John Gibbons wrote:
>the reprint edition has a typo in the
> penultimate strain, the 1st bar beginning
>
> g/f/|egB egB...
>
> instead of
>
> g/f/|egd egB ...
>
> as in Peacock itself - see FARNE or the facsimile.
>
> The typo gives an e minor flavour which doesn't belong, I fe
BTW, does anyone know whether the omission of the dot after the first quaver
in, for example, the last bar of the first strain was a convention of the time
(given that there was not much music around in 11/16 time) or just an error?
c
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- we should perhaps
>think of a (dissonant) e resolving down on to the d of a G
>major tonic chord,
Very well put!
c
John Gibbons wrote:
>
>>the reprint edition has a typo in the
>> penultimate strain, the 1st bar beginning
>>
>> g/f/|egB egB...
>>
>> instead of
>>
>> g/f/|egd
notorious for his ' dripping tap" gacing style, which
>we eventually learned was called choyting.
I'd always understood the "dripping tap" style to be choyte-free piping with
the notes dutifully spat out one after another.
csírz
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>Curiously enough, the last sentence of the original is correct, the
>organisation is called the Society of Antiquaries of Newcastle
>upon Tyne.
Oops, I hadn't been aware of that. Thx.
c
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mis-tuned drones with the Saymulator.
You can hear it on some recordings of real pipers too! Not to mention the
chanter out of tune with the drones.
If the cap fits ...
c
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>todays' world.
How many todays is that? Or is this what passes for punctuation in today's
world? ;-)
The text ain't that bad. An obvious typo, wrong tense, superfluous spaces and a
bit of wordiness.
I'd suggest the following revision.
>*
>The Bagpipe Museum has been housed in Morpeth's m
Your Meaning May Vary then?
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Julia Say
>Sent: Tuesday, April 06, 2010 10:23 AM
>To: NSP group; Richard York
>Subject: [NSP] Re: Jack Dodd, OT: acronyms
>
>On 6 Apr 2010, Richard York w
as a musical instrument!
That's debat(e)able! ;-)
c
I have a smallish fiddle with a neck very similar to what is seen on "baroque"
instruments. I have been told by a luthier friend, however, that it probably
doesn't even predate 1900.
I don't think makers and players have ever been all that conscientious about
fitting in with the history books ;-
>> This is interesting to me as I have an unreconstructed
>baroque violin from about 1820
>
>Sorry Tim, but it ain't baroque . .
True, this is very late to be referred to as baroque, but if it's
unreconstructed it's probably closer to the baroque setup than a real "modern"
violin. Maybe it w
Never tried Infeld. I'm not too keen on the medium dominants but the heavies
work well for this purpose.
Heavy Evah Pirazzi or Obbligato might do a good job too. I use the mediums on
my normal fiddles.
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmout
>Would someone care to admit to a close enough acquaintance
>with a female baroque
>violinist to safely enquire about her knicker elastic?
I'm working on it ;-)
c
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Stringing of "baroque" violins is another can of worms since tension varied
widely according to local conventions and personal preferences. There is also
the question of equal tension versus progressive tension and whether wound
strings should be used for the G and/or D. It is, or at least used
Thanks for the explanation. I think a similar arrangement has been used
on other instruments in the past.
It is strange that I can't find any reference to such a beast on the
Internet, but I did find this:
[1]http://kaczmarek.org/pages/biopage_folder/bio_1.html
Wiki is no
>fidola (which I
>think - is a fiddle tuned like a viola, i.e. a
>fifth lower).
Given that the size of the viola has not been standardised (unlike that of the
violin - body length tends to be around 360 mm, with extremes at 354 and 362) ,
why not just call it a small viola?
c
To get on or
at least you know your brass from your oboe!
-Original Message-
From: lute-...@cs.dartmouth.edu on behalf of Anita Evans
Sent: Fri 2/5/2010 7:57 PM
To: Dartmouth nsp list N.P.S. site
Subject: [NSP] Re: Gaelic Pronunciation - pedantry warning
Matt Seattle wrote:
>
sic transit gloria mundi
an alternative is: we had a rough weekend crossing but the next day was
fine.
c
--
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I have it on good authority from several Irish persons that the name of
the Irish language in English is "Irish".
