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
Listing has ended anyway (Australia is ahead of us on time so it's tomorrow
there today)
Colin Hill
- Original Message -
From: Gibbons, John j.gibb...@imperial.ac.uk
To: John Dally dir...@gmail.com; NSP group nsp@cs.dartmouth.edu
Sent: Thursday, March 24, 2011 5:38 PM
Subject: [NSP
Sent: Thursday, March 24, 2011 6:38 PM
Subject: [NSP] Re: D chanter on AU ebay
Listing has ended anyway (Australia is ahead of us on time so it's
tomorrow there today)
Colin Hill
- Original Message -
From: Gibbons, John j.gibb...@imperial.ac.uk
To: John Dally dir...@gmail.com; NSP
It's a D chanter and therefore longer than the F - there is more room
to fit keys in at the top. Seems perfectly reasonable to me.
R
Quoting Gibbons, John j.gibb...@imperial.ac.uk:
Maybe a confused description - could Colin clarify this?
But there are a lot of keys at the top end.
John
On 23 Mar 2011, inky-adrian wrote:
yes, it's in the Bowes museum. A bagpipe, part Northumberland-all keyed and
part Union.
There was a short article about it in an NPS mag many years ago (late 80s? - I
haven't time to check)
Off the top of my head, I think the conclusion was
I haven't seen the Bowes Museum pipes either. I've never been to the museum
even though I've driven through Barnard Castle at least a hundred times, but
always on the way to or from Durham or Newcastle - no time to stop or well
outside museum opening hours. However, I think it's very well worth
Hello All
I've got a drawing from a local (Forest Hall) inventor with an
arrangement of keys operated by the fingers which cover the open holes - at the
same time. He doesn't play, make or own a set so I've no idea why he picked up
on the idea that the NSP Chanter might need modification.
I've a recollection that adding all the keys to woodwind instruments
wasn't just about being able to add extra notes, but because some notes
can fit better with a fully chromatic scale if the holes are all
different sizes, including some that are too big for fingers to cover.
There's an
And given that an instrument's design is (literally) instrumental in
shaping its own repertoire, would it even be at all appropriate to do so?
Best wishes,
Richard.
On 23/03/2011 11:15, Dru Brooke-Taylor wrote:
I've a recollection that adding all the keys to woodwind instruments
wasn't
interesting discussion though.
Colin Hill
- Original Message -
From: Richard York rich...@lizards.force9.co.uk
To: NSP group nsp@cs.dartmouth.edu
Sent: Wednesday, March 23, 2011 11:34 AM
Subject: [NSP] Re: Has there ever been an NSP with _all_ keys (no open
holes)?
And given
You want us to recommend a maker? ha, ha, ha.
On Wed, Mar 23, 2011 at 4:02 AM, Gordon Brown gor...@10db.co.uk wrote:
My wife Alison has a Burleigh D set is still looking for an F set so
that she can play along with other pipers - not that there are many in
East Anglia! If anyone has a
Forgive me, but methinks that's a rather unhelpful response to a
reasonable if admittedly diplomatically difficult request, John.
Perhaps people who like their own pipes might answer Gordon off-list?
Richard.
On 23/03/2011 14:35, John Dally wrote:
You want us to recommend a maker? ha, ha,
seems ideal.
Gordon
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Richard York
Sent: 23 March 2011 15:43
To: NSP group
Subject: [NSP] Re: Still looking for an F set!
Forgive me, but methinks that's a rather unhelpful response
I would recommend Uwe Seitz who lives near HeilBrunn in Germany, his set
are A440 F so one can play at concert pitch with a consort/ensemble/ etc
and push a bit for F+
Dave Singleton
On 3/23/2011 3:35 PM, John Dally wrote:
You want us to recommend a maker? ha, ha, ha.
On Wed, Mar 23, 2011
I suspect John was being humourous.after all if you ask five pipers
for recommendations on makers you will often get six answers and and an
argument (and thats just among the pipe makers!).
I don't know if Mike Nelson is doing much making these days but he is in
Cambridge and therefore
Sorry. :-( I guess I should have used the emoticon: :-) I forget
that not everyone has as quick a wit as I do. ;-) Otherwise known
as snark, picked up during my many years among thick skinned
Highland pipers. }:-) Oh, I probably just offended someone again.
;-) Ian is much too nice to
Great idea, Ian. Perhaps we could practice by descending upon him
sometime this summer?
