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
The first tune I ever did this with was Crooked Bawbee, as
suggested by Bill
Hume. It worked well for me, I didn't get bored with it.
Helen
Yup, great tune and one that like even the way I play it myself.
It's a healthy exercise on the tightrope between beauty and
sentimentality/kitsch -
Chris,
1) Viols: apologies (silly, subjective choice of words)
2) Nasty synthetic reverb: you have good ears, I agree
3) Jacky Layton: excellent tune but it might be a big ask to get it in
your head quickly
John,
Yes, it takes ages and some bars need more ages than
Helen,
Good choice for a starter.
The beauty with that tune is it can be tried: a) as a very free air, b)
steady waltz, c) faster Circle Waltz, to keep interest up.
Cheers
Anthony
--- On Wed, 22/12/10, Helen Capes helen.ca...@paradise.net.nz wrote:
From: Helen Capes
When I first started David Burleigh kindly pointed me in the direction of the
first four tunes in Derek Hobbs' Folk in Harmony, Book 1:
Morag of Dunvegan
Leaving Lismore
Queen Mary
Believe Me
Highly recommended for beginners.
C
-Original Message-
From: lute-...@cs.dartmouth.edu
One thing I would like to mention w.r.t. this tune is watch out for the
Scotchy snaps in bars 29, 30 31. The one in bar 28 is nice but the
rest over egg the pudding for me and could be near disastrous if you
were doing the tune in waltz style!
Cheers
Anthony
--
To get on
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).
I hope Francis won't mind if I add some food for thought by sending a
slightly altered version of his message:
There are many things the harpsichord can't do. No dynamics. ... Limited
opportunities for the player to adjust intonation. So an expert
concentrates on what the harpsichord can do
Thanks, Helen, for making me look more deeply into my words.
Highest is, on deeper thought, a bad choice as pipes in the right
hands (as Inky Adrian recently pointed out) hit the heart and brain
every bit as surely as, say, Heifitz or indeed Choralation (Rowan
Johnston's New
Today John Gibbons wrote:
Is 'the NSP don't move Anthony as much as the fiddle does', a sentence
about the NSP or about Anthony?
The answer has to be it's about both. My question is where did the
sentence come from? Definitely not the email you are replying to, where
I said,
Sorry about my '...' marks, which were not to indicate a direct quote -
but rather to paraphrase the gist of an earlier email, the passage:
Years later [Chris] wondered publicly on this list what had happened to that
piper.
The answer is, Greg Smith played The Blackbird for me.
His
(I've missed a day on this, while I was daft enough to honour a gig in
Hampstead: 1 hr 40 there, 7 hours 20 back. The joys of the soft south!)
You're absolutely right, John.
It is, to adapt an earlier comment, pointless comparing apples and potatoes.
But since we've mentioned it
I was
On Sun, Dec 19, 2010 at 12:55 PM, Richard York
[1]rich...@lizards.force9.co.uk wrote:
for me hearing Billy Pigg (interesting how often his name crops up
in this) playing the Wild Hills of Wannie just Did It ... a seed
was set
Yes
--
References
1.
That recording of Billy's 'did it' for many of us, I'm sure.
Quite far from the idealised view of the Northumbrian Tradition in Doubleday,
or the actual tradition he learned from Tom Clough, but wonderful music for all
that.
Listening to RTE, and artists like Leo Rowsome, must have been a
On 19 Dec 2010, at 12:55, Richard York wrote:
It would be interesting to know how many people, either within the North
Eastern fold or out of it, were first inspired by hearing Mr Pigg's playing,
though.
Well, me for a start.
Knowing almost nothing about traditional music, and never
I'd heard NSP before - including Billy's TV appearance.
But that record was what really got the fire burning - Jack Armstrong's LP
didn't quite do it for me.
Also, as you say, the notes - almost a book - were excellent.
Colin's transcription of The Wild Hills of Wannie really helped me to
I did mention earlier that Billy Pigg was my first introduction to the pipes
(although I was familiar with the Irish pipes but not through playing).
1968, Corries TV program and a very unassuming gentleman was being asked by
them regarding the pipes and giving answers like yes and no.
He played
On 19 Dec 2010, at 15:47, Gibbons, John wrote:
Good luck to any intrepid souls attempting the yomp on Boxing Day!
It might be a chilly one!
Yes, it will depend on the conditions.
Title for a new march there . . .
'Yomp and Circumstance March' perhaps?
