[NSP] Re: facebook and the forum

2012-08-17 Thread Gibbons, John
The trouble is - all us monomaniacs followed the Forum, and nobody joined us. Are they trying to tell us something? 'Here's a lovely forum to have your discussions in', then they tiptoe away quietly and have a great party somewhere else. John From:

[NSP] Re: small coals, and the peacock following the hen

2012-08-15 Thread Gibbons, John
On Border pipes, nominally a tone higher, the drones are fixed, in A; they have no bead holes. Cuckold, or the Peacock followed the Hen, swap around between B minor and D major above the A harmony of the drone. This corresponds to playing them in Aminor/Cmajor against G drones on NSP. It

[NSP] Re: Question

2012-06-14 Thread Gibbons, John
Rob, The Woodhorn pictures are still visible, but I could not link to the search engine either. Off to the day job John From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of rob@milecastle27.co.uk [rob@milecastle27.co.uk]

[NSP] Re: Book on J. Collingwood Bruce (early NSP supporter) free on GoogleBooks

2012-03-07 Thread Gibbons, John
Matthew, Bruce was one of the 2 editors of the Northumbrian Minstrelsy, though Stokoe was the main editor for the tunes. Both were not ideal - but many of the earlier Ancient Melodies Committee, particularly William Kell, had died by the time the book was being prepared. They got the book out,

[NSP] Re: Book on J. Collingwood Bruce (early NSP supporter) free on GoogleBooks

2012-03-07 Thread Gibbons, John
] On Behalf Of Julia Say Sent: 07 March 2012 14:21 To: nsp@cs.dartmouth.edu Subject: [NSP] Re: Book on J. Collingwood Bruce (early NSP supporter) free on GoogleBooks On 7 Mar 2012, Gibbons, John wrote: Bruce was one of the 2 editors of the Northumbrian Minstrelsy, though Stokoe was the main

[NSP] Re: March 2012 TOTM: Adam a Bell selected by Julia Say

2012-02-29 Thread Gibbons, John
Reading in A and playing in G is also a skill worth learning! It opens up an awful lot of the Scottish repertoire. John -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Matt Seattle Sent: 29 February 2012 10:24 To: Dartmouth NPS

[NSP] Re: March 2012 TOTM: Adam a Bell selected by Julia Say

2012-02-29 Thread Gibbons, John
There is also the question of what did Dixon intend by his blank key signature? Did it mean 'this tune is in Gmix/Cmajor or Adorian'? Or did it mean, as with Highland pipe music, 'I am not bothering to say what the actual key signature is, as you know already'? John

[NSP] Re: TOTM

2012-02-09 Thread Gibbons, John
And this one too - though the lunch break hasn't yet started, alas John -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Matt Seattle Sent: 09 February 2012 12:18 To: Anthony Robb Cc: DartmouthNPS Subject: [NSP] Re: TOTM Gets

[NSP] Re: ebay Northumbrian bagpipe (not)

2011-12-07 Thread Gibbons, John
A puzzle - are there any ethnoorganologists out there who can identify the thing? John From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of John Dally [dir...@gmail.com] Sent: 06 December 2011 22:29 To: NSP group Subject: [NSP] ebay

[NSP] Re: flat chanter in the middle

2011-11-14 Thread Gibbons, John
Kevin If it is a 7-key chanter, one possible cause is a reflection from the foot of the chanter, nearly in resonance with the upper part between the reed and the d hole. If so this resonance might be flat, dragging the d down a bit. Try pushing the cotton wool plug a few mm up the chanter?

[NSP] Re: hornpipes for October TOTM

2011-10-12 Thread Gibbons, John
It's a great set - Glen Aln is a grand tune that deserves more outings, and itgoes well into the Marquis of Lorne; the Redesdale rounds the set off nicely. I liked the snaps here and there in the Marquis and the Redesdale. John From:

[NSP] Re: October TOTM suggestions?

2011-09-24 Thread Gibbons, John
Thanks for keeping this going. We could try anything by Billy Pigg? I could be beastly and suggest 'Billsmoor', but 'Raylees' is perhaps more user-friendly, and deserves more airtime. Another argument for this is that we haven't done any hornpipes yet, either. John

[NSP] Re: October TOTM suggestions?

