Colin's interesting account of making staples from sheet metal is a very good
reminder that this was the staple [pun unavoidable] method of making staples
for historical reeds - they generally relied on the binding to keep them
airtight.
No reason why that shouldn't work perfectly well today,
On 16 Sep 2011, at 13:18, Richard Shuttleworth wrote:
> Why did I get Rachmaninov?
>
> Richard
> (Puzzled in Quebec)
Because that is the first item on in the programme.
For Alice and Emily go to 1.09 (hours and minutes).
Good luck
Francis
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Good result, Anthony!
This lovely item can be heard for the next 6 days at:
http://www.bbc.co.uk/programmes/b014fj7j
Emily and Alice's slot is at 1.09
Francis
On 13 Sep 2011, at 22:58, Anthony Robb wrote:
>
> Some might be interested to know I sent a couple of tracks
> recorded recently
Thanks, all, for the many interesting and informative responses!
Francis
On 13 Sep 2011, at 17:54, Francis Wood wrote:
> The note accompanying the fine tune 'Farewell to Whisky' appearing in the Gow
> 5th collection states:
>
> "This tune alludes to prohibiting t
The note accompanying the fine tune 'Farewell to Whisky' appearing in the Gow
5th collection states:
"This tune alludes to prohibiting the making of Whisky in 1799.
It is expressive of a Highlander's sorrow on
being deprived of his favourite beverage".
Also in the 5th collection is the remedy t
Is there an obvious repertoire of tunes for this useful variant?
Francis
On 8 Sep 2011, at 10:40, Richard York wrote:
> I wonder when someone will develop the double action bellows - one to inflate
> the pipes, another to fit a vacuum cleaner attachment, which if you think
> about it could look
You really have to see this. A great demonstration of playing pressure, from
full glory to Pipers' Droop. Especially the ending:
http://youtu.be/fPedwnc5e_s
Francis
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Since it's August . . . .
What tunes does your dog prefer?
Francis
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A familiar figure appears on the Home Page of the British Library.
See under Latest news":
http://www.bl.uk/
Francis
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Hi Dave and others,
It's a noble attempt and a kindness to Dunk. But I still think that it's
impossible to make anything worthwhile out of that tune whilst remaining
literally close to the original.
Gilbert Askew and others associated with the compilation of the NPS Tunebook in
1937 treated it
On 17 Jul 2011, at 13:47, Dave Shaw wrote:
> The question must therefore be why did Askew choose to re-write the tune or
> could he not see what should have been staring him in the face either.
Perhaps there are two distinct questions here. So here's an attempt at two
answers:
> - The quest
On 17 Jul 2011, at 14:10, Francis Wood quoted John Gibbons:
>> If the NPS offered a trophy of a silver cup full of beer for anyone playing
>> W on the W verbatim from memory . . . .,
Just as an afterthought, John, . . . were you suggesting that the cup full of
beer be awarde
ds on the Wall' is regarded as a 'successful essay', what on
earth would an unsuccessful essay be like?
I look forward to hearing Dave Shaw's recomposition of the piece. We can then
compare it with Askew's own.
Francis
On 17 Jul 2011, at 13:47, Dave Shaw wrote:
>
On 17 Jul 2011, at 00:16, barr...@nspipes.co.uk wrote:
> I think they didn't get it! If I feel any suspicion towards that class it is
> hugely mitigated by the Christmas Carols of Ralph Vaughan Williams
Well yes, but quite a few other other British composers as well!
Francis
To get on or o
nise a tune that was good, and logically one
that was not. So what was really going on here?
Francis
On 16 Jul 2011, at 23:11, Dave Shaw wrote:
> Francis Wood wrote;
>> I'm not convinced that this is anything else other than nonsense. It starts
>> familiarly but then g
On 15 Jul 2011, at 12:29, Francis Wood wrote:
> . . .and another odd, inconsequential and irrelevant fact in the present
> discussion. Shield is buried under the same stone as Salomon who 'brought
> Haydn to England' as the inscription states:
. . . Even more oddly, in
On 15 Jul 2011, at 16:59, Gibbons, John wrote:
> But it's so free-form that it sounds like he was drunk when he wrote it.
H . . . Dunk and disorderly.
