I've mainly heard the version Julia gives first, though I got it from
Kathryn Tickell's playing.
Matt, I haven't heard the Rob MacKillop version - is this the same as
Julia's version 1, please?
With thanks,
Richard.
P.S. To Matt - I've just got your Vickers new edition - Smashing!
Matt Seattle
No, it's the little hamlet just down the road, York-With-Outany
;-)
R.
Is that as in Yorke-Withany?
Honor Hill
-Original Message-
From: Richard York [[1]mailto:[EMAIL PROTECTED]
Sent: Friday, August 15, 2008 3:27 PM
To: NSP group
Subject: [NSP] re-Tune title spelling
Interesting - name
.. they had no choytce, as it were...?
With solemn apologies.
Richard
On 27 Aug 2008, JuliaSay wrote:
I have just been informed that Bellingham Show has been cancelled. The
field is waterlogged, and it's still raining there. They could not
leave a decision any longer.
To
P.S. and my main request was for technique advice. I'm grateful for
the information already coming in - thanks!
The bit about Kosher-or-not was really the lesser part of my message.
Richard.
To get on or off this list see list information at
the pipes and don't get hung up on this debate - much of it
is tongue in cheek anyway (I hope).
I'll probably be burned in effigy after this post!
Colin Hill
- Original Message - From: Richard York
[EMAIL PROTECTED]
To: NSP Mailing List nsp@cs.dartmouth.edu
Sent: Thursday, August 28, 2008
No, it's a sort of sail, hence Lugger.
Isn't it?
Or was that a boat with big ears sticking out each side to catch the wind?
Richard.
Ormston, Chris wrote:
And here was me thinking that the 'lug' might be an ancient tool fashioned from a curlew's beak by the early Christian monks of Lindisfarne
Thanks, both John Barry, for confirming what seemed logically right!
I didn't have the FARNE link, so that's a bonus.
Best wishes,
Richard.
[EMAIL PROTECTED] wrote:
For those without the facsimile handy, the relevant page in FARNE is
.. and of course I never, never ever, not never at all, make such
errors in my own music writing. Not at all, at all
R
[EMAIL PROTECTED] wrote:
There is something similar in the 1st half bar of Keelman Ower Land.
There it is dc/B/A/G, with the NM version putting a triplet on the
Dunno for sure, but when I was editing, largely self-taught, a MS I
found of an early 18th century gent's favourite flute (i.e. recorder)
tunes, he had a whole plethora of marks, spirals, cirles with dots, the
lot.
I looked in the Division Recorder Book for help, where there are
A small-harp making friend of ours says from bitter experience that
cases in the hold should withstand being dropped the 12 feet or so from
the plane onto the concrete.
It's happened with a number of his harps, we've also heard of more
than one concert harp, in heavy case, being simply
I know little enough about this particular song, but it's certainly
amazing how many Homeric or other Greek mythological references turn up
in apparently quite unrelated storytelling traditions collected much
more recently, so wouldn't be at all offput by any Homeric strain here.
I risk being shot down for ignorance, but is it not the case that the
GHB's were traditionally a shade away from Bb concert pitch, and have
now come to roost on Bb as such for similar reasons?
( I just wish they wouldn't play them alongside brass bands, which tend
to have a different
Dunno about ladies, but I believe that gents have the buttons arranged
so the coat/whatever hangs allowing you to be able to draw a sword -
kept on the left - with the right hand.
Or is this one of those moments when the bells Klaxons go off as I
present yet another urban myth?
(It's also why
Hi,
Correct me if I'm wrong, but I'm sure simply recording it does confer
copyright, or at least has in the past, justly or not.
When various people collected folk singers earlier in the C20th, I
believe it's still an issue which rankles that by doing so they did
exactly that.
I was told that
Michael Jackson's THAT strapped for cash???... or just that mean?
What happened to those nice American ladies who wrote it all those years
ago, then?
Richard
julia@nspipes.co.uk wrote:
On 16 Jan 2009, julia@nspipes.co.uk wrote:
Far too much
But here's a PS:
Publishing includes
... and let's not even lift small corner of the lid over the hell which
is the Public Entertainment Licence :-(
Richard
[1]julia@nspipes.co.uk wrote:
On 16 Jan 2009, [2]malcra...@aol.com wrote:
How does copyright effect performance.?
