> And that's the point, isn't it? To understand the instrument in a
> sufficient manner you surely have to play it to a level of
> competence, and to have a knowledge of the music it grew up with and
> was designed for. The unkeyed nsp excel(led) at divisions. The keyed
This is too limiting --
listening or not, and you have a
recipe for it not working.
John
-Original Message-
From: Matt Seattle [mailto:[EMAIL PROTECTED]
Sent: 31 October 2006 09:59
To: ''Dartmouth N . P . S . site''; [EMAIL PROTECTED]
Subject: [NSP] Re: All What Jazz?
>Maybe we ne
>Maybe we need that triangle of player, maker, composer somewhere
>Matt...
You're misquoting me somewhat Julia, and it was Chris who first mentioned the
triad of music, pipes and piper, which is the triad of 'piping'. The composer -
if I can risk being metaphysical - is someone who is not necess
"They may also, as Chris Ormston does, play
Stranger on the Shore"
Hear it at www.youtube.com/chrisormston !!!
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On 31 Oct 2006, Matt Seattle wrote:
> A concerto for pipes is a possibility IF the composer knows what he/she is
> doing
> and understands the possibilities - and limitations - of the pipes.
And that's the point, isn't it? To understand the instrument in a
sufficient manner you surely have to