2011-09-24 Thread Gibbons, John
: 24 September 2011 12:01 To: nsp@cs.dartmouth.edu Subject: [NSP] Re: October TOTM suggestions? On 24 Sep 2011, Gibbons, John wrote: I could be beastly and suggest 'Billsmoor', giggle but 'Raylees' is perhaps more user-friendly, and deserves more airtime. And there's a piper there once more

[NSP] Re: Farewell to Whisky - Niel Gow

2011-09-14 Thread Gibbons, John
I had thought the ban was due to crop failures after Laki erupted catastrophically - but Napoleon is a likelier culprit with this date, 10 years after it quieted down again. John From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of

[NSP] Re: Harvest tunes

2011-09-02 Thread Gibbons, John
Also, from Ireland, the Stack of Wheat and the Little Stack of Barley; the latter is the portion of barley that 'The Ewe with the crooked Horn', the still, is fed with. There should be food and drink as well as music at a decent Harvest supper. John

[NSP] Re: September TOTM

2011-09-01 Thread Gibbons, John
Happy to add a 4th vote to this overwhelming consensus of 3. Cuddy is a wonderful tune - and most versions are somehow excellent, even if not all the same. For a real outlier, look at the Scottish pipe-style fiddle version in 'The Master Piper' - Matt will remember the source. John

[NSP] Re: TOTM/shameless plug

2011-07-31 Thread Gibbons, John
Matt has argued an octave pair of drones tuned Gg will work for The Peacock/Mad Moll and other harmonically similar tunes like Cuckold - you want to show up the contrast between the Am and Cmaj in the first and second strain respectively. That is what Peacock probably had to do with his

[NSP] Re: August tune of the month: suggestions

2011-07-22 Thread Gibbons, John
My vote would be for the Peacock, and if we use STV, then Herd on the Hill as 2nd preference. The discussions that followed Roxburgh Castle told us a lot about rants v. reels, so maybe one of the old tunes will stir up some good discussions too. John -Original Message- From:

[NSP] Re: Mr Dunk - Inspector of Public Nuisances

2011-07-17 Thread Gibbons, John
I wonder what his sister thought of it? She could compose, and her quartet at least is still played. So there must have been music in the family home when they were young. Certainly W on the W looks literate. As Francis points out, it's not a scribble. But it needs massive editing to make sense

[NSP] Re: Mr Dunk - Inspector of Public Nuisances

2011-07-17 Thread Gibbons, John
Without looking at the cup, how could the listener tell? From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of Francis Wood [oatenp...@googlemail.com] Sent: 17 July 2011 14:19 To: Gibbons, John Cc: NSPlist group Subject: [NSP] Re: Mr

[NSP] Re: Shield's H'pipe

2011-07-15 Thread Gibbons, John
. The FARNE Core Tunes article on Morpeth Rant (not my work) also gives the Shield attribution. On Thu, Jul 14, 2011 at 9:23 PM, Gibbons, John [1][4]j.gibb...@imperial.ac.uk wrote: But isn't Matt just quoting the Cloughs' title there? Beware of secondary sources

[NSP] Re: on keilder side

2011-07-15 Thread Gibbons, John
Kevin, Tom Anderson, who wrote it, explained in an interview in 1970, printed in his book ''Ringing Strings'' ''I was coming out of Eshaness in late January 1969,the time was after 11pm and as I looked back at the top of the hill leading out of the district I saw so few lights compared to

[NSP] Re: Shield's H'pipe

2011-07-14 Thread Gibbons, John
But isn't Matt just quoting the Cloughs' title there? Beware of secondary sources, in other words - they don't corroborate where they are drawn from. A citation of 'The Morpeth Rant' (new or old) from anyone but the Cloughs, with the Shields' title, from pre-1900 would be interesting - one from

[NSP] Re: Rants

2011-07-12 Thread Gibbons, John
I think this (courant/rant) may be just a coincidence of syllables. Though there is a general tendency to use various specific dance-names, like rant, reel, courant, hornpipe and even jig, to mean 'dance', and nothing more. Look at 'The Reel of Harden' in 9/8 for an example A lot of

[NSP] Re: Rants again

2011-07-11 Thread Gibbons, John
Why has this rant thread gone so quiet all last week? What makes a tune sound like a rant, rather than a reel or hornpipe? If I take a (4 in a bar) hornpipe without triplets, speed it up a bit, but not as much as a reel, smooth out the dotting a bit, and emphasise the odd beats at the expense of