On Mon, Mar 21, 2011 at 5:03 PM, Ian Lawther irlawt...@comcast.net wrote:
I can't help thinking that for next year the Pacific North West piping group
should move their meeting at this time of year to the
On 18 Mar 2011, Julia Say wrote:
The newsletter has been posted (18 March).
Judging by early reports, it's on a very slow train this time (like 4 days to
get 7
miles!)
Don't know what the mail is up to, but hopefully it will reach most Uk members
by
the end of the week.
If you want to
Interesting... would it actually be easier, with all keys and
therefore all fingers [] available
to hit keys ?
As it is I'm still teaching my fingers when to move to make all the
notes faster, and still letting my thumb little finger learn which
position is which, but most of the
A saxophone is a woodwind without any open holes covered by fingers.
Some holes are always open to make notes, but all of them are closed
by a key pad, as opposed to fingers like the other woodwinds you
mention, Colin.
I suspect if you covered all the holes with keys and pads you would
lose a lot
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,
The American uilleann pipe maker Patsy Brown made uilleann pipes with
keys on all the holes. The only picture I can find on line is rather
small but is at
http://www.lemccullough.com/LEMcCullough/Music-Biography_files/PatsyBrown-filtered.jpg
A larger copy of this appears in Patrick Sky's
I was under the impression that if cavities get carved inside a bore (not
just pin-pricks of drill points) with the cavity around the sound hole
area, it will reduce the pitch of that particular note to a slight extent
in the bottom octave (and more so in the second octave, which is out of
And just to throw another q out therewhat is the effect, if any, of
minor warping of wooden chanter/drones?
Paul
Dublin
On Fri, Feb 11, 2011 at 10:32 AM, Dave Shaw [1]d...@daveshaw.co.uk
wrote:
I was under the impression that if cavities get carved inside a bore
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
10, 2011 2:38 PM
Subject: [NSP] Re: Tuning/pitch
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
indications are that it is excellent!
Bob
- Original Message - From: Francis Wood oatenp...@googlemail.com
To: julia@nspipes.co.uk
Cc: Dartmouth NPS nsp@cs.dartmouth.edu
Sent: Thursday, February 10, 2011 2:38 PM
Subject: [NSP] Re: Tuning/pitch
On 10 Feb 2011, at 13:43
As establishing frequencies was yet to come,
I think establishing frequencies goes back at least as far as Mersenne's time
but I've no idea how they did it.
I can't think of any other explanation for the figures accompanying his
illustration of the various sizes in the violin family, which
On 9 Feb 2011, Philip Gruar wrote:
I'll just say that with care, a flat-ended drill and delicacy
of touch, there should be no need for rods down the bore. You just stop the
drill before it goes too deep!
Well, quite. One can both hear and feel the drill reaching the bore.
Nevertheless
it
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
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
Quoting Francis Wood oatenp...@googlemail.com:
In response to your question about unevenness at those drill points
and the effect on standing waves, I strongly doubt (and this is just
a guess) that it would have any effect on standing waves. Consider
that the volume of the cavity caused
2011 11:55
To: julia@nspipes.co.uk
Cc: Dartmouth NPS
Subject: [NSP] Re: Tuning/pitch
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
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 have been enjoying the thread discussions since I joined the list serve back
in the fall. I have now been playing my F set since late November and have
learned about five tunes on the 17 key chanter. I get tired easy and have some
squeaks from the lower registers but otherwise I am making
...@googlemail.com]
Sent: Tuesday, February 08, 2011 5:12 PM
To: BIRCH Christopher (DGT)
Cc: anth...@robbpipes.com; nsp@cs.dartmouth.edu
Subject: Re: [NSP] Re: Tuning
On Tue, Feb 8, 2011 at 10:06 AM, [1]christopher.bi...@ec.europa.eu
wrote:
Also, it's a song and all of the singers I
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
One maker having lots of influence again, or rather previously!
C
-Original Message-
From: lute-...@cs.dartmouth.edu
[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood
Sent: Wednesday, February 09, 2011 10:31 AM
To: Paul Gretton
Cc: nsp@cs.dartmouth.edu group
Subject: [NSP] Re
To: Paul Gretton
Cc: nsp@cs.dartmouth.edu group
Subject: [NSP] Re: Tuning/pitch
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
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
Hi Anthony,
Perhaps we should also take reed variations into consideration.
Cheers,
Richard
- Original Message -
From: Anthony Robb anth...@robbpipes.com
To: Dartmouth NPS nsp@cs.dartmouth.edu
Sent: Wednesday, February 09, 2011 11:02 AM
Subject: [NSP] Tuning/pitch
Francis wood
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:
On 9 Feb 2011, Anthony Robb wrote:
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 are said to be happy at F+20.