Especaillay if an enterance charge is made,
Back to this chestnut, before MsTickell's award takes the airwaves up :)
Especially since Colin Hill posted the link
http://www.traditionalmusic.co.uk/old-time-music/midi/005200.MID
to that amazing rendition on accompaniment with bit of tune showing
through , it's been occasionally surfacing
Haven't had Mr Allen, specifically, but along with all the interesting
life-enhancing chemical offers we've had repeated adverts from a
printing firm offering not just business cards, but Free Backside
Printing too.
..Who would you show?
Richard.
julia@nspipes.co.uk wrote:
I am currently
I haven't yet had time to play with the site, but this relates to a
method which it was claimed could teach even tone deaf people to sing
in tune... and presumably to hear to tune drones.
The teacher plays a note, the victim sings what they think is the note.
Teacher plays what they actually
Thanks again, Alan and Christine, for organising it.
It was my first event of this sort, and hugely worth while.
I'm still relatively new to nsp's and still gratefully borrowing other
people's sets, but have been on plenty of musical teaching events, both
as a student and teacher, and the
:
Hi Richard,
Don't leave us hanging what did he choose to do?
Tim
- Original Message - From: Richard York
rich...@lizards.force9.co.uk
To: NSP group nsp@cs.dartmouth.edu
Sent: Wednesday, March 11, 2009 6:10 PM
Subject: [NSP] Re: First 30 tunes
Some years ago I met a man who
it to a wider audience. If you
haven't already done so buy Will Atkinson's wonderful CD and you'll
see
what I mean.
Regards
Anthony
--- On Wed, 11/3/09, Richard York rich...@lizards.force9.co.uk
wrote:
From: Richard York rich...@lizards.force9.co.uk
Subject: [NSP] Re: First 30
I am enjoying playing Sir Charles Rant - or Sir Charle's Rant - in
Peacock, but the title is interesting.
It obviously isn't a rant under the various definitions discussed here
recently, since it's in 6/8.
For those without Peacock who like words to rhythms, it doesn't refer to
tomato soup,
Welcome back, Anthony.
And here here to Colin for your comments.
I was also there in the 70's, and people like the Albion Band, Steeleye
Span, and others further out on their own electric limbs were doing
things to folk music which would have had the old boys like William
Kimber turning in
To reveal myself as a Softie Southerner who probably pronounces Bath as
Barth and thinks there are only wolves polar bears North of Watford
;-) ...please, what is a Cut Dry Dolly?
It suggests corn stooks to me, but this might be the wrong tree entirely.
Thanks,
Richard.
To get on or
: Richard York rich...@lizards.force9.co.uk
To: NSP group nsp@cs.dartmouth.edu
Sent: Sun, 19 Apr 2009 9:37
Subject: [NSP] Cut Dry Dolly
To reveal myself as a Softie Southerner who probably pronounces Bath
as Barth and thinks there are only wolves polar bears North of
Watford ;-) ...please, what
Please may I suggest that whatever form the Great Reformed NPS takes, it
should be inclusive rather than exclusive?
The traditional ways of playing are necessarily vital. They have
informed the instrument and the music, and they only survived because
they are very good music; but there are
I find this very reassuring, Matt!
I'm still bashing away at Peacock, and only recently took note of the
metronome settings in the recent edition, some of which are, to me,
stratospherically fast.
I've been wondering if these were based on general practice, either
current or
and feel light on their
feet they need speed - which the player has to provide. When the
piper is simply playing for his/her own pleasure then the music can
take over and set its own tempo.
Cheers,
Richard S.
Richard York wrote:
I find this very reassuring, Matt!
I'm still bashing away
I always found that getting the group to put the instruments down, and
sing the tune, as best the voice allows, until it's internalised; and
only then encouraging people to play it with the same feel as they sang
it, works better than some ways of ear teaching, and tends to get more
spirit
When teaching an evening class on playing traditional music a while
back, I was determined to get the dots only players to play by ear,
visa versa too, so they all had the benefit of both techniques. Most
seemed to find it useful.
So after some weeks of working up to it, and following John
I rather assumed that the extra extra embellishment was a sort of in
joke, affectionately smiling at Billy Pigg's enthusiasm for such
embellishments and just overdoing it enough for the grin. Andy M only
does that once - most tasteful!
Mr. May, sir, - if you read this list - was that the
Apologies to the rest of you for using the general lists thus.
Hi Dawn,
You wrote to one of these two lists about Rothbury Festival... I think
it's next weekend, yes? recently but I deleted the message, and
hence your address with it.
