To my ear the best thing about the Peacock with Gg drones is the
prominent clashing f#, which resolves to a d; it is a strongly
emphasised note in the 'C major' strains. BP would have a high g nat
here instead but Peacock was stuck with f# on NSP and seems to have
gloried in it.
I once wondered if the ballad fits the tune - can you sing it in 9/4?
The answer is a tentative yes... But it isn't as obvious as I'd like.
I have not checked every verse.
The ballad seems to be a local analogue of a Robin Hood one, with
Carlisle for Nottingham etc,
Adam a
If that recent footage of a mammoth-shaped object fording a river in
Chukhotka in the Russian Far East turns out not to have been faked,
then presumably the species goes on the CITES list pretty sharpish, and
carrying smallpipes across borders gets harder...
John
In a
In response to an unmet need for harvest tunes, and incidentally tunes
commemorating Northumbrian wildlife, I was inspired to write this after
an afternoon's piping with Edmund in Northumberland,
when Edmund, Gisela and I all went for a walk afterwards...
X:1
T:The Harvest
Two or three from Vickers - The Kirn Staff (Kirn = Corn, as in Kirn
Supper) and the Threshers,
also perhaps The Hare in the Corn,
though the hare being in the corn is more of a problem before you have
cut it.
You'd expect musicians at a Kirn supper.
There are probably a
In a message dated 17/07/2011 17:07:14 GMT Daylight Time,
oatenp...@googlemail.com writes:
http://www.northumbrianpipers.org.uk/pipersforum/viewtopic.php?f=18;
t=206
Dave is right, Dunk meant it to be in ternary form.
A, B, A', with A' being an ornamented recap leading
In a message dated 17/07/2011 20:33:27 GMT Daylight Time,
barr...@nspipes.co.uk writes:
Just because a piece breaks some notional (artificial?) rules,
doesn't
make it bad music.
Oddly, I don't think W on the W does break any rules in this sense.
Except for our
One obvious response is that playing finger holes on NSP is faster and
more 'positive' than playing keyed notes. Half of this may be down to
the poor dexterity of the little finger, but I can't play
even thumb-keyed notes as crisply as open-holed ones. There's something
in Tom
Adrian,
I stand corrected
Only the one known example, I take it?
How do you mean part-Union?
Do you mean a wholly keyed NSP chanter,
cylindrical bored and closed ended, but with UP drones and regulators?
I must go and look at it - even if they (it?) never caught on,
UHU is a pain if you need to get in there, though.
Shellac is at least easy to soften.
John
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Brass is not gunmetal.
With gunmetal, iron oxide forms a thin airtight layer for a while,
protecting the metal underneath, at least till proper rust gets going.
With brass, the same is not true for copper and its alloys.
So corrosion doesn't prevent further corrosion.
And gold is amazingly soft, so won't wear well.
John
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Almond is still popular for woodwind, and has been for 250 years or
more.
John
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Is 'The rotting of the cotton threads' the title of a tune I haven't
learned yet?
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7066.6... = 2/3 semitone = 1/3 tone.
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A 70 cent divergence between one set of pipes and another is alarming!
More than a third of a tone in old money.
We are approaching the territory of that Irish flute player I
mentioned.
A tactful cull of the outliers might be a good idea -
'Your pipes are more suitable for
It might be worth analysing recordings of a good piper or two playing
in E minor and in G, to see if they squeeze the B that little bit
harder in the minor tunes, to bring it more in tune with the E/B
drones.
They may not do it consciously, but the B that's a true third above G
As many notes on an NSP chanter can be bent about a quarter tone
without putting the drones far out - at least on a good reed day - I
guess one difference between a good piper and a fairly good one is the
former will squeeze notes into tune unconsciously and accurately, the
latter
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
With me, the addiction only in the severe writing form since I got some
NSP in 97 -
but I'd been a Peacock addict since Cut and Dry Dolly came out in the
70's,
and I bought the facsimile edition which I treasure to this day.
Writing set in once I realised Peacock, Bewick and
Thanks for the hint, Matt.
I went back and found it in Ryan's Mammoth Collection - I'd missed it
before.
For those that don't know this collection, it was published 'about
1883' in Boston, Mass.
The Golden Eagle certainly doesn't sound like it was written too long
before
Well remembered!
It's also a grand tune.
John
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Julia,
What was set in a competition 15 years ago may no longer be of as much
interest as it was then, and is surely going to be a pain to retrieve.
But is there a log of what non-set tunes people have actually won with
more recently?
John
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Bob,
I know nothing about pipemaking, but in good years there is one nsp
event in Scotland (only just) - see
[1]http://www.newcastleton.com/intro.html.
But the nsp competition will be uncontested if nobody goes there. This
has happened some years, I think.
John
Breathnach is a good source of advice here - I recall he said something
I'd paraphrase as:
Tune titles are dummy labels for the tunes, without a 'real' meaning
of their own.
It is futile to enquire about 'The Mason's Apron' whether a
stonemason's or freemason's apron is
PS 'Inverted' is upside down; inside out is 'everted'.
Ask any topologist, or classicist...