We know that Billy was in the habit of making his
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Julia Say
Sent: 09 February 2011 16:42
To: Dartmouth NPS
Subject: [NSP] Re: Tuning/pitch
On 9 Feb 2011, Anthony Robb wrote:
The puzzling thing is that we have had two reports in recent postings
of Reid sets happy to play
Gretton i...@gretton-willems.com
To: 'Colin' cwh...@santa-fe.freeserve.co.uk; nsp@cs.dartmouth.edu
Sent: Wednesday, February 09, 2011 7:20 AM
Subject: [NSP] Re: Tuning/pitch
In a large number of cities, the tuning standard was taken from the organ
(specifically the flue pipes) in the church
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
(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
Absolutely Francis, music is a sociable activity, I also think the idea
is take your pipes out of the box and be able to muck in with any other
type of instrument. I may be considered different but I like the idea of
just saying - yep it's a Bb transposing, so treat it like a clarinet. I
On 9 Feb 2011, Francis Wood wrote:
What
Julia said was that when a reed was first put in the chanter it was
said to have played at F+20. I took that to be an interesting and
amusing anecdote without any specific conclusions to be drawn from it
[is that correct, Julia?]
When I was told
- Original Message -
From: Julia Say julia@nspipes.co.uk
This can also be seen on some modern sets (various makers), although I
have been
taught to put a rod down the bore before drilling to prevent it happening!
(And had
the bore inspected closely to check I'd done so!)
Sets
a copy of that book and read it.
Colin Hill
- Original Message -
From: Philip Gruar phi...@gruar.clara.net
To: julia@nspipes.co.uk; Dartmouth NPS nsp@cs.dartmouth.edu
Sent: Wednesday, February 09, 2011 11:29 PM
Subject: [NSP] Re: Tuning/pitch
- Original Message -
From
Equal temperament of course has its place as does chromaticism, but I think
except for keyboard-players, who can't (unless they have split-key harpsichords
or such like), even when playing highly chromatic music the best musicians
constantly tweak their tuning to produce the most harmonious
Also, it's a song and all of the singers I have backed prefer that key.
Yes, it would be horribly high in A min unless you were a natural light tenor.
And finally, as an instrumental it makes a loamishly
lovely springboard to dive into P B's P.
I don't know PBP but BAM sounds wonderful
I set my Korg DA 30 to 446 using the calibration button
and take it
Sorry to be a nuisance (again!), but what note on the chanter do you tune for
zero deviation of the needle? The (nominal) G or the (nominal) B? (or other?)
Thanks
CB
To get on or off this list see list information at
On Tue, Feb 8, 2011 at 10:06 AM, [1]christopher.bi...@ec.europa.eu
wrote:
Also, it's a song and all of the singers I have backed prefer
that key.
Yes, it would be horribly high in A min unless you were a natural
light tenor.
Fair enough. George Welch sings it in B
] On Behalf Of
Matt Seattle
Sent: 08 February 2011 16:12
To: christopher.bi...@ec.europa.eu
Cc: anth...@robbpipes.com; nsp@cs.dartmouth.edu
Subject: [NSP] Re: Tuning
On Tue, Feb 8, 2011 at 10:06 AM, [1]christopher.bi...@ec.europa.eu
wrote:
Also, it's a song and all of the singers I
Good points.
I suppose as the pipes are essentially a solo instrument, it wouldn't matter
what note they sounded provided the things were in tune with themselves.
That's essentially true for many rural instruments (I remember making penny
whistles from elder wood as a child and goodness knows
Which were tuned with reference to..
Colin Hill
- Original Message -
From: gibbonssoi...@aol.com
To: cwh...@santa-fe.freeserve.co.uk; nsp@cs.dartmouth.edu
Sent: Tuesday, February 08, 2011 9:27 PM
Subject: [NSP] Re: Tuning/pitch
Before the tuning fork was invented
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Colin
Sent: 09 February 2011 01:37
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: Tuning/pitch
Which were tuned with reference to..
Colin Hill
- Original Message -
From: gibbonssoi...@aol.com
To: cwh...@santa
I don't know exactly how flat A = 398 is but it can't be very far off F+,
given that A = 392 would correspond to concert G.
I wonder if Anthony would agree therefore that since lots of the notes are
sharp, a good starting point would be to pull the reed out a fraction?