Francis
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On 15 Jul 2011, at 14:48, Dave S wrote:
> The Arethusa is from a musical farce called "Lock and Key" and in the British
> Minstrelsy the melody is assigned to Shield.
Hi Dave,
That's interesting!
More here:
http://www.contemplator.com/sea/arethusa.html
Francis
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the highbrow music scene agree?
Francis
On 15 Jul 2011, at 11:55, barr...@nspipes.co.uk wrote:
> Quoting Francis Wood :
>
>> Another 'traditional' tune, J.L Dunk's Whin Shields on the Wall was
>> unplayable nonsense when given to the NPS in a literate-looki
On 15 Jul 2011, at 10:41, Francis Wood wrote:
> Finally, there is an odd, tenuous and completely inconsequential connection
> between Shield and Morpeth.
. . . .and another odd, inconsequential and irrelevant fact in the present
discussion. Shield is buried under the same stone as S
On 15 Jul 2011, at 10:41, Francis Wood wrote:
> Few people would now play Miss Forbes' Farewell to Banff at the speed Isaac
> Cooper intended it, as a slow song.
I think history and evolution have been fairly kind to Isaac Cooper. A lively
'Miss Forbes' Farewell'
On 15 Jul 2011, at 09:48, Matt Seattle wrote:
> I am fascinated by the 'soup' that accompanies traditional tunes, the
> lore which has its own reality but is different from 'facts'. It is not
> inconceivable that Shield composed the Morpeth Rant; I have seen no
> evidence that convinces me
On 11 Jul 2011, at 13:05, Gibbons, John wrote:
> Are there any essential stylistic features that this attempt at a description
> misses?
Wiktionary helpfully gives:
> From Dutch ranten, randen (“talk nonsense, rave”).
Can anybody help to clarify the difference between a Rant and a Rave?
Or
On 4 Jul 2011, at 19:19, John Dally wrote:
> Intonation--I too discovered that recording
> yourself really shows up intonation--I must work on that.
Interesting point, John.
I think there's a limit as to what can be done about intonation by the player
in performance.
Of course, a skilful pl
Thanks Julia. A really helpful response.
I'm in favour of your suggestions.
Francis
On 4 Jul 2011, at 14:23, Julia Say wrote:
> On 4 Jul 2011, Francis Wood wrote:
>
>> The Dartmouth list is for anyone interested in Northmbrian Small-pipes.
>
> It is administered
That would work very efficiently . . . in fact, probably too efficiently.
Wouldn't it be better to leave it to the individual writer to decide whether
they want their addition to the forum announced on Dartmouth?
And isn't there a facility for the individual reader to opt in to an email
alert f
Wot, no comments? This certainly deserves some appreciation!
Nice account, John. Very toe-tapping.
I particularly admire your very economical finger movements. A very good basis
for effective closed-fingering and it certainly shows up well in the playing
here.
Congratulations!
Francis
On
On 4 Jul 2011, at 08:10, Edric Ellis wrote:
> Here's my somewhat plodding effort.
I really like this. Very neat, very musical. Actually, I prefer the tune
un-ranted, though I've enjoyed the other versions.
> I recorded this mostly so I could listen back for my own education,
As Robert Burns s
#x27;s is for extraordinary pipers, like him,
>>> otherwise why would there be two forums? Are they both open to the general
>>> public?
>>>
>>> Many thanks,
>>> John
>>>
>>> On Fri, Jul 1, 2011 at 2:03 PM, wrote:
>>>
>>>
Dear Anthony,
I should probably keep out of this. However . . .
So I've just re-read this from a few days ago:
> I am the vile editor of the NPS Journal who changed the title of Anthony's
> article without his consent and I have apologized to him privately and will
> publish a full apology in
On 1 Jul 2011, at 21:44, barr...@nspipes.co.uk wrote:
> However, how long does video persist on Utube?
Easy for the account holder to remove videos from YouTube videos , as the help
pages indicate.
> Will our hesitant attempts at playing still be floating in the ethernet in
> 2525.
Interest
On 1 Jul 2011, at 20:39, david...@pt.lu wrote:
> How about posting the article here? There are lots of people who are
> interested but are not NPS members
Hi Dave,
I think you've made quite a good case here for joining the NPS.