[NSP] Re: Rants again

2011-07-11 Thread Gibbons, John
? Tim On 11 Jul 2011, at 13:05, Gibbons, John wrote: Why has this rant thread gone so quiet all last week? What makes a tune sound like a rant, rather than a reel or hornpipe? If I take a (4 in a bar) hornpipe without triplets, speed it up a bit, but not as much as a reel, smooth out

[NSP] Re: Tune of the Month, July, Roxborough Castle

2011-06-30 Thread Gibbons, John
Playing hornpipes in Irish sessions - the Telegraph at the top of Brixton Hill particularly- was good speed practice. But you don't have to worry about closed fingering on a flute! The main difficulty there was finding a beat long enough to snatch a breath Still panting, 20 years later.

[NSP] Re:

2011-06-30 Thread Gibbons, John
Anthony, Francis and all, I've just tried playing Hesleyside and Roxburgh Castle at rant speed, but with hornpipey dotting, and found it very educational, and potentially very musical too. There is a rightness about playing them that way which is very convincing. But they need more work

[NSP] Re: Ahh yes the Northumbrian Minstrelsy

2011-06-29 Thread Gibbons, John
For the tunes at least, a lot more interesting than NM - though it was important when it came out - is the source material for it, a lot of which is on FARNE. The Antiquaries society MS, Topliff's collection and of course Vickers and Atkinson, are all there, and were sources for NM. The

[NSP] Re: Last call for Newcastleton Piping Comps

2011-06-27 Thread Gibbons, John
The midges in Newcastleton are as nothing compared to the ones on the 'right' side of the border along Kielder Water. On our only trip there, we stopped on the way to admire the view of the lake, and were eaten alive. The cost of getting there is measured in blood! But Liddesdale was always

[NSP] Re: Deaf/dead

2011-06-24 Thread Gibbons, John
I've never seen anyone's goats playing a shawm - playing the goat, perhaps. You are perhaps thinking of the Great God Pan, who played another wind instrument... John -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of cwhill Sent: 24 June

[NSP] Re: Deaf/dead

2011-06-22 Thread Gibbons, John
The Iliad and Odyssey were probably composed sometime between the Mycenaean era and classical times, but the versions we know were almost certainly written down in the early classical era. There is evidence (eg lines that apparently don't scan properly), of language changes between composition

[NSP] Re: Forbearance please

2011-06-22 Thread Gibbons, John
Then again, Mr Preston's Hornpipe - tune, variations, title and all would be lost to us if Marsden hadn't got (Playford?) to print it in 170-something! Swings and roundabouts, indeed. John -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf

[NSP] Re: Deaf/dead

2011-06-21 Thread Gibbons, John
When I was in a choir, a composer of a piece we'd commissioned explained legato, poco staccato and staccato respectively as pah, pom, and pop. For NSP, pah is a no-no, as notes need definite ends. So the spectrum we work between is somewhere between pom and pop. Occasional ventures into

[NSP] Re: Deaf/dead

2011-06-21 Thread Gibbons, John
Most of the argument here seems to be about the word staccato than any great stylistic difference. -Original Message- From: Julia Say [mailto:julia@nspipes.co.uk] Sent: 21 June 2011 10:05 To: barr...@nspipes.co.uk; Gibbons, John Cc: nsp@cs.dartmouth.edu Subject: Re: [NSP] Re: Deaf

[NSP] Re: Deaf/dead

2011-06-21 Thread Gibbons, John
@nspipes.co.uk; barr...@nspipes.co.uk; Gibbons, John Cc: nsp@cs.dartmouth.edu Subject: RE: [NSP] Re: Deaf/dead that's what I tend to use) that in classical / art music terms these days, a note with a staccato dot should be played half length of what is printed, (so a crotchet becomes a quaver

[NSP] Re: Deaf/dead

2011-06-21 Thread Gibbons, John
Or poppaDOMpompompom POPpadom? -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood Sent: 21 June 2011 16:29 To: Richard York Cc: NSP group Subject: [NSP] Re: Deaf/dead P On 21 Jun 2011, at 15:51, Richard York wrote: Then