C
-Original
I don't know exactly how flat A = 398 is but it can't be very
far off F+,
Sorry, badly worded. I mean it can't be very far off an A that would give you
F+.
c
given that A = 392 would correspond to concert G.
I wonder if Anthony would agree therefore that since lots of
the notes are sharp,
Can one maker (which one?) have that much influence?
Possibly, I think. I didn't have a specific one in mind as I was primarily
speculating on the process (that's why I wrote a maker rather than one
maker, but didn't CR fairly recently mention someone down the road making
lots and lots of
[christopher.bi...@ec.europa.eu]
Sent: 07 February 2011 09:56
To: dir...@gmail.com
Cc: bri...@aol.com; chrisdgr...@gmail.com; nsp@cs.dartmouth.edu
Subject: [NSP] Re: Esoteric tuning relationships
Can one maker (which one?) have that much influence?
Possibly, I think. I didn't have a specific one
blend their pipes
failry pleasantly at A=446.
Do you mean tuning your nominal G to the F you get on an equal temperament
tuner if you set it to A = 446?
Or do you mean tuning the nominal B to 446?
These two possibilities would yield different results. (a higher nominal G in
the second
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.
Yes, this is what I meant by 8 (different) notes to the octave rather than just
seven.
The lower, keyed, high E would also sound better
And I've been telling people it is because all notes have got
gradually
sharper over the last 150 years, and that the Reid 'ur-pipes'
were made
when G was somewhere between where F and G are now. Have I been wrong
all this time?
This is probably an associated factor. My speculation about
@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
should be just that - a standard. If it changes, it ain't
standard!
Good interesting thread though.
Colin Hill
- Original Message -
From: christopher.bi...@ec.europa.eu
To: drubrooketay...@btinternet.com; nsp@cs.dartmouth.edu
Sent: Monday, February 07, 2011 11:45 AM
Subject: [NSP] Re
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
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
Hi Paul. I read that book, along with another one which argued that
equal temperament made Modern (post-modern?) Civilization the
greatest the world has ever known, or something like that. Sorry, I
don't remember the name of the book or its author. I didn't agree
with his premise or his thesis,
--- On Mon, 7/2/11, Matt Seattle theborderpi...@googlemail.com
wrote:
From: Matt Seattle theborderpi...@googlemail.com
Subject: [NSP] Re: Tuning
To: Dartmouth NPS nsp@cs.dartmouth.edu
Date: Monday, 7 February, 2011, 16:41
On Mon, Feb 7, 2011 at 1:40 PM, Anthony
To: nsp nsp@cs.dartmouth.edu
Sent: Fri, Feb 4, 2011 11:13 pm
Subject: [NSP] Re: Esoteric tuning relationships
So that is why my pipes always sound out of tune, and I thought it was
just poor musicianship on my part! I have just checked out the
deviation on my pipes with a tuner on my Iphone
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,
I put this down to my pipes being tuned with G as their
home key, as it
were,
This is probably it, as you probably (I hope) have your pipes tuned in
more like just intonation than equal temperament. So your nominal B,
for example, will be very flat as the second degree of
The tuning given here is basically just intonation rather than meantone:
http://www.machineconcepts.co.uk/smallpipes/tuning.htm
In other words, acoustically pure intervals. No tempering at all.
but on a piano a fifth is a fifth is a fifth (nearly).
Nearly = two cents narrow cf. Mike Nelson's
Btw, Rob Say's nsp simulator is in equal temperament. I've discussed this with
him and he agrees that it's less than ideal but it's neverthless a good
starting point for beginners - which was what is was intended to be.
When it tells you that, for example, the G and D drones are in tune, the d
, and as a solo instrument
it is not a problem, but I would like to know how people get around it
in recording sessions.
Chris Gregg
-- Forwarded message --
From: [1]christopher.bi...@ec.europa.eu
Date: Fri, Feb 4, 2011 at 2:40 AM
Subject: [NSP] Re
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
Ouch!!!