Francis
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ht
I normally find my toes are a pretty good judge of these things and they're
tapping away!
Loads of other good items appearing as suggestions on the right of the page.
Especially liked the first, the Far Frae Hame set:
http://www.youtube.com/watch?v=VLjJ8-G_2NQ&NR=1
Francis
On 1 Jul 2011, a
that easy. Aren't we talking
about a variety of musical accents here?
Francis
>
On 30 Jun 2011, at 20:09, Anthony Robb wrote:
>
> --- On Thu, 30/6/11, Francis Wood wrote:
>
> Hello Anthony,
> I don't think we disagree. At Stuart Hardy's musical al
lcome!
All the best,
Francis
On 30 Jun 2011, at 11:50, Anthony Robb wrote:
>
> -- On Thu, 30/6/11, Francis Wood wrote:
>
>It's a lot easier to play Roxborough Castle in dotted rhythm, as is
> done here. I prefer it played absolutely straight, which is really v
On 30 Jun 2011, at 09:22, smallpi...@machineconcepts.co.uk wrote:
> I agree with francis. Another mangalisation this time using the Uillean
> pipes as the weapon of choice.
> http://www.youtube.com/user/disinpass#p/a/u/0/dkK4_tcPaG8
And, guessing from the size of those arms, he's using the UP
On 30 Jun 2011, at 08:15, John Dally wrote:
> Here are a couple of youtube items that already fit the bill for July.
>
> [1]http://www.youtube.com/watch?v=iHBO8CGAIeQ&feature=related
>
> [2]http://www.youtube.com/watch?v=VKC0ZoVqfzU&NR=1
>
> What's your take on the tune?
Hi John,
Two
On 29 Jun 2011, at 18:06, Julia Say wrote:
> I see the copy digitised was donated to NLS by Dorothea Ruggles-Brise - she
> of
> "pulling Dixon out of the flames" fame.
Not famous enough for me to have heard of her . . . so what's the rest of this
interesting story?
Francis
To get on or
On 26 Jun 2011, at 13:23, cwhill wrote:
> I wonder what the bag is made from then - a shepherd perhaps?
Interesting idea! Perhaps make shepherds pie from the other bits?
Francis
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On 24 Jun 2011, at 12:24, cwhill wrote:
> Imagine some guy sitting watching his goats playing a shawm, getting out of
> breath (and they do take a lot of puff) and thinking "I have a cunning plan".
Hi Colin and all,
Goats are pretty clever creatures and apparently have been playing bagpipes
On 23 Jun 2011, at 12:01, barr...@nspipes.co.uk wrote:
> Fassbender offers some grudging compliment to Schoenberg
So he does!
The essential difference between Schoenberg and Proper Piping is that in his
case it was a 12 tone row, whereas in the recent discussion (Proper Peacock
Piping) it be
On 23 Jun 2011, at 11:20, Julia Say wrote:
> "The most important thing in a tune is the spaces between the notes, not the
> notes
> themselves."
This is also consistent with the musical principles of the composer Bruno Heinz
Jaja, demonstrated by the musicologists Dr Klauss Domgraf-Fassbaende
Hello Barry and others,
Well this is certainly interesting.
Firstly can anyone (i.e you, Julia!) throw any light on Fenwick & his
background?
> Was Mr. Fenwick right?
I think he was, in the 1885 context of the aims of that tutor and the
unfamiliarity of the instrument.
> I would suggest a be
On 22 Jun 2011, at 09:39, wrote:
> What would you say was the opposite of "legato".
Ooooh, I'm not going there!!
Saying that something is _not_ the opposite of another is only one assertion.
Saying what _is_ an opposite requires a number of bold and foolhardy
propositions which will keep th
On 22 Jun 2011, at 09:31,
wrote:
> Word's spellchequer used to suggest "fellated" for "filleted".
Further light has thus been thrown on the term 'codpiece'
Francis
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On 21 Jun 2011, at 23:13, barr...@nspipes.co.uk wrote:
> PS my spellchecker offered as alternatives to 'stratocaster': 'toastmaster'
> or castrated. Ah! the wonders of a digital age.
