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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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
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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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
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
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
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
To get on or off this
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 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
To get on or off this
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
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
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
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
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
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 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
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
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/
__
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,
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
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
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
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
On 26 May 2009, at 12:17, Paul Gretton wrote:
Francis Wood, he say: I'd like to teach the world to sing,
In perfect harmony.
I'd rather it spent some time learning proper closed fingering.
And hear them echo through the hills . . .
As long as it's not 'Rothbury Hills', which is far from
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
On 28 May 2009, at 09:26, christopher.bi...@ec.europa.eu christopher.bi...@ec.europa.eu
wrote:
I also think Bach, Berg and the Beatles
are pretty good.
I think they were all pretty awful pipers.
Don't know about J. S. Bach. This, though, from Dr. Johnson, in
Boswell's 'Life of . . .
Another interesting radio programme about our pipes. This one from
almost 22 years ago. There's some material also heard in the other
programme mentioned in my earlier mail. Again, it's good to be
reminded about the perspective of that time.
On 29 May 2009, at 09:09, Geoff Jones wrote:
The Secret of Jigs
A search here found it immediately:
http://www.amazon.co.uk
Francis
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Interesting stuff, Christopher! I'll look at this more carefully.
Burney's significant date of publication (1789) reminds me of another
quotation, this time from Oscar Wilde's character, Lady Bracknall:
To be born, or at any rate bred, in a hand-bag, whether it had
handles or not, seems
Thanks, Julia and Tim. This is good news.
Some further clarification would be useful. As I read the message, the
list is to discuss NPS matters, i.e. issues pertaining specifically to
the Society (NPS) rather than Northumbrian piping items (NSP). I ask
only because the acronym is so often
I too have a copy of the Peacocks Tunes Facsimile, 'falling apart but
treasured as Matt has said, after nearly 30 years of use. Second-hand
copies of this are hard to find and although the later NPS edition in
standard format is extremely useful, the facsimile has its own
particular
On 10 Jun 2009, at 18:04, Dave S wrote:
I'm sure it's online somewhere Francis
Well it is . . . on The FARNE site:
http://www.asaplive.com/archive/browse_by_collection.asp
Nicer to have the book though.
Wright must have printed more than the three or four surviving. Search
your attics,
Eric Morecombe would be proud of you, Tim!
All the right notes . . .
Francis
On 13 Jun 2009, at 12:00, tim rolls BT wrote:
..don't know if there's any relevance to the way we read music,
currently I find I have to read each dot when I see a new tune, but
this
gives me hope that maybe when
Richard wrote:
In his letter Robert writes, ... I have got some nice new tunes from
Jemmy Maffin my father likes the one called What would a Lassie de we
an auld Man the best of any of them and I have jingled them up since I
came home. (sic)
I have two points on which I seek help.
Can anyone
Thank you, Barry.
I have just signed and can confirm that 'signatures' are still
acceptable. I hope others will find it possible to follow Barry's
suggestion fairly rapidly.
Francis
On 4 Aug 2009, at 18:33, Barry Say wrote:
Thiis is one for UK residents. There is a move afoot to
Perhaps I've lost the plot here, but I'm not alone. At present
Northumbrian pipers have the advantage of two discussion lists, NPS
Discussion and Dartmouth NPS. I think we began with a clearer sense of
the difference but this has since become blurred. You can have too
much of a good thing
Oh, for goodness' sake!
Francis
On 12 Aug 2009, at 12:41, rosspi...@aol.com wrote:
I wonder if this advert for a privately run course is allowed on
this list. This is a course that is not run by the NPS but for the
benefit of the person who is running it who although taking the risk
Those are very reasonable points, Di.
I recall, and can quote, a posting by the complainant in which he
advertises a set, partly of his own making, on this list. It doesn’t
state that the sale is on behalf of anyone else so presumably he
intended to keep the money.
Nothing wrong with
Hello Richard and others,
I mostly agree. There's been a lot of communication on these lists
which has been embarrassing, tedious and even poignant without doing
anything to serve the interests of the instrument, the repertoire and
the enthusiasts who keep the whole thing alive. No doubt
Presumably that clifftop experience already mentioned by others is
what inspired the famous novel 'Fatal Fall' by Eileen Dover.
Francis
On 13 Aug 2009, at 16:25, Julia Say wrote:
On 13 Aug 2009, colin wrote:
My favourite place is a cliff
path called The Warren outside of Polperro in
On 18 Sep 2009, at 14:51, gibbonssoi...@aol.com wrote:
It's a hornpipe, because J.L. Dunk said it was, and he wrote it;
Well, not quite . . .