-Original Message-
From: lute-...@cs.dartmouth.edu
[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Ian Lawther
Sent: Tuesday, February 01, 2011 5:09 AM
To: nsp@cs.dartmouth.edu
Subject: [NSP] Bewicks German Spa
I've just noticed a tune called German Spa in Bewick and wondered
Hi Ian,
Check out Shotley Sword-makers - it may have be a link to the spa
and the German sword makers who emigrated in the time of King William
Tschüss
Dave s
On 2/1/2011 5:09 AM, Ian Lawther wrote:
I've just noticed a tune called German Spa in Bewick and wondered if
it is, by
Re: German Spa
It's a fairly standard 19th C dance tune, no local connection AFAIK, I
included it in the edited selection because Bewick has a plain chanter
adaptation (other versions need c#)
On Tue, Feb 1, 2011 at 12:58 PM, Dave S [1]david...@pt.lu wrote:
Hi Ian,
Check
Quite a bit of info at
http://www.ibiblio.org/fiddlers/GEO_GH.htm
Cheers,
Paul Gretton
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Matthew -
Check the following on Chiff Fipple whistle forum
[1]http://forums.chiffandfipple.com/viewtopic.php?f=1t=70731hilit=no
rthumbrian
It's from Jerry Freeman, whistle tweaker and maker, talking about how
he set up some whistles to fit with Chris Ormston and Andy May's
Hi Matthew,
Don't be fooled by the nomenclature when talking about Northumbrian small
pipes. A set of pipes playing in F+ is actually playing about 75 cents
below concert pitch i.e. if you finger a G on the pipes it will show F+ on
a meter. If you have a tuneable D whistle and can pull the
On Thu, Nov 4, 2010 at 6:28 PM, Anthony Robb [1]anth...@robbpipes.com
wrote:
. would it be even more wonderful if some clever person (I think
all three of you have the skills) to put it all done as a living piece
of music somewhere for all to hear?
Anthony
Thanks to
I was the fellow for whom Jerry Freeman adjusted that C whistle. I had
tried to do it myself by flattening a D whistle, but it was terribly out
of tune in the upper notes. I did not own a C whistle, so took
advantage of Jerry's expertise while at Killington to get a C and
sharpen it. No
...@hotmail.com
Sent: Monday, January 31, 2011 11:00 PM
Subject: [NSP] Re: Tweaking pennywhisle to NSP F+ pitch?
I was the fellow for whom Jerry Freeman adjusted that C whistle. I had
tried to do it myself by flattening a D whistle, but it was terribly out of
tune in the upper notes. I did not own a C
Oh do share!
:)
- Original Message -
From: richard.hea...@tiscali.co.uk
To: NSP Dartmouth nsp@cs.dartmouth.edu; NPS Forum
discuss...@northumbrianpipers.org.uk
Sent: Thursday, January 20, 2011 6:46 AM
Subject: [NSP] Thomas Sander !
Hello All
I'd like to thank all the people who
On 19 Jan 2011, richard.hea...@tiscali.co.uk wrote:
I'm afraid I can't write
abc, so I can't post a transcription of it. It's a 4/4 march in D.
Here's what was submitted for the NPS folio (as abc), which I think originates
with
Margaret W's transcription:
X:7867
T:Thomas Saunders
C:?
M:C
Karl's book (
http://scottshighland.com/catalog/product_info.php?products_id=348 ) is
published by Scott's Highland Supply and they should be able to give you
some information on him. He was still alive in 2007 but probably in his
late 60s.
Ian
Julia Say wrote:
On 19 Jan 2011,
'
Subject: [NSP] Re: Rotting of The Cotton Threads
With the typographical huge leaps removed - these age-yellowed
whisky-stained MS abc files are a b---r to read.
X:2
T: The Rotting of the Cotton Threads
C:Trad?
M:4/4
Q:1/4=60
L:1/8
K:A dor
g||:f| eA Ac BD EB| ef ge Be B/Ge/|eA Ac BD EB|
cd e/d/c/d/ eA
also
discover the missing lyric
John
-Original 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
Subject: [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 noted, that I
looked elsewhere in the archive. On a moth eaten, yellowing, and (Speyside)
whisky-stained sheet
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 do
/ eA A||
G|EF EA CE A,C|EG Ac dA fa| (3bag (3agf (3gfe (3fed| ef g/f/e/d/ eA
A2||
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
||
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
...@gruar.clara.net wrote:
From: Philip Gruar phi...@gruar.clara.net
Subject: [NSP] Re: Shellac
To: nsp@cs.dartmouth.edu
Date: Saturday, 15 January, 2011, 22:53
Incidently, you can also get 'Blonde' French Polish which
might suit lighter woods.
Under the ferrules, the colour
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,
An arduous piece of research Richard, for which we are all indebted!
Clearly this represents a tradition in its debased and probably final stage.
The bonds holding the whole thing together are finally disintegrating.
It seems quite probable that the decline and fall of the Roman Empire may
501 - 600 of 2505 matches
Mail list logo