Don't know about 'toastmaster', but 'castrated' is a proper musical term.
In Italian, that is.
More seriously,
P
On 21 Jun 2011, at 15:51, Richard York wrote:
> Then there's the Beethoven version- poppopaDOM
Or this, anyone?
Poppadom, Poppadom, Poppadom-pom ?
Francis
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Oh, good!
Francis
On 21 Jun 2011, at 15:44, Ian Lawther wrote:
> Thank you Francis.you had me whistling the Radetzky March while cooking
> breakfast.I'm probably stuck with it for the day!
>
> Ian
>
>
>
>
> Francis Wood wrote:
>> On
On 21 Jun 2011, at 14:54, Tim Rolls wrote:
> Popapoms would be the Australian version then?
Well, which country is this? :
Poppadom, Poppadom Pom Pom Pom . . .
Francis
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Hello Julia and others,
I like this reply very much. This has been a good thread and a great
endorsement of the varied interests which emerge from and return to the
discussion of our favourite instrument.
It's also a good demonstration of both the value and the disadvantages of this
list mediu
On 21 Jun 2011, at 10:38, wrote:
> now that I'm emerging from the doldrums
Doldra, surely?
Francis
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On 20 Jun 2011, at 09:34, wrote:
>> However, I think we differ over the harpsichord's ability to
>> play 'long-sustained'.
>
> I was having this discussion with my wife the other day (she plays keyboards
> rather better than I can), so I went to the harpsichord and tried it to
> check.
On 17 Jun 2011, at 22:26, Francis Wood wrote:
> 'NSP's coming out of a pod".
Or rather, NSP's coming out of an iPod.
You hear it every day on the Metro, surely?
Francis
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> Positive remarks only, about it's neatness of execution.
When I said "it's", I hope it's obvious that its real meaning was its.
Francis
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On 17 Jun 2011, at 21:44, barr...@nspipes.co.uk wrote:
> The sound of skeletons copulating on a corrugated tin roof.
"Rattling the parrot's cage with a toasting fork" is another.
What a good thing nobody would ever say anything so cruel about our magnificent
instrument. Positive remarks only,
On 17 Jun 2011, at 14:14, ch...@harris405.plus.com wrote:
> The Uilleann pipe chanter can be, and often is, played closed, by resting
> the chanter on the knee.
> It's possible, but more difficult, to get just as clean, detatched playing
> as with nsp.
>
> However this isn't seen as a fundamenta
Hello Richard,
I think we pretty much agree.
Who, for example, would want to play Rothbury Hills in a staccato manner?
(Who, indeed would want to play RH in any manner whatsoever, some might
interject.)
However it was composed by a significant piper who happened to be the official
piper to th
On 17 Jun 2011, at 12:39, cwhill wrote:
> I'm thinking here of the closed fingering techniques, one finger off at a
> time, no choyting etc.
Hi Colin and others,
The closed-fingering technique derives much more from the nature of the
instrument rather than any opinions about style.
Since th
On 17 Jun 2011, at 09:24, wrote:
> I reckon being dead is an even greater impediment to hearing them played now.
Well, if he hadn't been the late Beethoven, how could he have composed the Late
Quartets?
Francis
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Hello Dave and others,
I see things a little differently.
Two things have happened here, the first being a move to have opinions,
information and other resources made permanently available in the form of a
forum. This is currently happening in the NPS Forum and the Traditional NSP
Forum estab
Well the day the NPS starts dictating how I have to play my pipes will be the
day I pick up my chanter and drones and go home. I certainly don't want any
elders of that church telling me about being boiled eternally in hot oil (of
any variety) because of my fingering technique - (forgive me) -
Without wishing to disadvantage any geese, might this be an opportunity to
resolve the recent discussion on Facebook concerning the use of goose quills as
drone reeds?
Francis
On 1 Jun 2011, at 09:23, Julia Say wrote:
> Could anyone planning on coming to this (Sat 18 June)
>
> a) let me know
On December 10, 1929, Stanley Kennedy North gave a talk to the Musical
association in London. With him was Tom Clough who played his own 17 key
chanter. Kennedy North had brought an unfinished 18 key chanter (additional G
key) which he was himself making. However on this occasion he played a 7 k
On 29 May 2011, at 09:40, Anthony Robb wrote:
> It's such a pity that this part of the tradition (which was in some
> ways a truer and longer tradition than the Clough one) is not only
> ignored but actively denied in some quarters.