Francis
with apologies
To get on
What really got me interested was the gift of Kathryn's first cassette, On
Kielder Side. Wonderful music! It was given to me by friends who live on
Orkney and heard her at the Orkney festival. At that point I was trying to
learn to play the Highland chanter. The teacher had just received
Hello John
It had exactly the same effect on me despite being besotted by the
original Tom Clough 78 (which Ron Elliott bought by chance in Harrogate
market in the late 60s).
The postman delivered Billy's album as I was leaving for the lab at
Aston. I put it on the record player
The pipes are a brilliant but not capable of the highest level of
expressiveness.
Anthony, go wash your mouth out with soap!!
Helen
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Hello all
this instrument does not lack ability, it lacks players who can't play in
the correct method; not many can do that. Expression is emphasised in
precision. I'm not here to delineate. There is no more expression in those
who can play the detached method with feeling.
To get on or
One thing I like about NSP is the way vibrato alters the colour, rather
than the volume of a note.
You can emphasise higher harmonics this way, and Billy Pigg seemed to
use this a lot in The Lark in the Clear Air, for example.
As for apples and potatoes - in Cologne they have
John, I know what you mean. I also think that fiddle and pipes in duet
are a Northumbrian version of 'Himmel un Aed'.
If I may rewind the discussion and with particular reference to the
Chris Ormston's Blackbird, I have to say it is a far superior track
to anything I managed to
The defining performance of the Blackbird for me (both the air and the set
dance) was Paddy Keenan's on his solo UP album.
That probably owed a bit to Johnny Doran's famous recording.
But Chris achieved a tremendous lot on his recording of the air - proving that
NSP can be powerfully
Thanks to everyone for the edifying discussion. To me Doubleday seems
to be saying, the NSP are a rude, wee thing with enough charm to make
them worth preserving, and within its narrowest scope in its own way
it's quite nice, really. Another way of looking at it is that he's
saying fa\g a phiob
Just when you thought it was all over, it seems it depends upon your point of
view, and this may depend on your position in the history.
Below an extract from Mr. Thomas Doubleday's letter to the Duke of
Northumberland. date a bit difficult due to Google's OCR not coping with Roman
dates, but
Hello Tim
Wonderful stuff!
Discuss?
I'll have to print off, re-read (probably several times) and inwardly
digest it first.
It has, however, already given me a warm glow which more than
compensates for the sub -zero temperature outside.
Cheers
Anthony
--
To get on
Mr. Doubleday takes great pains to prove his sophistication. Even
allowing for how the sense of some of the words used have changed
since he wrote them, it appears that Doubleday was not enthusiastic
about the NSP or NSPipers in general. So, are we to trust his
judgement overall? On the one
On 17 Dec 2010, John Dally wrote:
Mr. Doubleday
I would like to know more about the cultural context of the document.
What prompted Doubleday to write this?
Here's a bit about him as a starter:
http://en.wikipedia.org/wiki/Thomas_Doubleday
Julia
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On 17 Dec 2010, at 16:44, Tim Rolls wrote:
Discuss!
One of the most remarkable qualities of this paper is Doubleday's extraordinary
talent for using a colossal number of words to say absolutely nothing of any
importance.
A very narrow bore, in my view.
Perhaps I'm being too unkind to him.
Hi John,
Interesting that the extract gives you that impression. Having read the whole
document I didn't infer that. I tried to isolate the particular part that led
me to feel that way, but failed. I think you may need to set aside quarter of
an hour and read the whole thing which is in essence
This seems to be a feature of a great many Victorian literary works in my
experience. Unfortunately it's a feature which seems to be infectious.
Tim
On 17 Dec 2010, at 20:33, Francis Wood wrote:
On 17 Dec 2010, at 16:44, Tim Rolls wrote:
Discuss!
One of the most remarkable qualities of
Hello John
This is what Doubleday said of the pipes (my underscores):
Thus, this instrument is limited to a single octave; and this (little
as it is) admits of all the airs, to which it is really suited, being
executed by it's means ; with the additional improvement that it may be
Hello Richard
Doubleday wrote:
The Northumberland small-pipe is fitted up upon the plan of
construction common to all bagpipes aEUR that is to say, aEUR it
consists of a pipe with stops, by means of which the melody is played,
and of three longer pipes sounding different
I'll think more on what he meant when I have more time!
For expression - I quite agree with you on fiddle tunes.
On the other hand, there are expressive tunes written primarily for
pipes, surely, where they sound superbly best on pipes?
And it is truly hard for anyone to make them work with
Ooh, need to take care with words like expressive, I think.
In an attempt to get more expression, isn't that what choyting is all about?