I have a small favour to ask, if you are going up there,
I'm impressed that you find you can write decent tunes in your sleep,
Valerio - I recently woke up from a dream with a world-beatingly
fantastic tune in it, and to my glee found I could still remember part
of it. Then as the layers of sleep peeled away I was mortified to
realise I'd
Valerio's right - though you could always buy the Peacock book on
actual paper. It's remarkably cheap for such a superb set of music for
8 notes.
In fact in my fairly short nsp playing life so far, I've been
surprised that although everyone carries the Society Tune Books and
the folios,
I opened my computer to write and congratulate Julia all on Folio 3,
see I'm not the first, so I'll join my voice to theirs.
I'll look forward to playing through the tunes too.
Thanks,
Richard.
To get on or off this list see list information at
I'd love to hear it, but am I the only one whose computer sits there for
ages with the quick-time logo up, and the message loading, but no
ultimate achievement?
Is there an alternative route to reaching it?
I can hear the other tunes on your front page, Anthony, they're fine.
Thanks,
Richard.
near Hepple and could see just what he meant. Trouble
is I'm still not there yet - as Jimmy Little says it takes a lang
time, a lang, lang time!
Cheers
Anthony
--- On Sun, 25/10/09, Richard York rich...@lizards.force9.co.uk
wrote:
From: Richard York rich...@lizards.force9
Thanks Richard,
That's interesting - we like Firefox so much better in lots of ways, but
it sometimes doesn't play things it ought. Now I'll know what to do in
future!
Best wishes,
Richard.
Richard Evans wrote:
Richard Evans wrote:
Anthony Robb wrote:
Here's a wee snippet of Will
Well said again, Anthony.
It's indeed the possession of both skills which is rare.
We recently met a lady who had played professionally in the string
section of a leading national orchestra for years, and had just retired.
Name the conductor, and she'd played under them.
She now left the
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?
The same theory likes the introduction of the nakers to Europe
occurring for the same reason - it is
Strange, isn't it? You're right, but I can't recollect ever seeing the
Scotland bagpipes mentioned, nor yet the France bagpipes.
Yours in puzzlement, but Happy New Year anyway,
Richard.
P.S. Not being very tall, I suppose I'm a small piper, or at least
aspiring eventually to become one.
Palatinate Pipes?
tim rolls BT wrote:
I guess we may have to consider allowing Durham,
CHAPELRY OF WHITWORTH.
The Chapelry of Whitworth is bounded by the Wear, dividing it from
Brancepath on the North; by Tudhoe, in the Parish of Brancepath, on the
East; by Merrington
Thanks for the reminder, Matt, and my apologies.
Richard.
Matt Seattle wrote:
Etiquette
Only couple of gross offenders, but please don't include EVERY message
in a thread when you reply to it, just the relevant bits
Happy New Year
To get on or off this list see list
Hi Tom,
I'll let others advise on the oil, but the bottles are gained by boldly
walking into a nail and beauty salon and asking for either an unused one
or an empty, then applying loads of acetate to clean it up.
Best wishes,
Richard.
Tom Childs wrote:
Hi all,
I know this question has
Errmmm, no actually I got lots of sheets from an overhead projector and
wiped it until or there again I'm just getting old and forgetful
and meant acetone all the time. Whooops.
Thanks, Francis.
Richard.
Francis Wood wrote:
On 12 Jan 2010, at 19:04, Richard York wrote
Yes - thanks!
R
Julia Say wrote:
On 13 Jan 2010, Richard York wrote:
Julia, I love this word snotomer but confess I haven't met it before,
neither has Google, it appears... I can sort of guess...
Please explain, with footnotes where appropriate :)
I worked for 10 years in a polymer
Unmanned spy drone says the article.
I have an image of a little hovering drone which buzzes round nsp mass
playings to check on the tunings of everyone present. Depending on the
personality of the group leader/teacher, offenders are either helpfully
rectified or dispatched.
( in case
I'd welcome comments/advice on nsp bag shape, please.
There's the conventional shape, and now I learn there's the tear-drop shape.
I've been playing other (non Scottish) bagpipes for quite a long time,
with various shaped bags, from medieval/renaissance large tear drop,
held more in front of
Thanks greatly to one and all for these - great food for thought here.
I'm interested that everyone's addressed the matter of how to make the
existing bag shape comfortable, but no-one has offered experience of the
tear-drop shape - are they very rare, or just deeply heretical?
Meanwhile I
This thread is great - thanks again all.