Someone once said 'A language is a dialect with an army'.
Well, it's absolutely worth while following the link, even if you can't go. A
truly wonderful line up!
> http://4pipers.wordpress.com/
Pauline needs no introduction here, but another of those musicians, François
Lazarevitch is also a fantastic small-piper, in this case on the French
aristocra
On 28 May 2011, at 00:13, Julia Say wrote:
> They are also well aware that there is a playing tradition that we all strive
> to
> continue and develop, each in our different way.
I agree . . . a case of taking the Clough with the Smooth really.
Francis
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Hi Richards (both of you good folk!)
I rather agree with Adrian that this kind of discussion is best held in a
dedicated area.
Some people are passionately interested in this aspect of piping, whilst others
will find it totally boring.
The problem with Dartmouth is that it is very difficult t
On 24 May 2011, at 20:24, Matthew Boris wrote:
> I'm sensing a "Judean Peoples' Front" vs. "Peoples' Front of Judea"
> schism here...
Excellent!
What has the NPS ever done for us ?
Francis
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On 24 May 2011, at 13:12, Richard York wrote:
> Love and piece indeed... did you have any particular piece in mind this
> month, Francis?
Well, as a matter of fact, yes!
The last 'piece' I played was 'Handel's Water Piece', a duet arrangement of
Handels 2nd Water Music Suite (the Ouverture),
On 24 May 2011, at 11:04, Gibbons, John wrote:
> Free-reed instruments in Europe are only a half-century or less younger than
> keyed NSP, mind
Well OK . . a good point.
But concertinas were infants at a time when smallpipes had an ancient lineage!
Francis
To get on or off this list
Since I've never felt the urge to compete, perhaps I shouldn't really comment.
But from what I've observed, the competition element in the NSP world is
nothing like that in GHB piping.
It seems to me that NSP competition is far more about participation in
traditional events and receiving some p
On 24 May 2011, at 08:25, Anthony Robb wrote:
> Are they rivalists as well as revivalists?
Oh, just taking a detached view . . .
For enquiring minds the best demonstration of true detached fingering technique
is Helen Fish's admirable video:
http://www.youtube.com/watch?v=O7paLft9_ms
Franci
On 23 May 2011, at 21:28, Mark Stayton wrote:
> Is this different than the "Proper Northumbrian Pipers" group?
It's a slightly different chapel but we worship the same God.
Francis
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On 19 May 2011, at 22:28, Anthony Robb wrote:
> Here she is playing with Emily Hoile at the Chantry Museum last night
Definitely the right kind of Hoile . . .
Lovely item, Anthony! Got any more?
Francis
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On 18 May 2011, at 09:05, Julia Say wrote:
> There was also a " lively discussion" with another person at the time
> as to whether it was adequate.
I can imagine that it was lively!
But as to whether or not any pipe-making book can be adequate, that depends
entirely on what one expects.
A go
Saves messing around with those fiddly reed things.
And you can probably play in E maj. No problem!
Francis
On 18 May 2011, at 09:33, Tim Rolls wrote:
> Hi All,
>
> Fed up with carrying around those heavy old Northumbrian smallpipes in their
> bag? Learn to play the Scottish smallpipes instea
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
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 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 t
The best way to get a David Burleigh C# key would be to ask David.
Francis
On 21 Feb 2011, at 19:15, ina.gilchr...@web.de wrote:
>
>
> 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
I've just bought it, and first
> indications are that it is excellent!
> Bob
>
> - Original Message - From: "Francis Wood"
> To:
> Cc: "Dartmouth NPS"
> Sent: Thursday, February 10, 2011 2:38 PM
> Subject: [NSP] Re: Tuning/pitch
>
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
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
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 inside
(for anyone puzzled by this discussion, one cent is 1/00 th of a semitone. So
20 cents is 1/10th of a whole tone, or 1/10th of the difference between C and
D.That's not a subtle difference, of course!)