We need to be careful when comparing different instruments. I have found a
great deal of expressiveness listening to some pipers but in the way they
play and
Hello Colin and Richard
I agree with much you say.
I like the comparison with apples and potatoes.
But that is exactly what Doubleday is saying: 'don't try and make chips
with apples or apple crumble with potatoes'.
Cheers
Anthony
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The only fitting response to this seems to me to picture the Charlie
Brown cartoons - the image of Charlie with a sort of horizontal but
wiggly line for his mouth - know the one I mean?
Richard.
On 15/12/2010 12:09, Francis Wood wrote:
On 15 Dec 2010, at 12:05, Gibbons, John wrote:
But
I've had a mini-avalanche of sales orders for NPS publications in the last
couple
of days.
Last post for Christmas in the UK is Saturday, and I'll do my best to fulfil
any
last-minute requests, but
I fully expect to have no electricity (and therefore internet / web) for an
unspecified
John Dally recently wrote:
I have a friend with a very nice seven key lignam vitae chanter that
doesn't get played very much. I'll have to offer to help him keep in
in working order. ;-) Many thanks!
Hello John
The chances are it will be a goodun, but just as (for me) Del
Can you already play all the tunes you want to play with the chanter
you have now? Are there no tunes that you've set aside for when you
thought you had improved to the point where you could actually play
them? Been through all the tunes in all the books you have?
Don't misunderstand me--I
On 15 Dec 2010, John Dally wrote:
But try playing 'Bigg Market Lasses' without a Bb key.
The composer does! (Or did)
A careful slide/roll with the A finger...
But if seventeen keys
are a guilty pleasure, what is the right number?
My personal answer is 14 (no Bbs, no low D#), for one
Morning - for those who hanker after multi-key extended chanters (or
are wondering at the minutiae of what is being discussed) here's a
little exercise that will demonstrate one of the key differences.
First; take a pencil and hold it as you would a chanter - almost no
effort is required
The 2 extravagances on my big chanter are the high bflat - used a grace up to a
high b in Maggie Lauder-
And a low A - useful in a few Clough tunes, including the 'big' Lea Rigs, and
in the Bonny Lass of Bon Accord.
Neither of which I can play adequately yet... It's also useful if I am
On 15 Dec 2010, at 12:05, Gibbons, John wrote:
But Rob illustrates a simple feather duster - the 17 keyed ones are musically
far more versatile...
Is that a Peacock feather duster?
Francis
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The wrong tune has been printed on p. 44 of the just-published NPS journal. The
observant will notice that the first tune on the page is the same as the one on
the
bottom of p.43.
The Bricklayer's Rant (which should be on p. 44) may be found at:
I had various replies to this off list, so hope you don't mind a
massed on-list reply.
Thanks for them too, and apologies for a slight delay, we were busy
becoming grandparents for the first time were bit pre-occupied and
very pleased!!
I realise various people had various reservations
Great question, John.
I'm sure there are people who get the extra keys because the look cool, but I'd
hope that you'd not get the bigger chanter until you needed it. By that I
mean that you need it to play the music you want to play.
I started out with at 7-key set, and I'm glad I did. I
Hello John
Like everything else it is a compromise and also depends on what you
want to play.
Having said that a point will be reached when increased physical effort
makes it harder to play sensitively. The first 17 key chanter I ever
tried was a Clough - Picknell one which had
Hello John
There might be a bit of confusion here. If you look at your high B key
you'll see that it is just about at the very top of the chanter. Colin
Ross managed to squeezee in a top C in place of a high Bb key but to
get up to highC# would be impossible on the pipes as the
When a high C# comes in a tune I play middle C# and it's not too
bad.
Anthony
Yes - City of Savannah is the one that first springs to mind, and the
others I can think of are also not pipe tunes ...
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Those that have met me will know that I am a very mediocre player
indeed and will probably remain one. But I've thought quite a lot about
this.
My set has 11 keys. I use the Fâ®s quite a lot. Although the top one is
difficult to play cleanly, I like the dark sound when you slip it into
a
Allow me to offer a totally different perspective on how to answer this
question:
Can you already play all the tunes you want to play with the chanter you have
now? Are there no tunes that you've set aside for when you thought you had
improved to the point where you could actually play them?
Thanks for the link for the expat viewing software. Too bad they
didn't include a piper among the musicians. The thought of a NSP
flash-mob appearing in Gray's Square came to mind. It would be
interesting to interview a crowd in downtown Newcastle about whether
or not they know about NSP. How
Managed to watch a repeat (half past one in the morning!) of the general
dance program (I did record it but just don't trust the recorder to do what
I have told it).