Resonance affected by neck shape, air flow etc - forgive my ignorance
but does the presence of a bit of foam in the top of the split stock,
put there I assume to prevent either seasoning escaping into chanter or
loose reed escaping into bag, not affect
As I understand it, the shape you get if a cartoonist wants to depict a
drop of water: pointy top smoothly widening to rounded belly shape, and
in my mind, the top is not straight but bends off to the side the
chanter's going to go. Again, like the cartoon drop of water.
If I'm wrong, someone
Vraiment!!! Merci.
christopher.bi...@ec.europa.eu wrote:
[1]http://www.youtube.com/watch?v=jedd2FiZTqM
--
References
1. http://www.youtube.com/watch?v=jedd2FiZTqM
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
And there's also the great mix of Andy May's pipes Sophie Ball's
fiddle on his Happy Hours CD. Smashing.
(Official Disclaimer: the terms, Great mix and smashing here
represent expressions of personally held opinions of musical taste, for
which I alone am responsible, and with which others
Haven't tried cyanide, but did do Wagner with passionate Wagner-phile
'A' level Music teacher many years ago.
Sorry, Paul, it was as a result of that I got to dislike them... but
hope you enjoy The Ring Cycle!
Best wishes and apologies to all for another OT excursion!
Richard.
There are just too many obvious openings for unkind remarks about why
one would bother to take the Gurdy out before trying the test but as
a gurdy player I'm far too kind to make them. :-)
Richard.
There is a Belgian on the HurdyGurdy list, who is in the military, who
has tried
This is especially true if you have the skill and the right saw to cut
the whole thing in two with a decent straight line which meets up with
itself in all the right places...
Richard.
Paul Gretton wrote:
BTW, anyone thinking of building their own (wooden) case might benefit
from the
And beware of the Wrong sort of foam!
For various instrument cases some years ago I got this superb stuff from
a car upholsterer: foam-backed cloth with quite a raised nap - smashing
and quite classy looking
.. for the first 12 - 15 years. After which the foam de-natures and
fills the
What a great idea indeed seems to be building momentum. I really
enjoyed watching Andy May's demo at Halsway of making/scraping a reed.
I suspect it's not quite as easy as he made it look :-) but as you
say, it's a skill we all need.
And fiddle tuning - while I was in a music shop
Rosslyn/Roslyn/Roslin Castle is a tune I love, and it's in the NPS
books. I'd like to find more about the origin.
The story about the mason, from Andy May on his CD insert, is a great
tale, but of course doesn't explain the tune's beginnings - I sort of
assumed from there it was perhaps a
Andy's CD but if his story is about a mason I suspect it
relates to the Apprentice Pillar in Roslin Chapel - a different
building. The Welsh story - no comment.
On Mon, Apr 26, 2010 at 1:10 PM, Richard York
[1]rich...@lizards.force9.co.uk wrote:
Rosslyn/Roslyn/Roslin Castle
Greetings.
I'm replacing the cover for my bag, due to replacing the leather bag
with a longer necked one, which would otherwise poke out in an
undignified way.
I've only ever seen velvet used on bag covers so far. Is it just a fine
tradition, or is there some reason why other cloths may be
Thanks to all for the wealth of information.
Barry's reply suggests a possible need for a new sub-group within the
NPS, the naturist sectionon second thoughts, I don't even want to
picture it!!
Best wishes,
Richard.
On 11/08/2010 22:09, Barry Say wrote:
But why bother
On 12/08/2010 11:05, Richard York wrote:
Go on, someone plase suggest tattooing the bag :)
R
On 12/08/2010 11:01, Philip Gruar wrote:
Does this still work if the skin is covered with tattoos?
Philip
- Original Message - From: Barry Say
[1]barr
-afternoon - morn being far too chilly!
Richard.
On 16/08/2010 15:52, Francis Wood wrote:
On 12 Aug 2010, at 09:55, Richard York wrote:
a possible need for a new sub-group within the NPS, the naturist section
Since August is still with us, should we compile a suitable repertoire?
Francis
Just take a sleeping bag and several days' food with you - once in,
it's difficult to leave, as you keep on seeing just one more thing you
Really need to look at...
Richard.
On 24/08/2010 09:09, Edric Ellis wrote:
Hi all,
Apologies if this is common knowledge - couldn't
I grovel.
- and of course you're right.
Yours in deep humility,
Richard.
On 08/09/2010 15:26, Julia Say wrote:
On 8 Sep 2010, Gibbons, John wrote:
Probably not a typo.
No, John is correct. Not a typo.
There are quite a few of these scattered through society publications (and
Kettle Drum is in the 1650 Playford's Dancing Master, for one.