On 7 Feb 2011, at 17:26, Julia Say wrote:
> Shortly after Andrew Davison took over the 17 key
On 9 Feb 2011, at 16:02, Anthony Robb wrote:
> Hello Francis, John and others with the stamina to keep reading this,
> The puzzling thing is that we have had two reports in recent postings
> of Reid sets happy to play up near F# (for example Billy Pigg) and yet
> Andrew Davison's Reid set
On 9 Feb 2011, at 15:11, Paul Gretton wrote:
> I would assume that the Reids worked to a chosen pitch standard in the same
> way as did Silbermann or - more relevant here - the Hotteterre gang.
And at least the Hotteterre gang had the sense to pitch their instruments a
whole tone below modern p
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 h
On 7 Feb 2011, at 13:03, Gibbons, John wrote:
> Reid pipes were generally made sharper than the current F+;
> close to modern F# in many cases, so Francis and Graham tell me.
Yes, that's right. Or to be more precise, Reid pipes play most happily at F#
using (and insert italics here) the most a
On 17 Jan 2011, at 13:00, Margaret Watchorn wrote:
> I suspect both these tunes are based on the old north Northumbrian air 'The
> Throttlin' of the Reeds/Reids'
Margaret, I think you're probably right.
The problem with "Rotting of The Cotton Threads" is the question: why would
anyone want to
2|
> M:3/4
> .EAB.c e/2c/2B/2A/2 |. DAB.c d/2B/2A/2G/2:||:/
> M:9/8
> .gAg .ABc .ee/2c/2B/2A/2|.gAg .ABc .dd/2B/2A/2G/2|
> M:3/4
> .EAB.c e/2c/2B/2A/2| .DABc .d/2B/2A/2G/2:|
>
> Best wishes,
> Richard.
>
>
> On 15/01/2011 00:07, Francis Wood wrote:
>&g
On 15 Jan 2011, at 14:44, Paul Scott wrote:
> It is a set made in the 70's by my godfather who followed Colin ross's
> designs and advice. I used a hot hair dryer and pliers to pull off the
> ferrule and I think there is shellac underneath. So if I applied the solution
> and then allowed it to
Paul, this largely depends on what the pipe-maker has used in the first place.
Shellac would be an appropriate material for antique pipes, fulfilling two
functions, both as an adhesive and a gap-filler. In this case the material
would be solid shellac rather than in solution which will obviousl
True, but the problem with that is that whatever may be suitable for a wide
bore wet blown instrument may be highly unsuitable for a dry-blown bore,
typically 4.3 mm in diameter.
Francis
On 14 Jan 2011, at 23:54, gibbonssoi...@aol.com wrote:
> Almond is still popular for woodwind, and has be
A Strathspey, surely?
Francis
On 14 Jan 2011, at 23:57, gibbonssoi...@aol.com wrote:
> Is 'The rotting of the cotton threads' the title of a tune I haven't
> learned yet?
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Exactly one year ago, on January 14th 2010, the main topic on this forum was
the choice of appropriate oil and the dire consequences of using the wrong
stuff. Unfortunately, nobody could quite agree what the right stuff was.
A year ago yesterday, the same discussion was in swing including disc
On 14 Jan 2011, at 20:07, barr...@nspipes.co.uk wrote:
> If we are going to discuss possible effects of mineral oil (liquid paraffin)
> on thread
Yes, there's been a lot of interesting discussion about that but why on earth
would anyone want to use liquid lubricant on thread or anywhere else
On 14 Jan 2011, at 11:31, Julia Say replied:
>> ( a while ago i remember there was some discussion of oils. . .)
>
> And then another one, and then another one. Its one of the
> recurrent topics.
It's one of those things that has no definitive answer. Almost every option has
copy.
>
> Happy droning on the plateau!
>
>
> On 1/11/2011 12:18 PM, Francis Wood wrote:
>> Colin, are you using composite drone reeds or all-cane ones? Adjustment
>> techniques will, of course differ.
>>
>> Whatever you're using, I'd check the dron
Colin, are you using composite drone reeds or all-cane ones? Adjustment
techniques will, of course differ.
Whatever you're using, I'd check the drone itself as a priority, checking that
everything is sealing correctly (tuning beads are often suspect), that the bore
is clean and smooth, and that
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