In Irish it's "gaeilge". "Gaelic" is normally reserved for the language
of Scotland "Gaeilge na hAlban" (or Gh`aidhlig in Scossgallic)
Csirz
>-Original Message-
[1]http://www.youtube.com/watch?v=jedd2FiZTqM
--
References
1. http://www.youtube.com/watch?v=jedd2FiZTqM
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Reminds me of a limerick a friend of mine composed in response to an expensive
lot of hot air from a rip-off outfit called Time Manager International that I
and my colleagues were obliged to attend many years back.
A time manager from L.A. (or something that rhymes with day anyway)
Was planning
>If you are playing in a church I'd suggest Northumbrian small
>pipes (alternatively 'smallpipes' or 'small-pipes' . . . there
I'd agree with this suggestion (and the spelling smallpipes, coz they're not
just any old pipes that happen to be small).
I also think it's more conventional to writ
starts at 2.58
-Original Message-
From: lute-...@cs.dartmouth.edu on behalf of Steve Bliven
Sent: Fri 1/1/2010 7:40 PM
To: Marianne Hall; oatenp...@googlemail.com; List - NSP
Subject: [NSP] Re: NSP item on BBC Radio 4
Nope, still there. Have to wait through some other
I actually agree with all this, but I for one have received the reply
"no, we're trying to get away from that" when I asked a well-know Irish
musician if he could read music.
I have also heard a well-known singer dismissing classical players with
the phrase "the buggers couldn't do
John:
>I haven't damned 'classical musicians' at all.
I wasn't accusing you personally of damning classical musicians. Sorry if it
came over that way.
Some people, including some who should no better, do damn classical musicians,
however, and even take a pride in their own inability to read th
Stephen:
>
>The lack of 'improvisation' runs inline with the omnipotence of the
>composer and bigger orchestras in Romantic period. Hard to improvise
>in this context!
True.
>
>But is this really decline, or the 'rot set(ting) in'???
>
Well it was the loss of a skill. Whether it was the "ro
Hear hear!
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Victor Eskenazi
>Sent: Tuesday, December 01, 2009 11:16 PM
>To: Anthony Robb
>Cc: cwh...@santa-fe.freeserve.co.uk; nsp@cs.dartmouth.edu;
>gibbonssoi...@aol.com
>Subject: [NSP
Well said, Sheila!
Those who damn "classical musicians" are usually in fact damning their own
misconceptions of them.
There is a big difference between the people who have received some sort of
"classical" training but wouldn't be able to play anything without dots in
front of them, and then do
Well Ruggiero Ricci says that when he was 15 he played the Ernst concerto for
Heifetz, who was duly impressed but commented "but you need to be able to
sight-read it". I suppose one has to practise like hell to get the technique in
the first place and then just keep on playing whatever comes alo
Speaking of keys, maybe you can retrofit a few more.
Csírz
Maat et gudd mais net ze dacks
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>
> I'd still appreciate it if Chris could send the scan,
>though, as I seem
> to recall that version had harmonies.
>
I no longer own the Christophory book (gave it away) but the version my good
lady has located so far was in a school book sans harmonies. But she thinks it
might have harmo
Hi Neil!
Just phoned my good Luxembourgish lady to check, and we indeed have it.
I'll send you a scan 2moro
Csírz
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of neil smith
>Sent: Wednesday, November 25, 2009 3:29 PM
>To: Dartmout
Oops, deed mer leed nach eng kéier, it should have been "shay grace" not
"grice".
Grease is not the word.
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of
>christopher.bi...@ec.europa.eu
>Sent: Wednesday, November 04, 2009 12:57 PM
Sorry, this should be "shay grice" and indeed Dave should have used an acute
accent on the "e" in both words - schéi gréiss.
It's Luxembourgish for - literally - "beautiful greetings", corresponding to
the German "schöne Grüsse". Yes, the dots and strokes do matter for the correct
pronunciatio
Akcherly it's "gréiss", as in "Gréiss Darling".
c
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Modern
>(new research) concert instrumentalists, starting as children
>now learn
>their instrument by ear for the first few years, when they have learnt
>the instrument and some of its' possibilities, they are introduced to
>the dots and in so doing create a happy medium and a happy player.