Dunno about its actual origins, but that's a collected and published
source for it.
Best wishes,
Richard.
On 28/09/2010 15:53, Greenley, Gordon wrote:
Does anyone have any information on the origins of the following tunes?
Subjective indeed... especially when John Clare gives the tune ( I
believe in its non-abridged version, but I'm sorry, I'm too tired to go
check just now) as a Gavotte by Handel.
:)
Richard.
On 08/10/2010 20:35, Pauline Cato wrote:
It was me who picked this tune for the
Greetings,
I expect to be corrected, but I was told that the story was that
General M deliberately marched his men down slowly so that while he
hadn't overtly changed sides yet, they would arrive, O dear what a pity
chaps, too late to actually be there in time to prevent the
I'm hunting tunes. Nowt to do specifically with smallpipes, but at
least one is Scots. And I know there are some mighty experienced tune
historians among you
And I have looked in Farne, Matt!:-)
Henry Mayhew in the 1850's interviewed Old Sarah a blind Londonstreet
hurdy gurdy
,
Richard.
On 31/10/2010 18:28, Francis Wood wrote:
On 31 Oct 2010, at 16:13, Richard York wrote:
Henry Mayhew in the 1850's interviewed Old Sarah a blind Londonstreet
hurdy gurdy player who was taught in the very early years of the 1800's
to play what she called the cymbal.
Hurdy gurdy has
to be taken from life (and we do
all know how accurate newspapers, journals and books are, don't we).
Colin Hill
- Original Message - From: Richard York
rich...@lizards.force9.co.uk
To: NSP group nsp@cs.dartmouth.edu
Sent: Sunday, October 31, 2010 6:13 PM
Subject: [NSP] Re: Cymbal
Hi
to be taken from life (and we do
all know how accurate newspapers, journals and books are, don't we).
Colin Hill
- Original Message - From: Richard York
rich...@lizards.force9.co.uk
To: NSP group nsp@cs.dartmouth.edu
Sent: Sunday, October 31, 2010 6:13 PM
Subject: [NSP] Re: Cymbal
Hi
.. that's a cunning way of reminding me that while I still have your
original yellow Bewick book, I ought to buy the new one too, Matt :-)
I will order one anyway, but do you mean by this you think it's not Lord
Randall either? (Sorry, being thick here - it'll probably be clearer
once I own
And to complete the circle, there's a recording of both nsp's and
gurdy at http://www.richardhaynesmusicservices.com/page6.htm
I'm not saying it's state-of-the-art playing on either, but it's a very
interesting and rather nice sound combination.
It's only fair to read his comments first: it's
Me too!
And while between the day job taking up silly hours, and workmen
knocking the house about, I haven't had time to more than gloss any of
this last part, yes please - go on.
I look forward to getting time, and a lack of thunderous hammering, to
play this material this w/e - on pipes I
you asked about.
Does it lie as well under the fingers on a hurdy-gurdy as on NSP?
John
From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of
Richard York [rich...@lizards.force9.co.uk]
Sent: 04 November 2010 18:42
To: NSP group
Subject
Greetings from the rainswept Midlands!
Radio 3's Words Music last night was from the Sage, largely with
NE theme, and three Tickells much in evidence, including some piping,
singing, words, local choir, etc.
[1]http://www.bbc.co.uk/iplayer/episode/b00vf5cn/Words_and_Music_Free_T
Greetings from the rainswept Midlands!
Radio 3's Words Music last night was from the Sage, largely with
NE theme, and three Tickells much in evidence, including some piping,
singing, words, local choir, etc.
[1]http://www.bbc.co.uk/iplayer/episode/b00vf5cn/Words_and_Music_Free_T
Thanks, Ian, for this link.
Really useful, especially when it leads to Jakob Nielsen's pages, where
I can feel virtuous about some bits my own site's design and learn that
others need changing quite seriously!
Richard.
When I have had problems like this I often go back and re-read and
Hello.
Sorry, I'm wandering off the smallpipes topics again, but lots of
people here have fingers in various musical pies and valuable experience.
- and I do plan to be introducing smallpipes into our ceilidh band
soon, so it's not entirely off topic!
Please has anyone experience of the
I was listening recently to a trio playing 17th/18th Cent. divisions on
La Folia on the radio, and was struck afresh by how similar are some of
the things appearing in the nsp variations.