John
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[1]http://www.answers.com/topic/zampogna-2
says, inter alia,
Traditionally the bags are made from goat hides that are removed from
the slaughtered animal in one piece, cured, turned inside out, then
tied off just in front of the rear legs, one of the front legs serving
to
I always understood the point of the open-cell foam in the neck is to
remove the neck resonance problem referred to earlier. The frequency of
this resonance depends critically on the shape - if you model the bag
as a big cavity with a narrow tubular neck,like a bottle, the formula
or the difference between a Scottish smallpipe player and a small
Scottish pipe player
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A lyric fragment, sung to the tune, eg 'All the Night I Lay with Jockey
in my Arms', or
-failing this - a dummy lyric including the title, can help - make up
your own examples, as daft ones of your own invention stick better.
Remembering the first bar or 2 of the tune, with the
The trouble is some think 'reading music' and 'reading music notation'
are synonymous -
the trick is to read the dots and put the music back into them.
I guess the player who can only play from a notated copy she'd just
written down, on hearing,,
would be a good ear-player
Francis,
Is the widespread use of synthetic pads in (mouth blown) orchestral
woodwinds nowadays down to the fact that they operate in (often very)
moist environments, which would presumably affect leather much more
than a water-repellent plastic foam?
The bore of NSP is
Makes more sense than 'Hyperacoustics', anyway
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Can anyone with access to an OED or a Northumbrian dialect dictionary
check this possible meaning of 'dolly' = peat-stack? It would be
plausible enough if 'dolly' used to hold this meaning. Though is 'a
small peat stack, ready to be taken from the moor for burning' a likely
topic
Perhaps if we take the John Bell version (on FARNE) as the basic tune,
the tag at the middle and end of the strain has the rhythm
| qq c qq q...|
this would fit ...|Cut and Dry Do-ol-ly ...|
But you need to stretch the first syllable of Dolly across two notes.
These 2
A couple of other meanings in [1]http://www.dsl.ac.uk/
but none that seem to fit the Cut and Dry context convincingly.
John
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References
1. http://www.dsl.ac.uk/
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A lot of these BL recordings are annotated with helpful titles like
'Unidentified Tune' or 'Hornpipe'.
I have identified a couple so far.
If anyone can point to a specific recording, and identify the sequence
of tunes, I can add a note.
Non-UK-academics aren't trusted,
The Most illuminating was in response to that message of John Dally's
beginning, eloquently,
SG93IG5vc3RhbGdpYyBJIGFtIGZvciB0aG9zZSBoYWxjeW9uIGRheXMgb2YgYmxpc3NmdW
wgaWdu
b3JhbmNlIHdoZW4gdGhlIGdvZHMgb2YgdGhlIE5QUyBkaWQgbm90IGNhc3QgdGh1bmRlciB
ib2x0
Are these the guys at Dflat house in Camden?
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Is there any software available which will input interminable arguments
about the Pipers' Society rulebook, and output intelligent discussion
about the instrument and its music?
John
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In a message dated 14/01/2009 00:24:15 GMT Standard Time,
richard.hea...@tiscali.co.uk writes:
http://nms.scran.ac.uk/database/record.php?usi=000-000-579-620-C
UP chanter all right, on the knee, but more like BP drones?
The artist doesn't show what the tune looked like though!
Printing does give a mirror image, so unless the artist flips it in his
head, that's what you get.
John
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Are you saying these words
'Come gie's a sang Montgomery cried ...'
fit the 'Reel of Tullochgorum' tune (they do) or the ex-strathspey
that's found in Peacock (they fit that too).
The difference between gobstopper and tomato soup is obscured by the
stress of the verse.
SMM has the strathspey tune - see
[1]http://www.burnsscotland.com/database/record.php?usi=000-000-499-837
-CPHPSESSID=mogu4k310q5f4sje49tpggju04scache=1i8i6q4yllsearchdb=scra
n
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References
1.
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
In a message dated 18/11/2007 11:58:54 GMT Standard Time,
[EMAIL PROTECTED] writes:
http://www.milecastle27.co.uk/simulator/
Rob,
Well done!
A very useful instructive widget - installing the soundbank was a bit
terrifying, but I managed once I started reading the instructions - doing
Exactly - just the melodic motifs that are used to build the variations in
Peacock.
Things like
BAGABG
or
G2 BcdB
or, building into an exercise...
GABG ABcA BcdB cdec defd efge g4
If you can play the Peacock variations fluently, you are doing fine.
John
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_www.bagpipe.de_ (http://www.bagpipe.de) says 'Bordunen'
John
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Regular readers will know I'm not a fan of KT's usual playing style, but Max
has got some good piping out of her. Some of the crispest rapid staccato
I've ever heard her play. Some open fingered trills too, mind - are they Max's
or hers, or did they agree on them?
The piece is good to
I must say that some of the best competition music I ever heard at Rothbury
was a variation set that should have been disqualified if the rules had been
enforced - on the other hand, last year's smallpipe competition, when the
rules were strictly applied, was relatively unsatisfying - there
Not much help in playing the variations, but the words of this broadside
ballad fit Peacock's tune.
_http://www.nls.uk/broadsides/broadside.cfm/id/15803_
(http://www.nls.uk/broadsides/broadside.cfm/id/15803)
John
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Edwin,
I'll refer you to the original email.
Don't recall ever reading that one though
John
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