[NSP] Re: Deaf/dead

2011-06-20 Thread Gibbons, John
Barry, stacc. abbreviated form of staccato (Italian: detached, separated) staccare(Italian) to detach, to separate each note The word has its natural meaning, in other words. Stacatissimo is what some people think it means, but it doesn't! John

[NSP] Re: Ending tunes traditionally

2011-06-18 Thread Gibbons, John
Bear in mind that even stopping playing the chanter 'dead' on the final dissonance, say the A minor at the end of Lads of Alnwick, it makes sense to keep the drones going a few beats longer; though whether you regard that as a resolution of a discord or the start of a continuation of the GGGA

[NSP] Re: The Dartmouth Competitions

2011-06-17 Thread Gibbons, John
Is talking good sense traditional? -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Matt Seattle Sent: 17 June 2011 10:49 To: Dartmouth NPS Subject: [NSP] Re: The Dartmouth Competitions Lotsa fun here - Adrian's inspired '6

[NSP] Re: arrogant

2011-06-17 Thread Gibbons, John
I have received no emails via the list from Kyle Eckmann, who doesn't seem to be on it. Why would he ask you to be removed from a list which you don't administer? I think you have been wound up -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On

[NSP] Re: UP open/closed tuning

2011-06-17 Thread Gibbons, John
Francis, I think the tuning of modern UP is optimised when they're played closed. If the chanter's played open, it drinks more air, and plays sharper. Johnny Doran played off the knee a lot, and when Willie Clancy 1st heard him, he thought he was out of tune - a heresy which he repented in

[NSP] Re: Northumbrian Skypers' Society

2011-06-13 Thread Gibbons, John
It sounds like Adrian synchronised to what he heard of Chris, but Chris can only have ignored what he heard of Adrian, as it would have been half a bar later than what he was playing. Proof of concept, anyway... John -Original Message- From: lute-...@cs.dartmouth.edu

[NSP] Re: tune of the month

2011-05-24 Thread Gibbons, John
Free-reed instruments in Europe are only a half-century or less younger than keyed NSP, mind John From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood [oatenp...@googlemail.com] Sent: 24 May 2011 10:23 To:

[NSP] Re: Tune of the Month: Felton Lonnen

2011-05-24 Thread Gibbons, John
John's idea of comparing performances of the same piece on NSP and BP is an interesting one; I find that apparently identical settings, suitably transposed, will have a very different musical feel on the 2 instruments, even though they look similar on the page, and feel similar beneath the

[NSP] Re: E major tune

2011-05-17 Thread Gibbons, John
It is remarkable that an Emaj tune can be played successfully, 4 sharps away from the NSP's home key. It might be easier if the tune was on a gapped scale rather than full-blown E major, but it is hard to avoid the E-B interval, which isn't quite a 5th on NSP, but should be in this key.

[NSP] Re: even more on G and D

2011-05-10 Thread Gibbons, John
The main trouble in C major is the third, E. If it is tuned a fifth above A, which is a fifth above D, which is a fifth above G, which is a fifth above C, then it will be too sharp for C major. A major third is perceptibly flatter thanfour fifths minus 2 octaves. Either this chain of fifths all

[NSP] Re: D chanter on AU ebay

2011-03-24 Thread Gibbons, John
Maybe a confused description - could Colin clarify this? But there are a lot of keys at the top end. John From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of John Dally [dir...@gmail.com] Sent: 24 March 2011 17:25 To: NSP group

[NSP] Re: Started Wikipedia article F+ (pitch)

2011-02-10 Thread Gibbons, John
I would not see much point in a separate article on this. It is not a rigorous standard, as people have been saying, just a de facto acknowledgement of the fact that if you want to make pipes that are in tune with most other sets, then that is about the pitch you need. So there is very little

[NSP] Re: Tuning/pitch

2011-02-10 Thread Gibbons, John
Irregularities in the bore will affect the boundary layer, if not the wave impedance of the bore. So alteration to the tone rather than the pitch? John -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood Sent: 10 February

[NSP] Re: Tuning/pitch

2011-02-09 Thread Gibbons, John
But have they been rereeded (almost certainly) and retuned (quite possibly) since leaving the workshop? Rereeding can account for a semitone, and the tuning could then have been readjusted for consistency once they were flattened. John -Original Message- From:

[NSP] Re: Tuning/pitch

2011-02-09 Thread Gibbons, John
As for the Reids' hole spacings, Dr. Wells is probably better placed than anyone to answer, having looked at most of the survivors. He might also know which ones look to have the original hole spacings and which show signs of subsequent work? John -Original Message- From:

[NSP] Re: Bonny at Morn

2011-02-08 Thread Gibbons, John
I think of the simpler Bewick and the more ornate NM version together as the germ of a short variation set. But they would need some tweaking to fit - the NM version is certainly not hexatonic. John -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu]

[NSP] Re: Esoteric tuning relationships

2011-02-07 Thread Gibbons, John
A compromise might be a pair of e's, one a true 6th above G, for playing in G; another - a perfect fourth above the B, and keyed, for playing in E minor. The low E might be harder to arrange practically, but may not be as critical acoustically?? As the most prolific and also one of the best

[NSP] Re: Esoteric tuning relationships

2011-02-07 Thread Gibbons, John
@cs.dartmouth.edu Subject: [NSP] Re: Esoteric tuning relationships On 7 Feb 2011, at 11:21, Gibbons, John wrote: A compromise might be a pair of e's, one a true 6th above G, for playing in G; another - a perfect fourth above the B, and keyed, for playing in E minor. The low E might be harder

[NSP] Re: Esoteric tuning relationships

2011-02-07 Thread Gibbons, John
Of Julia Say Sent: 07 February 2011 17:26 To: nsp@cs.dartmouth.edu; Francis Wood Cc: 'Dru Brooke-Taylor'; Gibbons, John Subject: [NSP] Re: Esoteric tuning relationships On 7 Feb 2011, Francis Wood wrote: Yes, that's right. Or to be more precise, Reid pipes play most happily at F# using

[NSP] Re: Esoteric tuning relationships

2011-02-03 Thread Gibbons, John
This makes a lot more sense on a mean-tone tempered instrument like NSP, than on a notionally equal-tempered one like a piano. Different keys do have perceptibly different intervals between the various degrees on NSP, so G-d is pretty true and E-B is on the flat side; but on a piano a fifth is

[NSP] Re: Rotting of The Cotton Threads

2011-01-17 Thread Gibbons, John
Richard, Your discovery is a good one, but the rhythm of the title ''The Rotting of the Cotton Threads'' is so clearly a Strathspey, as Francis noted, that I looked elsewhere in the archive. On a moth eaten, yellowing, and (Speyside) whisky-stained sheet of paper I found: X:2 T: The Rotting of

[NSP] Re: Rotting of The Cotton Threads

2011-01-17 Thread Gibbons, John
|| John -Original Message- From: Gibbons, John Sent: 17 January 2011 12:46 To: NSP group Subject: RE: [NSP] Re: Rotting of The Cotton Threads Richard, Your discovery is a good one, but the rhythm of the title ''The Rotting of the Cotton Threads'' is so clearly a Strathspey, as Francis

[NSP] Re: CD's books at Halsway

2011-01-14 Thread Gibbons, John
Seconded - and probably thirded too, before long! John From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of Richard York [rich...@lizards.force9.co.uk] Sent: 14 January 2011 09:22 To: NSP group Subject: [NSP] CD's books at Halsway

[NSP] Re: [nsp] re-conditioning ...

2011-01-14 Thread Gibbons, John
Quantz swore by almond oil, and if Fritz's flute had suffered by it it would perhaps show in the historical record One problem is the speed of sound in nitrogen is not the same as in air. A way of coaxing the extra few cents out of a flat chanter would be to hook a nitrogen cylinder up to

[NSP] Re: Shape notes

2011-01-12 Thread Gibbons, John
I think the point is that untrained ear singers may have a better ear for intervals than for absolute pitch. The shapes are an indication of the interval between the note to be sung and the tonic or subdominant - the 4 shapes correspond to fa, sol, la, and mi - a unison, tone, major third, and

[NSP] Re: Concertina Tuning

2011-01-07 Thread Gibbons, John
Of Anthony Robb Sent: 07 January 2011 09:48 To: nsp@cs.dartmouth.edu; rob@milecastle27.co.uk; Gibbons, John Subject: [NSP] Re: Concertina Tuning John, please remember I was talking in the context of switching off drones to let the music shine forth, not silly things like playing