Hopefully the clogging program will turn up again shortly. They do tend to
cycle them on BBC as the preceding program I have seen
I have a class of 8 and 9 yr old NSpipers at the school I teach. I teach
them in a lunch-time each week.
Is there anyone else out there that is teaching a regular group of a similar
age? I would love to swap ideas.
Cheers
Helen
To get on or off this list see list information at
Morning - I have heard of a thing called Expat Shield:
http://www.expatshield.com/
I've not used it myself - investigate as much you feel necessary.
cheers
Rob
http://www.milecastle27.co.uk/rob/
On 12/12/2010 02:41, Richard Shuttleworth wrote:
Hi Anthony,
When I tried to log on I got a
Thanks Rob, that looks just the job!
Anthony
--- On Sun, 12/12/10, Rob Say rob@milecastle27.co.uk wrote:
From: Rob Say rob@milecastle27.co.uk
Subject: [NSP] Re: TV
To: nsp@cs.dartmouth.edu
Date: Sunday, 12 December, 2010, 9:20
Morning - I have heard of a
Tremendous BBC program. And the Expat Shield worked fine...
But now, how do you get the annoying BBC iPlayer off just about every new
page you open?
Michael Simone
261 Covenant Ln
Harleysville, PA 19438
mtsim...@comcast.net
-Original Message-
From: lute-...@cs.dartmouth.edu
Never mind. You have to uninstall Expat Shield or you be getting ads and
being redirected to another home page.
Michael Simone
261 Covenant Ln
Harleysville, PA 19438
c 201.404.3303
f 215.513.1657
mtsim...@comcast.net
-Original Message-
From: lute-...@cs.dartmouth.edu
Here's a link to a snippet of tonight's programme on clogging.
[1]http://www.bbc.co.uk/news/magazine-11930757
Cheers
Anthony
--
References
1. http://www.bbc.co.uk/news/magazine-11930757
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And a truly smashing hour it was! Cheered up our evening no end, it did.
Stuff like this really is what we need now, it was truly inspiring.
The 60's Folk prog which followed was a right trip down nostalgia lane :)
What's happening to TV? - all this, and last night the super programme
by the
On 11/12/10 Richard York wrote:
And a truly smashing hour it was! Cheered up our evening no end, it
did.
Stuff like this really is what we need now, it was truly inspiring.
Couldn't agree more, Richard.
He's the link for the programme on iPlayer if anyone missed it but is
Hi Anthony,
When I tried to log on I got a curt message saying that the show wasn't
available in my area. Has anyone any ideas on how we benighted folk in
North America can watch this program?
Richard
Anthony wrote:
He's the link for the programme on iPlayer if anyone missed it but is
A couple of items that might be of interest to those of you who can get BBC4. I
know that it's not always available outside the UK.
Friday 10th 9-10pm Still Folk Dancing after all these years.
Sat 11th 7-8pm Come clog dancing. Treasures of English Folk Dance. 8-9pm Folk
at the BBC
Could be
Here's a YouTube video of English clogging to the Redesdale Hornpipe.
http://www.youtube.com/watch?v=8qtN669yKckfeature=related
I want to show this to everyone who turns hornpipes into reels. ;-)
On Thu, Dec 9, 2010 at 6:21 AM, Tim Rolls tim.ro...@btconnect.com wrote:
A couple of items that
Hi Dave,
in haste - we have a mad w/e coming up rehearsing like crazy - thanks
greatly for this. I had a quick look it deserves a lot longer
reading, which I'm going to enjoy later on.
Best wishes,
Richard.
On 02/12/2010 21:52, Dave S wrote:
Hi Richard,
Hi Richard,
[1]http://books.google.lu/books?id=VoQXAQAAIAAJprintsec=frontcoverdq=
%22essays+in+musicology%22source=blots=ITEFvN0Hiisig=iIvdnoOEE_CRl_u
bQ_wRLOiSuyQhl=enei=cRD4TOSQMY2dOrX-kbkIsa=Xoi=book_resultct=resul
tresnum=1ved=0CBEQ6AEwAA#v=onepageqf=false
The link is on
Of course a drone instrument has its own bass.
But the implicit ground either fits or doesn't fit with the drones.
Hence the preference, from Dixon onwards, for grounds based on only 2 chords.
More complex grounds don't work so well.
But did Dixon play along with a cello or bassoon?