Is that THE Neil Smith?
Wa schon, schéi gréiss aus Lëtzebuerg!
csirz
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Neil Smith
>Sent: Wednesday, October 28, 2009 1:14 PM
>To: nsp@cs.dartmouth.edu
>Subject: [NSP] Old Guy
>
>
> Lovel
Karen reckons that to play accordian well you listen to excellent
>playing on flute, fiddle, almost anything other than box, and try to
>incorporate their characteristic sounds into the accordian,
>rather than
>just trying to play good accordian.
I reckon proper pipers could learn a lot about
>
>Whilst we're there, I'm certain that any French speakers will advise
>against a careless translation of 'pipe-making'.
>
Same thing. I hadn't been aware of the French expression, but it's in Petit
Robert.
c
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Let's just say it's not an Italian film director ;-)
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of
>christopher.bi...@ec.europa.eu
>Sent: Tuesday, October 20, 2009 12:38 PM
>To: i...@ihug.co.nz; nsp@cs.dartmouth.edu
>Subject: [NSP]
Anyone know what pijpen means in Dutch? (I do).
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Ian & Carol
>Bartlett (home account)
>Sent: Tuesday, October 20, 2009 12:33 PM
>To: nsp@cs.dartmouth.edu
>Subject: [NSP] Re: The Power
Variation in
>interpretation is what
>music is all about so play the tune the way you want to and don't be
>brought down by the fundamentalists.
Hear hear!!!
CB
Indeed!
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Dave Shaw
>Sent: Friday, August 07, 2009 2:40 PM
>To: Dartmouth NPS; Anthony Robb
>Subject: [NSP] Re: GUTS?
>
>"Among traditional musicians nothing is so noticeable as
>the absen
Ah yes, taking the plunge in the first place.
Though, Michael Dillon said he has sucked them and seen.
Maybe it's a personal temperament/aesthetic thing. Like fact that we're playing
pipes and fiddles rather than synthesisers or riding choppers rather than
Goldwings.
>
>Errr.sorry, could yo
> Yes. Just read it down one note without writing it out.
>You'll soon get
> used to it and acquire a valuable skill.
>
Best suggestion yet!
c
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>or at least what I
>thought was the
>easy option and eventually came round full circle and did them (and
>still do them) in long hand.
Thank you, Michael, for this info. I've always got the impression that all this
Midi, Abc, Sibelius stuff is probably more laborious than long hand.
You've s
I reckon you'd be better of writing it out by hand. This is what Mozart or Tom
Clough would have done.
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of The Red Goblin
>Sent: Friday, July 31, 2009 8:43 PM
>To: nsp@cs.dartmouth.edu
>don't let anyone talk you out of getting low C#.
But if you do get one, I would recommend getting it on the opposite side of the
chanter from the B and the D - it's hard to do a run over three consecutive
keys!
I know this is contrary to the normal practice of some highly respected makers
(wh
I was dissuaded by my maker from getting a top Bflat. Good sense, I never would
have used it.
I got a top C instead, which I've never used. No criticism of the maker implied
here.
So we're immediately down to 16.
Strangely enough, I never use the low Csharp
As for low Dsharp, I might use it m
>when I've had more practice I'll be able to
>read whole bars at a time.
The ability to read (and hear in your mind's ear and feel in your fingers) in
increasingly large chunks just comes with practice - providing you go about it
in the right way to begin with.
The extreme case is that of the
>The "flatness" and mechanical playing problems which many
>people perceive
>with "playing from dots" is only inevitable for people who
>struggle with the
>reading, and those who think that the dots represent *exactly*
>how music
>should be played.
I would endorse this (and the rest).
c
O
regret, and I think this is due to too much music reading.
