Good point John Dally made - perhaps this explains why there's such a
split in repertoires?
If you like the effect of drone harmony you will like Peacock, Bewick,
Clough tunes -
but if the drones are just something you tune to the tonic and
dominant, then forget about, you prefe
I've observed that pipers (NSP, BP, GHP, whatever) who come from a
classical background have a "blind spot" in their hearing when it comes
to drone music. I don't know if my observation is correct, and
recognize its potential for appearing inflammatory or prejudicial. I
certainly d
I risk being shot down for ignorance, but is it not the case that the
GHB's were traditionally a shade away from Bb concert pitch, and have
now come to roost on Bb as such for similar reasons?
( I just wish they wouldn't play them alongside brass bands, which tend
to have a different temperament
Francis (Wood) wrote:
>>>The course of instrumental pitch is a complex and controversial one.
Indeed! For anyone seriously interested in this topic, there is now a
fascinating book by Bruce Haynes:
A History of Performing Pitch: The Story of "A"
http://findarticles.com/p/articles/mi_hb6657/is_
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 exampl
Dear Peter,
When I came into piping very few pipers could play together because of wide
variations of pitch so when I took up pipemaking I determined to establish a
standard pitch with my pipes. As the pitch was between F and F# I chose F as
the standard as at least it was a key that was reaso