[NSP] Re: Drone Tuning

2011-01-07 Thread Gibbons, John
/1/11, Gibbons, John j.gibb...@imperial.ac.uk wrote: From: Gibbons, John j.gibb...@imperial.ac.uk Subject: [NSP] Re: Concertina Tuning To: 'Anthony Robb' anth...@robbpipes.com, nsp@cs.dartmouth.edu nsp@cs.dartmouth.edu, rob@milecastle27.co.uk rob@milecastle27.co.uk

[NSP] Re: Doublin' (Keenan Glackin)

2011-01-07 Thread Gibbons, John
I'd agree completely about this record. Lovely! I must dig it out again. The precision is what marks it out from a lot of lesser performances, Irish or from wherever. John -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Anthony Robb

[NSP] Re: Like never before

2011-01-07 Thread Gibbons, John
Very daft. `It's Northumbrian music cap'n but not as we know it' The track continues with Hesleyside Reel, and finally brings out, wonderfully, the true treacliness of Sweet Hesleyside. Can he please murder Rothbury Hills too for an encore maybe? It needs it. I will be going back to the site for

[NSP] Re: Concertina Tuning

2011-01-06 Thread Gibbons, John
Others may not like it but at least you'll be pleasing the most important person in this whole process, namely yourself. Which is I would argue is the main purpose of traditional music. Pleasing everyone else in the room might be a priority for some, as well! I have heard too many so-called

[NSP] Re: Pipes Fiddles

2010-12-20 Thread Gibbons, John
Sorry about my '...' marks, which were not to indicate a direct quote - but rather to paraphrase the gist of an earlier email, the passage: Years later [Chris] wondered publicly on this list what had happened to that piper. The answer is, Greg Smith played The Blackbird for me. His

[NSP] WHW

2010-12-19 Thread Gibbons, John
That recording of Billy's 'did it' for many of us, I'm sure. Quite far from the idealised view of the Northumbrian Tradition in Doubleday, or the actual tradition he learned from Tom Clough, but wonderful music for all that. Listening to RTE, and artists like Leo Rowsome, must have been a

[NSP] Re: WHW

2010-12-19 Thread Gibbons, John
I'd heard NSP before - including Billy's TV appearance. But that record was what really got the fire burning - Jack Armstrong's LP didn't quite do it for me. Also, as you say, the notes - almost a book - were excellent. Colin's transcription of The Wild Hills of Wannie really helped me to

[NSP] Re: Doubleday

2010-12-18 Thread Gibbons, John
The defining performance of the Blackbird for me (both the air and the set dance) was Paddy Keenan's on his solo UP album. That probably owed a bit to Johnny Doran's famous recording. But Chris achieved a tremendous lot on his recording of the air - proving that NSP can be powerfully

[NSP] Re: key question

2010-12-15 Thread Gibbons, John
The 2 extravagances on my big chanter are the high bflat - used a grace up to a high b in Maggie Lauder- And a low A - useful in a few Clough tunes, including the 'big' Lea Rigs, and in the Bonny Lass of Bon Accord. Neither of which I can play adequately yet... It's also useful if I am

[NSP] Re: Pipes with continuo?

2010-11-28 Thread Gibbons, John
Of course a drone instrument has its own bass. But the implicit ground either fits or doesn't fit with the drones. Hence the preference, from Dixon onwards, for grounds based on only 2 chords. More complex grounds don't work so well. But did Dixon play along with a cello or bassoon? Peacock

[NSP] Re: 'My Deary sits ower late up'

2010-11-11 Thread Gibbons, John
November 2010 09:20 To: nsp@cs.dartmouth.edu; Gibbons, John; julia@nspipes.co.uk Subject: Re: [NSP] Re: 'My Deary sits ower late up' Thanks folks Another fascinating discussion. I first had this tune as a song from Johnny Handle in the late 60s and then sang it often to my own bairns. As 'deary

[NSP] Re: 'My Deary sits ower late up'

2010-11-10 Thread Gibbons, John
...@ec.europa.eu Sent: 10 November 2010 09:10 To: Gibbons, John; nsp@cs.dartmouth.edu Subject: [NSP] Re: 'My Deary sits ower late up' John Gibbons wrote: the reprint edition has a typo in the penultimate strain, the 1st bar beginning g/f/|egB egB... instead of g/f/|egd egB

[NSP] 'My Deary sits ower late up'

2010-11-09 Thread Gibbons, John
Dear All, We were playing Peacock 'My Deary sits ower late up' in Oxford at the weekend. One minor thing is that the reprint edition has a typo in the penultimate strain, the 1st bar beginning g/f/|egB egB... instead of g/f/|egd egB ... as in Peacock

[NSP] Re: Where hast thou been a' the day, waggin' thy hand?

