefilm.com
Subject: Invite
I think that will be Susan Craven - listed in the credits:
http://www.bedefilms.co.uk/CastAndCredits.asp
Rob
Quoting Julia Say julia@nspipes.co.uk:
I've been sent this: I know nothing more about it than what is here.
Anyone know who the piper/s are?
To get on or off this list see
Curious about the keys on this chanter.
Chanter Keys (10 - A, B, C, d, e, f, g, G#, a, A#, b, c, Cnat, d, E, F, G, A)
If transposed to an F chanter that would be D E F# g a b c C# d D# e
f# Fnat g A B C D. That is an unusual selection isn't it?
Thanks for posting, Julia, but I don't think I'll
Maybe a confused description - could Colin clarify this?
But there are a lot of keys at the top end.
John
From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of John
Dally [dir...@gmail.com]
Sent: 24 March 2011 17:25
To: NSP group
Listing has ended anyway (Australia is ahead of us on time so it's tomorrow
there today)
Colin Hill
- Original Message -
From: Gibbons, John j.gibb...@imperial.ac.uk
To: John Dally dir...@gmail.com; NSP group nsp@cs.dartmouth.edu
Sent: Thursday, March 24, 2011 5:38 PM
Subject: [NSP]
Sorry, meant to add it was sold on Friday 25th March (hence the attempt at a
joke) for 950 AU.
Still like to know if those notes were right or if it was a special
though.
Colin Hill
- Original Message -
From: Colin cwh...@santa-fe.freeserve.co.uk
To: NSP group nsp@cs.dartmouth.edu
It's a D chanter and therefore longer than the F - there is more room
to fit keys in at the top. Seems perfectly reasonable to me.
R
Quoting Gibbons, John j.gibb...@imperial.ac.uk:
Maybe a confused description - could Colin clarify this?
But there are a lot of keys at the top end.
John
On 23 Mar 2011, inky-adrian wrote:
yes, it's in the Bowes museum. A bagpipe, part Northumberland-all keyed and
part Union.
There was a short article about it in an NPS mag many years ago (late 80s? - I
haven't time to check)
Off the top of my head, I think the conclusion was
I haven't seen the Bowes Museum pipes either. I've never been to the museum
even though I've driven through Barnard Castle at least a hundred times, but
always on the way to or from Durham or Newcastle - no time to stop or well
outside museum opening hours. However, I think it's very well worth
Hello All
I've got a drawing from a local (Forest Hall) inventor with an
arrangement of keys operated by the fingers which cover the open holes - at the
same time. He doesn't play, make or own a set so I've no idea why he picked up
on the idea that the NSP Chanter might need modification.
I've a recollection that adding all the keys to woodwind instruments
wasn't just about being able to add extra notes, but because some notes
can fit better with a fully chromatic scale if the holes are all
different sizes, including some that are too big for fingers to cover.
There's an
And given that an instrument's design is (literally) instrumental in
shaping its own repertoire, would it even be at all appropriate to do so?
Best wishes,
Richard.
On 23/03/2011 11:15, Dru Brooke-Taylor wrote:
I've a recollection that adding all the keys to woodwind instruments
wasn't
I suppose the if it ain't broke, don't fix it rule applies but I can well
see the point if, due to a disability, one needed something away from the
norm (anyone invented an electric pump to fill the bag yet, I'm finding
pumping the bellows a hard task these days - lol). Although not a
You want us to recommend a maker? ha, ha, ha.
On Wed, Mar 23, 2011 at 4:02 AM, Gordon Brown gor...@10db.co.uk wrote:
My wife Alison has a Burleigh D set is still looking for an F set so
that she can play along with other pipers - not that there are many in
East Anglia! If anyone has a
Forgive me, but methinks that's a rather unhelpful response to a
reasonable if admittedly diplomatically difficult request, John.
Perhaps people who like their own pipes might answer Gordon off-list?
Richard.
On 23/03/2011 14:35, John Dally wrote:
You want us to recommend a maker? ha, ha,
Thank you for that comment Richard, my own initial thoughts were
somewhat less charitable, along the lines of someone who throws
things, but I usually refrain from responding to that type of message
as I well recognise that internet messages are often made in haste and
lack
I would recommend Uwe Seitz who lives near HeilBrunn in Germany, his set
are A440 F so one can play at concert pitch with a consort/ensemble/ etc
and push a bit for F+
Dave Singleton
On 3/23/2011 3:35 PM, John Dally wrote:
You want us to recommend a maker? ha, ha, ha.