>
Sorry, but I think it's just advancing age. It gets us all ;-(
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Interestingly (to me at least) classical musicians and critics tend to use
"preserving the dance character" (of, say, Bach's partitas for solo violin) to
mean "not playing too slowly". My experience of playing for dancing (morris,
scottish, rocknroll) tells me it should mean "not playing too fas
>
>I got quite a surprise last time I recorded myself playing -
>it was far
>too fast for my liking
Related anecdote:
Once while setting up for a gig, music playing in the background included a
very fast and flashy version of Orange Blossom Special (not on the pipes!).
When I asked who was pla
I've heard the story - probably apocryphal - that Billy wrote it when
sheltering from the rain in a shed/barn with a leaky roof and that as the rain
got heavier the drips got faster. There again, Billy always tended to get
faster
FWIW
C
>-Original Message-
>From: lute-...@cs.dartmou
Here's the text with a few OCR error:
About the beginning of the seventeenth century madrigals which were almost the
only compositions, in parts, for the Chamber, then cultivated, seem to have
been suddenly supplanted in the favour of byers of Music by a passion for
FANTASIAS of three, four, fi
It certainly did this time!
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of
>christopher.bi...@ec.europa.eu
>Sent: Friday, May 29, 2009 11:06 AM
>To: phi...@gruar.clara.net
>Cc: nsp@cs.dartmouth.edu
>Subject: [NSP] Re: No kind of k
Maybe Dartmouth filtered the attachment.
c
>-Original Message-
>From: Philip Gruar [mailto:phi...@gruar.clara.net]
>Sent: Friday, May 29, 2009 10:59 AM
>To: BIRCH Christopher (DGT)
>Subject: Re: [NSP] No kind of knowledge of the expressive power
>
>Chris, Please don't tempt us with
Hello again Francis,
Here's scan of the Burney I mentioned.
I can see his arguments, mutatitis mutandis, as those of the hardline NSP
traditionalists turned on their head.
I wonder if you perceive the parallels too?
I can bore you at great length on them should you wish ;-)
Csírz
Btw, thanks a
How imaginative! And how many instances of the same joke? I lost count.
Is Boy George also guilty of choyting, or was his crime of a minor nature?
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Rick Damon
>Sent: Thursday, May 28,
Is this as dangerous as it looks?
Tho in the present context it's probably safer than admitting to liking KT ;-)
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Dave Shaw
>Sent: Wednesday, May 27, 2009 7:42 PM
>To: nsp@cs.dartmouth
Tee hee!!!
>-Original Message-
>From: Francis Wood [mailto:muse...@tiscali.co.uk]
>Sent: Thursday, May 28, 2009 10:57 AM
>To: BIRCH Christopher (DGT)
>Cc: Dartmouth NPS
>Subject: Re: [NSP] Re: smallpipes
>
>
>On 28 May 2009, at 09:26,
> > wrote:
>
>> I also think Bach, Berg and the Bea
>popularised by the media. As is KT.
Maybe, but not in my case. I haven't lived in Britain for decade and
she has not to my knowledge ever once been mentioned in the local media
where I live (and I can't be bothered reading newspapers). I just got
to know her through her CDs (after
closed-end chanters and keys like that upstart Peacock ;-)
>It was keys that came in in his time.
Praps I should have put a comma after "closed-end chanters" to preclude
any misreading.
I think my point about the tradition is clearer than my punctuation
tho
czirz
--
Dear all,
Very interesting, and thanks for the link.
A choyte at 00.02 and again at 00.09, a slurred, or near as dammit, low f#
grace note at 00.07 (and similar things near the beginning of the Keel Row -
e.g. the very first two notes and the F# to G at 01:37).
JA's accompaniment to BI is down
Praps some would prefer oil of vitriol.
Just kidding.
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood
>Sent: Tuesday, May 26, 2009 7:50 AM
>To: pipers list
>Subject: [NSP] What oil to use?
>
>Can anybody suggest a sui
>James Galway playing tin whistle used to be alarming,
>though the Chieftains taught him a better, more fluid, style
>subsequently.
Only heard him doing so once and this was back in the early Cretaceous or
thereabouts.
Your description of the "better" style as "more fluid" suggests that he fel
>"The learner should note that the staccato style of playing
>should not be
>overdone.