2010-11-06 Thread Gibbons, John
From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of Julia Say [julia@nspipes.co.uk] Sent: 06 November 2010 06:11 To: Matt Seattle; Gibbons, John Cc: nSP group Subject: [NSP] Re: Where hast thou been a' the day, waggin' thy hand? On 6 Nov 2010, Julia Say

[NSP] Re: Where hast thou been a' the day, waggin' thy hand?

2010-11-06 Thread Gibbons, John
[theborderpi...@googlemail.com] Sent: 06 November 2010 13:42 To: julia@nspipes.co.uk Cc: Gibbons, John; nSP group Subject: Re: [NSP] Re: Where hast thou been a' the day, waggin' thy hand? On Sat, Nov 6, 2010 at 6:11 AM, Julia Say julia@nspipes.co.ukmailto:julia@nspipes.co.uk wrote

[NSP] Re: Where hast thou been a' the day, waggin' thy hand?

2010-11-05 Thread Gibbons, John
group; Gibbons, John Subject: [NSP] Re: Where hast though been all the night? Before you read on - is anyone besides John Gibbons, Julia Say and myself interested in this? Seriously, please say so, I'd like to know, because if not, we can carry on the discussion privately. If anyone

[NSP] Re: Tune hunt: OT but I hope interesting!

2010-11-04 Thread Gibbons, John
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Matt Seattle Sent: 02 November 2010 10:58 To: Gibbons, John Cc: Richard York; NSP group Subject: [NSP] Re: Tune hunt: OT but I hope interesting! I see why you prefer the 3-strain Reavely version as more consistent, but the Crawhall

[NSP] Re: Where hast though been all the night?

2010-11-04 Thread Gibbons, John
|dcB dcB|dGB c2e|d/c/B/A/B/G/ Bcd|dgf d2|| From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of Gibbons, John [j.gibb...@imperial.ac.uk] Sent: 04 November 2010 11:57 To: 'NSP group' Subject: [NSP] Re: Tune hunt: OT but I hope interesting

[NSP] Re: Where hast though been all the night?

2010-11-04 Thread Gibbons, John
November 2010 16:56 To: julia@nspipes.co.uk Cc: nSP group; Gibbons, John Subject: Re: [NSP] Re: Where hast though been all the night? Before you read on - is anyone besides John Gibbons, Julia Say and myself interested in this? Seriously, please say so, I'd like to know, because if not, we can

[NSP] Re: Where hast though been all the night?

2010-11-04 Thread Gibbons, John
Give it a go on the gurdy too - It will be interesting to know if this could have been the tune 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

[NSP] Re: Cymbal

2010-11-02 Thread Gibbons, John
See http://en.wikipedia.org/wiki/Organistrum for another name, a description, and a good picture. John From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of Philip Gruar [phi...@gruar.clara.net] Sent: 02 November 2010 17:50 To:

[NSP] Re: Tune Information

2010-09-28 Thread Gibbons, John
Was the 'Kettle Drum' in the query referring to the D dorian Playford tune, or the G major Scottish polka - in one of Matt's Piper's Pocket Books? John -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Richard York Sent: 28 September

[NSP] Re: 4-bar reels

2010-09-08 Thread Gibbons, John
Probably not a typo. The 'n-bar' description seems to apply indiscriminately to tunes of total length n bars, and tunes with strains that long. I'd call Peacock's Bonny Pit Laddie a 6-bar jig; but a tune like The Hexham Quadrille, with 3 eight bar strains repeated, is often called a 48-bar jig.