The mysterious Mr. Dunk presented the tune to the NPS in 1929 with the
title 'Whin Shields on the Wall'. As it stands in the manuscript owned
On 18 Sep 2009, at 16:44, Anthony Robb wrote:
Might be of interest -
[1]http://www.asaplive.com/FARNE/Learn.cfm?ccs=229cs=935
Anthony
Thanks, Anthony. Interesting indeed!
I'd not noticed Matt's 'Core Tunes' discussions on FARNE (great stuff,
Matt!), which are definitely
Excellent to have this latest collection of tunes assembled in the new
NPS Third Collection Folio!
Thanks to Julia, Colin and all others concerned.
Francis
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in advance for your time,
Yours sincerely
Richard Freeston
07950 936625
Anyone who is free to help that day should contact Richard directly
either on that mobile number or at:
flee...@yahoo.co.uk
Richard is offering a fee.
Francis Wood
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Hello all,
Would anyone care to speak up on behalf of synthetic key pads?
Many of the recent examples I've seen are all actual or slowly
developing disasters. I am referring to the material itself and not to
the adhesive used.
So my question is: 'are there good sorts and bad sorts'?
No
because of degradation of the
synthetic pads. No doubt that's because there are different kinds and
the wrong one was originally used. Further thoughts, anyone?
Cheers,
Francis
On 18 Oct 2009, at 08:55, Richard Evans wrote:
Francis Wood wrote:
Hello all,
Would anyone care to speak up
Very many thanks, particularly to Colin and Richard, for kind
informative replies.
Colin, I hope you will not mind my redirecting your reply below to the
Dartmouth list where my enquiry appeared.
Francis
On 18 Oct 2009, at 17:06, rosspi...@aol.com wrote:
Well at last something that can
Hello Ian,
Which key spring is failing? I ask because C# and D# springs are not
easy to fit and sometimes provide inadequate closing. Each spring
needs to continue to provide pressure when the key is at rest and very
occasionally these two springs fail to do so sufficiently. Careful
Hello John,
I think with orchestral instrument pads the main issue is one of
consistency in industrial production. Additionally, leather will
always require more attention in fitting.
The important question with any new material is not only how well it
works but how long it will work. My
a successful and positive
occasion.
Malcolm said:
I hope that this very positive atmosphere will continue to next
year's comps.
We shall continue to hope.
Francis Wood
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I do agree with John and Michael that the different purposes of the
two lists should be observed as far as possible. I also agree
wholeheartedly that nastiness is completely unacceptable under any
circumstances. Are we also saying that in objecting to individual
instances of this we are
about
the language we use may be helpful. Any scrutiny of the terms above
would surely suggest that we need alternatives entirely devoid of
distressing connotations.
I invite your comments.
Francis Wood
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Changing the course of language is a slow and uncertain path. Before
anyone suggests that a working party be set up to make
recommendations, let me say immediately that I do not think this would
be a good idea.
With apologies,
Francis
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On 20 Oct 2009, at 11:37, christopher.bi...@ec.europa.eu wrote:
Anyone know what pijpen means in Dutch? (I do).
Oh go on . . .. In this spirit of frankness and openness, we need to
know.
Whilst we're there, I'm certain that any French speakers will advise
against a careless translation
On 21 Oct 2009, at 10:00, Anthony Robb wrote:
Is it unreasonable to suggest that there'd be no nsp if it wasn't
for
the NPS
Yes.
Francis
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Steve is correct.
Actually there have been items on the NPS-Discussion List . . . stuff
of genuine interest about pipe-making and maintenance . . . which
should rightly belong here. Things keep slopping over onto the wrong
side.
I'm wondering whether we need a completely separate GOB
Lovely posting Ian, containing many of the pathways of good will which
are fundamental in any playing heritage.
We'll look forward to your next visit to the London Pipers. It has
been a long time!
Francis
On 23 Oct 2009, at 17:35, Ian Lawther wrote:
Anthony Robb wrote:
I came into
Lovely, Anthony!
Beautiful pace and nice gently elastic rhythm.
That kind of playing contains a fine balance of movement and gravity,
whether imagined or representing the actual motion of dancers.
The playing of Joe Hutton. is another great example.
I like the added variation to Miss
Country Dance Tunes), 1984; pg. 98
from
http://www.ibiblio.org/fiddlers/BARN_BB.htm
Also, no info, but a second generation recording of George Atkinson
playing it, amongst others
http://sounds.bl.uk/View.aspx?item=025M-C1009X0004XX-2600V0.xml#
Tim
- Original Message - From: Francis
A short word in praise of this mail header.
Francis
On 2 Nov 2009, at 14:45, Paul Gretton wrote:
Dear Anthony,
Thank you for making that clear.
BTW, I would be very interested to hear more about life up country
among the
hill tribes. I hope they treated you with appropriate respect -
Yes, hugely interesting. Thanks Paul!