On Wed, Mar 23, 2011
I suspect John was being humourous.after all if you ask five pipers
for recommendations on makers you will often get six answers and and an
argument (and thats just among the pipe makers!).
I don't know if Mike Nelson is doing much making these days but he is in
Cambridge and therefore
Sorry. :-( I guess I should have used the emoticon: :-) I forget
that not everyone has as quick a wit as I do. ;-) Otherwise known
as snark, picked up during my many years among thick skinned
Highland pipers. }:-) Oh, I probably just offended someone again.
;-) Ian is much too nice to
Ian Lawther wrote:
I don't know if Mike Nelson is doing much making these days but he is
in Cambridge and therefore local which could be an advantaqe.
Hello all
Mike has just taken delivery of enough bits of Sage pipes to make 6
sets for use at this years' Cambridge Festival
Great idea, Ian. Perhaps we could practice by descending upon him
sometime this summer?
On Mon, Mar 21, 2011 at 5:03 PM, Ian Lawther irlawt...@comcast.net wrote:
I can't help thinking that for next year the Pacific North West piping group
should move their meeting at this time of year to the
On 18 Mar 2011, Julia Say wrote:
The newsletter has been posted (18 March).
Judging by early reports, it's on a very slow train this time (like 4 days to
get 7
miles!)
Don't know what the mail is up to, but hopefully it will reach most Uk members
by
the end of the week.
If you want to
I was pondering recently, both on the stacatto effect of the keys, the
difficulties in only having two fingers free to hit keys, and also
thinking about whether a person missing a hand could play bagpipes in
general.
A thought occurred to me: have any NSP been made which had every
Interesting... would it actually be easier, with all keys and
therefore all fingers [] available
to hit keys ?
As it is I'm still teaching my fingers when to move to make all the
notes faster, and still letting my thumb little finger learn which
position is which, but most of the
A saxophone is a woodwind without any open holes covered by fingers.
Some holes are always open to make notes, but all of them are closed
by a key pad, as opposed to fingers like the other woodwinds you
mention, Colin.
I suspect if you covered all the holes with keys and pads you would
lose a lot
One obvious response is that playing finger holes on NSP is faster and
more 'positive' than playing keyed notes. Half of this may be down to
the poor dexterity of the little finger, but I can't play
even thumb-keyed notes as crisply as open-holed ones. There's something
in Tom
Adrian,
I stand corrected
Only the one known example, I take it?
How do you mean part-Union?
Do you mean a wholly keyed NSP chanter,
cylindrical bored and closed ended, but with UP drones and regulators?
I must go and look at it - even if they (it?) never caught on,
The American uilleann pipe maker Patsy Brown made uilleann pipes with
keys on all the holes. The only picture I can find on line is rather
small but is at
http://www.lemccullough.com/LEMcCullough/Music-Biography_files/PatsyBrown-filtered.jpg
A larger copy of this appears in Patrick Sky's
Thank you must hugely to you who were part of the Halsway event this
weekend past -
To Alan for organising, to Andy, Chris, Chris and Francis
(aphabetically speaking) for tutoring; and just as much so to all who
went, and made it such a fantastically nourishing weekend. Yes, the
Short notice, I'm afraid - these things always are.
Is there anybody who would be able to play Water of Tyne (probably etc) at a
funeral in the Yeovil, Somerset area next Weds 9 March.
I'm trying to get a more specific location / time, but please contact me
offlist
asap if available /
Graham Dixon has been clearing his loft, and has had bound a number of copies
of
his book about Robert Whinham, containing all the Whinham tunes he could find,
and
originally published in 1995.