>Excessive cutting of the notes though at times lending a meretricious
>brilliance to a performance,
>is not in accordance with good small-pipe style"
>
>It is interesting that this was le
>That passage describing and naming ornaments was clearly
>lifted from 'classical' tutors for other instruments.
>It does not discuss how these ornaments might be fingered, for example.
>Have you - has anyone - had Fenwick - ever heard a turned
>shake on the NSP?
>The description of staccato is r
< Maybe your violin teacher was teaching you classical style along
with the good basic violin technique, and the classical style was
impeding your traditional style.
I don't think so, but there's no way of knowing. I've never claimed to
be a "good" player of anything (I would de
>
> [1]http://www.youtube.com/watch?v=O7paLft9_ms
>
> Enjoy!
Luverly. Let it bleed!!!
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>A bad player puts people off the instrument and also teaches
>you the "wrong" was to play.
I'd agree with the second part of this statement but not with the first as I
can remember that many years ago when my technique started to improve a certain
professional folk singer, who was my brother-
Thank you, Barry.
I approached this message with trepidation fearing it might be a disclosure of
the "awful truth" about one of people I most admire on this planet.
Instead it was a long-overdue tribute to Kathryn's genius written by a person
qualifed to judge.
At last.
Thank you again.
chirs
Ah yes, I remember it well - even in the same city, whack!
C
I was the one who sang interminable unaccompanied ballads. My sister was the
other one.
I also almost got murdered by Barry Halpin for singing "with God on our side"
at his club.
Ah, madcap youth!
c
>-Original Message-
>From:
Hear hear, welcome back and thanks for all the dots!
Chirs (unashamed KT-worshipper - but aye, there's other equally fine ways of
playing).
>-Original Message-
>From: Anthony Robb [mailto:anth...@robbpipes.com]
>Sent: Thursday, April 16, 2009 12:26 PM
>To: Dartmouth NPS
>Subject: [N
Hear hear!
c
>-Original Message-
>From: pipe...@tiscali.co.uk [mailto:pipe...@tiscali.co.uk]
>Sent: Wednesday, April 15, 2009 10:02 PM
>To: Dartmouth NPS
>Subject: [NSP] Lisa Ridley etc.etc.
>
>Dear All,
>
>As a Tiscali customer I have had no access to the forum for over a
>week so imag
Greets Rick et al.
>We're talking about
>something more simple than that, just learning to control the
>instrument.
Of course, and there's no better way than strict slow tempo staccatissimo. But
what you do in your practice is of necessity, I think, exaggerated.
playing than playing sloppi
Good points, both Stephen and Paul.
Interesting point about Tchaikovski: the stringing of the violin in his day
would have been much closer to what is nowadays regarded as "baroque" (all gut
except a simply wound g). Modern synthetic (e.g. obligato), steel (e.g. prim)
or even sophisticatedly wo
>I think you need to listen to more (good) opera singers, mate!
Maybe. Who would you suggest?
c
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Not only Manitas da Plata!!!
c
>-Original Message-
>From: Helen Capes [mailto:helen.ca...@paradise.net.nz]
>Sent: Tuesday, April 14, 2009 12:22 PM
>To: 'Dartmouth NPS'
>Subject: [NSP] Re: Lisa Ridley
>
>I went to that Manitas de Plata concert too!
>I think its a great example of a good t
>Hooray. At last, something I can agree with publicly. I'm trying to
>call it detached fingering (or tenuto for the technically minded),
>rather than staccato, but that's a minor detail.
>
Right! And remember "staccato" does not mean "short". It means
"separated". "Detached/detaché" on
>If a person ignores this
>completely from
> the outset then the product may not be wrong but it is certainly
> misguided. Let pipers take the music in any direction they
>wish but to
> have any connection with Northumbrian piping as such they must spend
> time studying the starting po
> the clip sounded poor and yes, the article itself was
> unfortunate but Jessica isn't responsible.
So...
I finally got round to listening to it, and it was far far better than I had
been led to expect. How were today's (and yesteryear's) big names playing when
they were 14? Are there any r
I think this very eloquently says it all - about piping, about music in
general, and about life as a whole.