[no subject]

2010-09-08 Thread Gibbons, John
4-bar jigs are worth thinking about too - see 'I cannot get time to play with my hinny' (both versions) on FARNE, or of course 'Wylam Away'. There are a few others, like Blowzabella, but maybe there should be more! John -- To get on or off this list see list information

[NSP] Re: 4-bar reels

2010-09-08 Thread Gibbons, John
Sent this to Julia by mistake earlier, instead of to everyone... -Original Message- From: Gibbons, John Sent: 08 September 2010 15:58 To: 'julia@nspipes.co.uk' Subject: RE: [NSP] Re: 4-bar reels It should also be noted that a lot of older '8-bar' reels have the structure of a 4

[NSP] La Grande ChaƮne

2010-07-09 Thread Gibbons, John
Is there a date for the tune's first appearance in Northumberland? Did it arrive during the war??? John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[NSP] Re: Reeds

2010-07-09 Thread Gibbons, John
Anthony's comments about adjacent slips from the same piece of cane made me wonder if the north and south side of the cane would be of differing elasticity or density?? Variation with height is clearer, of course. John -Original Message- From: lute-...@cs.dartmouth.edu

[NSP] Re: Parnell's March

2010-06-07 Thread Gibbons, John
I thought it was a march! There isn't much to choose between how people play dotted 4/4, (as in the duet book arrangement of this) and how they play 12/8 anyway. If it has 4 beats in the bar, (strong-weak-strong-weak) and a good bounce to the rhythm, it will sound right, however you spell it.

[NSP] Re: Smallpipes Simulator

2010-04-23 Thread Gibbons, John
The fun comes - in trying to keep drones in tune - when different drones move in opposite directions as the pressure fluctuates. Ideally, they shouldn't care about pressure that much, so fluctuations to keep chanter notes in tune don't affect the drone notes. But once they decide that the G

[NSP] Re: The Dark Island

2010-04-23 Thread Gibbons, John
Maybe a more topical one 'The Duck Island'? -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Anthony Robb Sent: 11 April 2010 23:27 To: Dartmouth NPS Subject: [NSP] The Dark Island Bill Telfer wrote: Aye I've heard Ian

[NSP] Re: pipe cases

2010-02-18 Thread Gibbons, John
GHB will of course need a much bigger pipe, and *both* ends should be stuck on. John -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Paul Gretton Sent: 18 February 2010 16:52 To: 'colin'; 'Dartmouth NPS' Subject: [NSP] Re: pipe cases

[NSP] Re: NSP duet with other instruments

2010-02-10 Thread Gibbons, John
Barry said If only pipes were so simple The formula for strings: f = (1/2L) * sqrt (T/mu) neglects all sorts of effects, such as the bow or the finger, the rigidity of the string, the speed of tension waves in the string, etc. And we haven't thought of the motion of the fiddle's bridge and

[NSP] Re: NSP duet with other instruments

2010-02-10 Thread Gibbons, John
Or the pitch of the discussion could rise... -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood Sent: 10 February 2010 13:01 To: Barry Say Cc: NSP group Subject: [NSP] Re: NSP duet with other instruments Thanks Barry.

[NSP] Re: NSP duet with other instruments

2010-02-08 Thread Gibbons, John
some people love Wagner's Operas and I don't, despite a classical musical education 'Because of', surely?? -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Richard York Sent: 07 February 2010 12:48 To: rosspi...@aol.com; NSP group

[NSP] Re: Sliabh na m'Ban (was Gaelic Pronunciation)

2010-02-06 Thread Gibbons, John
Julia, The tune in Geoff's transcription is the same one as appears, much simplified, on The Session. It is good that Geoff made such a serious effort to transcribe Billy's timing and ornament - never an easy job. I think this one is the 'real' Sliabh na mBan. That one on the You Tube clip

[NSP] Re: Key Matters. Not pipes, but of musical interest

2010-02-03 Thread Gibbons, John
Well spotted. It's odd maybe that Gmaj on NSP has a similar feel to Gmaj on a flute, (comfortable, in some sense the native key of the instrument) but acoustically nearer to Fmaj. How much do these associations depend on the context? -Original Message- From: lute-...@cs.dartmouth.edu

[NSP] Re: NSP oil for pipes and key pads

2010-01-13 Thread Gibbons, John
I can't see LP getting too sticky - I have never noticed that happen. There isn't much chemistry can take place, short of lighting it, and the volatile components should have been distilled off at the refinery. If heavier fractions did build up, the most obvious solvent for shifting it would

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