Copies are available from the NPS at 12 pounds each , + 2 pounds PP UK, 4 UKP
-
Europe, 6 UKP
The following was posted today on Dunsire Bagpipe Forums, directing
here for a better audience. I'm not involved at all, just spreading
the word:
Link here: http://forums.bobdunsire.com/forums/showthread.php?t=136744
Recently a friend of mine re acquired her deciest
OK folks, have a good laugh. I`ve fettled a 17 key F chanter from David
= Burleigh for Helene Moelo. Unfortunately we can=E2=80=99t play any
duets in= D because the wee C# key is missing. Has anybody got a spare
Burleigh type= C# out there that they could lend, hire out, or even
I was under the impression that if cavities get carved inside a bore (not
just pin-pricks of drill points) with the cavity around the sound hole
area, it will reduce the pitch of that particular note to a slight extent
in the bottom octave (and more so in the second octave, which is out of
And just to throw another q out therewhat is the effect, if any, of
minor warping of wooden chanter/drones?
Paul
Dublin
On Fri, Feb 11, 2011 at 10:32 AM, Dave Shaw [1]d...@daveshaw.co.uk
wrote:
I was under the impression that if cavities get carved inside a bore
Paul, if you mean acoustic effects . . . probably nothing audibly detectable
resulting from minor warping.
If the warping has resulted in a mismatch between the tenon and socket,
permitting a small leak, that's another matter.
It would probably be true to say that all wooden artefacts warp, as
Francis,
Thanks for the ref to Arthur Benade's book. I've just bought it, and first
indications are that it is excellent!
Bob
- Original Message -
From: Francis Wood oatenp...@googlemail.com
To: julia@nspipes.co.uk
Cc: Dartmouth NPS nsp@cs.dartmouth.edu
Sent: Thursday, February
Glad you also think it's good, Bob.
A little background on Benade here:
http://acousticalsociety.org/about/awards/gold/12_10_10_benade
https://ccrma.stanford.edu/marl/Benade/BenadeHome.html
What I like is that the material links the theoretical aspects of acoustics to
the practical ways in
As establishing frequencies was yet to come,
I think establishing frequencies goes back at least as far as Mersenne's time
but I've no idea how they did it.
I can't think of any other explanation for the figures accompanying his
illustration of the various sizes in the violin family, which
On 9 Feb 2011, Philip Gruar wrote:
I'll just say that with care, a flat-ended drill and delicacy
of touch, there should be no need for rods down the bore. You just stop the
drill before it goes too deep!
Well, quite. One can both hear and feel the drill reaching the bore.
Nevertheless
it
I would not see much point in a separate article on this.
It is not a rigorous standard, as people have been saying,
just a de facto acknowledgement of the fact that
if you want to make pipes that are in tune with most other sets,
then that is about the pitch you need.
So there is very little
Interesting speculation there, Julia.
One notable thought is the difference between modern and earlier-centuries
perception of this matter of the work marks in the bore. They are very common
in Reid instruments which all show an extraordinary degree of craftsmanship.
I've just had a look
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
Irregularities in the bore will affect the boundary layer, if not the wave
impedance of the bore. So alteration to the tone rather than the pitch?
John
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Francis Wood
Sent: 10 February
On 10 Feb 2011, at 13:43, Julia Say wrote:
a small depression could surely catch a sound
wave at a funny angle and cause it to behave in a less than theoretically
perfect
manner
It's really much more like the effect caused by a tiny irregularity in a tooth.
It seems massively more
I have been enjoying the thread discussions since I joined the list serve back
in the fall. I have now been playing my F set since late November and have
learned about five tunes on the 17 key chanter. I get tired easy and have some
squeaks from the lower registers but otherwise I am making
Fair enough. George Welch sings it in B minor -
or very low of course. though George appears to be having problems with
the high notes even at this pitch.
c
__
From: Matt Seattle
On 9 Feb 2011, at 07:20, Paul Gretton wrote:
So in fact the variety of pitches for the NSP is extremely traditional! Two
hundred years ago it wouldn't have been thought in any way remarkable.
Hello Paul and others,
I must say, I disagree here.
It's often forgotten that the the NSP of two
One maker having lots of influence again, or rather previously!
C
-Original Message-
From: lute-...@cs.dartmouth.edu
[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood
Sent: Wednesday, February 09, 2011 10:31 AM
To: Paul Gretton
Cc: nsp@cs.dartmouth.edu group
Subject: [NSP]
Absolutely! Couldn't agree more. But I wasn't really talking about
inconsistency or carelessness. Rather, I was thinking of the various
prevailing standards such as F F# a bit sharp of F, G and us lot
'ere all tune to old Fred's chanter 'cos he's the one wot sounds the best.
I would assume that
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