I hope my wife is doing rumbled thumps again for lunch. Gudden appetit.
chirs
>-Original Message-
>From: Anthony Robb [mailto:anth...@robbpipes.com]
>Sent: Tuesday, April 14, 2009
David was just being succinct. Mercifully, not everyone witters on at the
length of, inter alia, yours truly ;-)
The pipes too have undergone many developments from open-ended nine notes to
closed-ended with up to two+ chromatic octaves and seventeen keys. Closed
fingering was but one of them.
> Do you think math teachers are unfair for calling answers
>"wrong"?
>
>
I'm sorry, but this is frankly silly. Proving things write or rongue is what
maths is about.
Something may be "wrong" when playing a given style music (like playing jazz as
if it was classical and vice versa) but descr
< She mentioned the Kathryn Tickell connection at
> our first lesson just before Christmas 2008 and when I quizzed her
> further she admited she had had 1 lesson from her.
Good to know that KT is not "responsible" either. It would not be the first
time in this forum that the lady has been di
< I don't think it fair to call any style of playing any
> instrument 'incorrect' simply because it does not adhere rigidly to
> tradition.
Here we go again!
FWIW:
I a) value the tradition (and the baroque) and b) agree wholeheartedly with the
above statement.
I play various instruments in
>> 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.
>
>
>I agree.
So do I, particularly as it is probably not the kid's fault that she has a
pushy mother,
>Wonderful!
>
>Which leads me to offer this one
>http://www.youtube.com/watch?v=Q28ikQaPFK4
>OK, it's fiddle-orientated rather than either sheep or smallpipes, but
>don't you think there's scope here for a new category in
>piping contests?
>Or perhaps simply a nice variant on the advice to practi
>I was very strict with myself about
>using the tips
> of my fingers for NSP, having read the phrase "little pistons" to
> describe proper NSP technique.
Similarly you often see "correct" violin technique described as playing on the
tips, and the phrase "little hammers" is used. Ruggiero Ric
and it looks like Christopher Birch who
>is on this list may be closest to you in Luxemburg.
Thanks for the plug, but I'm a dabbler more than a teacher ;-) I could impart
the basics though.
There's also David Singleton - also in Luxembourg - who helped me a great deal
with his fettling skill
I think unless one has specific health problems finger agility and flexibility
can go on improving for a long time providing one practices every day. I'm 59
and mainly a (classical) violin/violist. Over the past few months I've been
working on some knuckle-breaking exercises recommended by Ruggi
>"Viola for sale - recently tuned."
How did they know? http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>A tune is *learnt* aurally.
If it's *taught* by, for example, lilting, the teacher would be doing it orally.
I can't imagine what else you had in mind ... ;-)
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> With regard to the Tom Anderson quote, "Never try to learn
>a tune you
> don't already know", as posted by Christopher Birch,
Just for the record, I was referring to a previous posting by Colin Ross, in
which he wrote:
"It has already attracted criticism from one of our pipers who is
'd
>He quotes the late Tom Anderson of
>Shetland who 'rightly' said 'Never try to learn a tune you don't
>already know'.
I think what he probably meant is "don't try to play a tune on the fiddle (or
any other instrument) unless you've already got a good idea in your head of how
it goes". In other
I gather the unexplanation of the Goebel's paralysis was carpal tunnel
syndrome.
c
>-Original Message-
>From: Paul Gretton [mailto:i...@gretton-willems.com]
>Sent: Thursday, January 15, 2009 12:01 PM
>To: nsp@cs.dartmouth.edu
>Subject: [NSP] Re: Prints of pipers
>
>
>
-Original
It appears to have disoriented the author of this article too:
http://www.bach-cantatas.com/Bio/Goebel-Reinhard.htm
"After unexplained paralysis struck his right hand, Goebel abandoned his career
as a solo violinist, although he continued to play with his group, bowing the
violin with his left
>Even more
> disorientating was playing with a German violinist who had had an
> accident that ruined his right hand; he re-taught himself to play
> "left-handed".
A minor quibble, but do you mean "ruined his *left* hand"? I can imagine bowing
with an injured right hand as long as the wris
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