(And yet different.)[Special aside for Round the Horn listeners :) ]
Divisions on viols or
, but may help
towards a part answer to your question, have a look at the book essays
in musicology ---page 150
regards
Dave Singleton
On 11/25/2010 6:50 PM, Richard York wrote:
I was listening recently to a trio playing 17th/18th Cent. divisions on
La Folia on the radio
And a truly smashing hour it was! Cheered up our evening no end, it did.
Stuff like this really is what we need now, it was truly inspiring.
The 60's Folk prog which followed was a right trip down nostalgia lane :)
What's happening to TV? - all this, and last night the super programme
by the
, and it's hopefully a thin end of a
wedge.
OK, back to the washing up.
Salutations.
Richard.
On 11/12/2010 21:18, Richard York wrote:
And a truly smashing hour it was! Cheered up our evening no end, it did.
Stuff like this really is what we need now, it was truly inspiring.
The 60's Folk prog
The only fitting response to this seems to me to picture the Charlie
Brown cartoons - the image of Charlie with a sort of horizontal but
wiggly line for his mouth - know the one I mean?
Richard.
On 15/12/2010 12:09, Francis Wood wrote:
On 15 Dec 2010, at 12:05, Gibbons, John wrote:
But
I'll think more on what he meant when I have more time!
For expression - I quite agree with you on fiddle tunes.
On the other hand, there are expressive tunes written primarily for
pipes, surely, where they sound superbly best on pipes?
And it is truly hard for anyone to make them work with
(I've missed a day on this, while I was daft enough to honour a gig in
Hampstead: 1 hr 40 there, 7 hours 20 back. The joys of the soft south!)
You're absolutely right, John.
It is, to adapt an earlier comment, pointless comparing apples and potatoes.
But since we've mentioned it
I was
We've been at risk of straying onto the which instrument is best?
territory here, methinks, but Jim's points are right, to my mind.
And they bring me a few more thoughts which I hope are useful and not
merely pompous!
Some instruments are easier to make an acceptable sound on than
Na - keep it up! Far better than a boring silence and complacency :)
All this reminds me of a sermon we once heard preached at a massed
Morris event, by Father Kenneth Loveless, the concertina (previously
owned by Wm Kimber) playing Rector.
The essence of it was that Spirit was the most
Hi Mike,
You have the right man in Colin Dipper!
A very Rolls Royce of concertina tuners, who 25 years ago rescued my
lovely anglo from a botch job someone else had done, and has looked
after it from time to time ever since.
And on the other hand, you probably already know that unless there's
Please can John's advice be etched on metal plates, and nailed to all
bodhrans ? ;-) [Cajons too]
Richard, (among whose dearest friends was once a superb bodhran player.
Just a few are out there.)
On 07/01/2011 09:41, christopher.bi...@ec.europa.eu wrote:
Nice one John!
c
I also found it really confusing when trying to teach traditional
music in this system to French speaking groups.
Given that tonic solfa allows a movable doh (Or should that be Doh!?
) it's a very helpful system for singing with, as long as you indeed
don't forget which of the arbitrary names
Will whoever's taking any NPS etc shop items to the March Halsway
pipers' weekend be including the new Matt Seattle Bewick book, and the
excellently well reviewed Rob Say CD, please?
Looking forward already to a good weekend.
Best wishes,
Richard.
--
To get on or off this
While we're here, what oil would you recommend for mouth-blown
woodwind instruments, either pipes or recorders, which have no moving
parts but need the wood feeding?
I'm never sure what to use. Almond seems nice on recorders, and hasn't
yet appeared to go rancid, but I'd welcome more advice,
Arduous research in dusty attics and archives has revealed, Francis,
that I regret it's not a strathspey, more a sort of rhythmic unravelling.
I couldn't find anything called The Rotting of the Cotton Threads as
such, but this obviously fairly corrupt version called The Rotting of
the Threads,
Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Richard York
Sent: 16 January 2011 22:54
To: NSP group
Subject: [NSP] Re: Rotting of The Cotton Threads
In fact I'm sure it would have made more sense with the sections in
reverse order. But there you
I am sure I'm not the only person here who gets different feelings
about different keys. G always feels fairly stable, A is a bit more
exciting, Em is darker than Am , and so on.
When playing an A minor tune I wrote for nsp's on the piano to see what
harmonies it wanted, I was
Thanks all for these responses.
I'm trying in vain to remember the name in a BBC Radio3 programme some
while ago about the Italian composer, just before Gesualdo, who devised
the most amazing system to mean that all intervals were perfectly in
tune, but the instruments, and singers,
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