Of greatest interest perhaps is the lecture-demonstration on this site by Jean
Pierre van Hees, one of the best of the very few expert players. A fairly scary
example of chanter dangling (ivory and silver items) and the waving around of
that set of exposed
On 5 Dec 2009, at 13:02, Philip Gruar wrote:
The sound of musette with harpsichord, also on the same youtube page is
just a wonderful noise! -
http://www.youtube.com/watch?v=J9GBXCe1LZg
Hi Philip and all,
Well, this video is interesting but possibly not for its musical qualities. The
Some archive film from 1931. Beating the bounds in Morpeth. Unfortunately with
GHB.
http://www.britishpathe.com/record.php?id=4756
Francis
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A very nice item yesterday on BBC Radio 4 from Morpeth Chantry Bagpipe Museum.
Congratulations to everyone who spoke or played; it was really good!
The programme ('Questions, Questions', 13.30) is available for the next 6 days
at:
http://www.bbc.co.uk/radio4/programmes/schedules/fm/2009/12/31
On 1 Jan 2010, at 21:18, Richard York wrote:
There's also the theory that said crusaders found the Saracen bagpipes
upset their horses so brought them back as a way of bagpipe-proofing
horses - urban bagpiping myth or not?
Well, Richard, I like that speculation. However there's also
On 1 Jan 2010, at 21:18, Richard York wrote:
urban bagpiping myth or not?
As a P. S, . . . . there is an alternative theory that the term originated in
another early account of someone busking on NSPs in the Elsdon Square Shopping
Centre.
They were apparently described as Northumbrians'
On 1 Jan 2010, at 22:30, Matt Seattle wrote:
I don't suppose anyone wants to hear my theories about Holey Ha'penny?
Francis
Yes please
Hi Matt and Richard,
Yes . . . this is the tune earlier known by the title 'Speed the Clough'. It
was originally recorded at 45 rpm on an unusually
Hi Ernie,
If you are playing in a church I'd suggest Northumbrian small pipes
(alternatively 'smallpipes' or 'small-pipes' . . . there are several usages).
Anything that indicates that these are not as loud as GHBs will probably be
useful in the circumstances.
Best wishes,
Francis
On 5 Jan
Well, that's what Peacock Wright called them. Seems good to me.
Francis
On 5 Jan 2010, at 15:38, inky adrian wrote:
I've always called them the Northumberland small-pipes as did the NPS
in the old days.
Inky-adrian
--
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On 6 Jan 2010, at 12:09, tim rolls BT wrote:
Surely the Tyne and Weary pipes appelation should only apply to
developments since 1973.
Well, the Appelation pipes, then?
Francis
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Here's how to do it . . . these are GHBs though.
http://ssa.nls.uk/film.cfm?fid=6832
It helps to put the fingerholes in the right places and these people have a
nifty way of doing so at 02.40
Francis
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Again, its GHB. But very appealing because it's an animation from 1916 and
silent, of course.
http://ssa.nls.uk/film.cfm?fid=0635
Francis
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On 12 Jan 2010, at 19:04, Richard York wrote:
then applying loads of acetate to clean it up.
Hello Richard,
That's what I did, though I think you meant acetone. It's pretty awful stuff
and needs to be treated with care. One source of small quantities is nail
varnish remover.
Francis
To
Now about all this oil stuff . . .
Olive oil, neatsfoot oil, almond oil. All these vegetable or animal sourced
substances are pretty variable depending on how and where they have been grown
and how they have been processed. They will for example have varying levels of
acidity and capability of
On 13 Jan 2010, at 11:01, Richard York wrote:
Julia, I love this word snotomer but confess I haven't met it before,
You haven't played the nose-flute, then?
Francis
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Thank you for posting this, Colin.
The VA's collection of musical instruments is not huge, but the quality of
every item makes this one of the world's major collections. The VA has been
from its beginnings essentially a museum of applied arts. The presence of
musical instruments, each of which
This from Chris Walshaw (inventor of abc notation) on his abc blog:
There are still loads of links out there for the old versions of the abc
website address and I’m just putting up this message in the vain hope that
people might correct them.
The correct address is now, and hopefully
. . . . even an abc Facebook page!
http://www.facebook.com/pages/abcnotation/201391116338
Francis
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Hello Richard and Barry,
I agree entirely with the comments here. Comfort and the avoidance of stress
are essential for the effective use of any instrument, and consequently for
musicality.