Peacock
Also is it not the case that when Highland pipers (including these
students) pick up a set of Border pipes (as quite a few are doing nowadays
though usually it's a set of 'Scottish Smallpipes' at first) the instrument
is treated only as an ersatz Highland bagpipe? Yes now probably OT so maybe
This ad came up on myspace -
BEYONCE 'I AM' LIVE ALBUM EXCLUSIVE
No one does it better than Queen B, hear her mighty pipes recorded live
on her epic world tour.
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Hello.
Sorry, I'm wandering off the smallpipes topics again, but lots of
people here have fingers in various musical pies and valuable experience.
- and I do plan to be introducing smallpipes into our ceilidh band
soon, so it's not entirely off topic!
Please has anyone experience of the
I was listening recently to a trio playing 17th/18th Cent. divisions on
La Folia on the radio, and was struck afresh by how similar are some of
the things appearing in the nsp variations.
(And yet different.)[Special aside for Round the Horn listeners :) ]
Divisions on viols or
Richard, not only is it on topic but it's a very live topic (for me at
least).
I was lecturing yesterday at Glasgow for the 3rd year Piping Degree
students (as Highland pipers they are exposed to two hours of Border
pipe music in three years...) and the Dixon variations - which
It's hard to get across to anyone in Scotland that music didn't start
with the Gows, but it didn't, and the genius of the Scottish fiddle,
John MacLachlan, flourished c. 1700, and his variation sets on Scots
tunes set the gold standard. They mainly survive in lute transcriptions
and
On 23 Nov 2010, Richard Evans wrote:
Excellent instructional video.
I don't know who did this, but it's superb!
I believe the perpetrator is either Helen Fish or Paul Rhodes.
Julia
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It says Helen Fish at the end, so I assume it's Paul Rhodes ;-)
-Original Message-
From: lute-...@cs.dartmouth.edu
[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Julia Say
Sent: Wednesday, November 24, 2010 10:05 AM
To: NSP group; Richard Evans
Subject: [NSP] Re: How to play
BBC Radio 7 is broadcasting 'The Secret History of Bagpipes' at 14.30 today
Described as 'Tom Morton investigates Pipes and Politics', this item may be of
interest to NSP players.
Francis
To get on or off this list see list information at
Francis, many thanks for the tip -- I don't often get to see the radio
times !!
Dave Singleton
On 11/23/2010 9:57 AM, Francis Wood wrote:
BBC Radio 7 is broadcasting 'The Secret History of Bagpipes' at 14.30 today
Described as 'Tom Morton investigates Pipes and Politics', this item
Are you sure?
Doesn't feature in the schedule I'm looking at
http://www.bbc.co.uk/radio7/programmes/schedules
Bill
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Francis Wood
Sent: 23 November 2010 08:57
To: NSP group
Subject: [NSP]
Yes, perfectly sure.
Look at the entry beside 14.30 on the schedule you quote.
Additionally, it is detailed here:
http://www.bbc.co.uk/programmes/b007k2d3
Francis
On 23 Nov 2010, at 12:37, Bill wrote:
Are you sure?
Doesn't feature in the schedule I'm looking at
On 23 Nov 2010, at 12:47, Bill wrote:
Tom Morton's on radio Scotland this pm but I don't see any reference to this
programme
Bill . . . are you looking at the correct schedule? This is on BBC Radio 7, not
Radio Scotland
This is what the BBC site states:
Next on:
Today, 14:30 on BBC
Bill . . . are you looking at the correct schedule? This is on BBC Radio 7,
not Radio Scotland
Francis, My first message quotes the url for BBC Radio7 schedules for today.
The bagpipes prog you quote isn't on the online schedule.
So then I looked online again at Radio Scotland's Tom Morton
bill, i programmed it on satellite at 15:30 european time -bbc r7
ciao
dave
On 11/23/2010 2:18 PM, Bill wrote:
Bill . . . are you looking at the correct schedule? This is on BBC Radio 7,
not Radio Scotland
Francis, My first message quotes the url for BBC Radio7 schedules for
Thanks and sorry guys,
Mistaking 14.30 for 2.30am indicates the current extent of my affliction
(dysphasia).
I see it was first broadcast in 2004 (in the days when I could comprehend
differences between am and pm and the 24 hour clock!)
Bill
-Original Message-
From:
Thanks, Ian, for this link.
Really useful, especially when it leads to Jakob Nielsen's pages, where
I can feel virtuous about some bits my own site's design and learn that
others need changing quite seriously!
Richard.
When I have had problems like this I often go back and re-read and
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