One aspect of this puzzles me. I have studied a large number of paintings and
engravings showing pipes
Hello Richard,
Many NSP bags can be slightly rectangular in aspect and the 'corner' near the
blowpipe has the potential to annoy some players. If you find that
experimentation in managing the bag differently does not help, a good solution
would be to order a bag with the profile of that edge
On 27 Jan 2010, at 08:46, Anthony Robb wrote:
The problem I see with an inverted bag is getting the chanter stock
airtight in what amounts to a ridgy hole.
Hi Anthony,
Yes, that's right. However, the seal is made effective by gouging a very
substantial groove in the stock, into which the
On 27 Jan 2010, at 10:55, tim rolls BT wrote:
Although I have observed the necessary shape for a gentleman piper, and I am
working towards it, I would still not yet say that I require a massively long
blowpipe.
Rather sad that I find myself quoting my earlier mail (Power of Positive
On 27 Jan 2010, at 11:04, Julia Say wrote:
I wonder when and why this older and better method was discontinued.
I don't know for definite, but I wonder if it has to do with professional
saddlers,
and the introduction of machinery.
That's a very good observation.
Are there any later
It's a version of the Dunn set, drawn as Plate 6 in Cox Bryan 1975.
Looks like a very good amateur attempt to me, but the seller is honest enough
to say:
[they] will need some work setting them up so please do not bid if you can
not do this work
It would be a reasonable project to get
Hello Philip and others,
Reading your post again brought to mind that I had completely forgotten to
suggest a significant advantage of the inside-out bag. With the seam inside the
neck, the neck is very much less liable to constriction with all the consequent
advantages of strangulation.
I
. . . . with all the consequent advantages of strangulation.
I might possibly have meant 'disadvantages'.
Francis
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On 28 Jan 2010, at 13:16, Julia Say wrote:
Do I detect a Northumberland's most wanted column somewhere?
Something along these lines, perhaps?:
I've got a little list, I've got a little list
Of Society offenders who might well be underground,
And who never would be missed, they never would be
Mr Bewick, the ingenious wood-engraver, has put on record a fact regarding
rats nearly as mystical as any of the above. He alleges that ' the skins of
such of them as have been devoured in their holes [for they are cannibals to
a sad extent] have frequently been found curiously turned
On 28 Jan 2010, at 18:25, Dave S wrote:
the wind blows hard enough
to turn dogs inside out
Enthusiasts of the zaqq (Maltese bagpipes) should take note:
The bag was traditionally made of (preferably) dogskin, but goat- and
calfskin were also used; there are ethnographic reports that skins
with a fine saw and
chisel. I did the same with my first ever set using an X-ACTO saw blade.That
was entirely successful.
( and apologies if questions of this type are not allowed)
I'm sure such questions are completely welcome here and I hope you receive
other responses.
Francis Wood
On 30
Hello Bob,
The danger in any instrument making is always paying too much attention to the
tooling at the expense of the making. It can lead to this familiar syndrome
(well, familiar to me at least!):
http://ahistoricality.blogspot.com/2005/08/thursday-verses-old-sailor.html
I know someone who
On 2 Feb 2010, at 16:25, cal...@aol.com wrote:
May never be done. Only one thing they could be called:
Scottish half-dones
If it were drone, when 'tis drone, then 'twer well,
It were drone quickly . . .
. . . . from the Scottish Play.
Francis
(with apologies)
To get on or off this
Boring.
On 5 Feb 2010, at 17:18, Paul Gretton wrote:
Oh... do me a favour!!! gratuitous nastiness...cruelly revolting...
purLEASE!!!. Go and play Mr Nice Guy somewhere else. (How about North
Northumberland -- wherever that is.)
Cheers,
Mr Nasty
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Great to hear from you, Jim!
Do you (or does anyone else) know of other great tunes by Mike MacDougall?
Best wishes,
Francis
On 7 Feb 2010, at 18:12, Jim Stewart wrote:
Thanks for posting this Francis. I hadn't seen it before.
Nice to see some attention paid to the music on this side of the
,
John
On Sun, Feb 7, 2010 at 9:09 AM, Francis Wood oatenp...@googlemail.com wrote:
A Youtube item in two parts in memory of Mike MacDougall, Cape Breton
fiddler and composer of Memories of Father Angus MacDonell, that very fine
tune which is well known to pipers.
http
On 7 Feb 2010, at 13:38, Paul Gretton wrote:
Paul Gretton
(who just this morning booked his tickets for the Cologne Opera's Ring
next June.
Paul, could you report back on whether Siegfried ever does get his reed problem
fixed?
Auf dem dummen Rohre
gerät mir nichts. -
. . . . .
On
On 9 Feb 2010, at 12:24, tim rolls BT wrote:
The kipper box is a new one on me, and I think must be very local to =
Craster. I've never seen one at a session, even at Low Newton just up =
the coast, but maybe I go to the wrong sort of gig. It brings forth a =
vision of some sort of coastal
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