As a foreigner, I would like to know how "choyte" is pronounced.
Like "boy"? or "boat"? or with two syllables?
Wayne
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On 8/25/08 9:03 AM, "Matt Seattle" <[EMAIL PROTECTED]> wrote:
> Following from this and Ian Lawther's remarks on Chris Ormston at
>Killington, I would venture the heretical and dangerously unpopular
>view that an 'average' musically literate audience is more educated and
>open-minded
> From: [EMAIL PROTECTED]
and Sheila wrote (in answer to my):
>> playing a full set of satisfying
>variations is the most fun one can have . . . >>
>
>But for the audience, most frequently, this can seem like the
most
>boring performance of an end
>Also being in the Folk genre doesn't mean 'anything goes'.
Hear hear hear hear hear, and so on. This point cannot be emphasised enough.
chirs
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Boyden of course is not the last word in research on the history of
violin playing. I gather from other sources that not all old bows were
shorter, even though such authorities as Jaap Schroeder continue to
state that they were. Don't get me wrong, I have the greatest respect
for Jaa
>
>Maybe we should regard the odd 'ornamental' choyte in the same
>way - the
>beginning of a slippery slope.
>
>But let him who is without sin
And of course Pärt chose to write the piece. So maybe we can assume that like
the rest of us he's a bit partial to a bit of sin now and again ;-)
MAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Cc:
Sent: Sunday, August 24, 2008 6:54 PM
Subject: [NSP] Re: The great choyte debate redux
Sorry if I was a little rambly last night but I think you have picked up
on the point I was making. Some traditions are looser than others and
offer playe
Sorry if I was a little rambly last night but I think you have picked up
on the point I was making. Some traditions are looser than others and
offer players greater freedoms within the traditional style. Others are
more limited and the real skill comes from playing musically within
those limits
On 24 Aug 2008, Chris Ormston wrote:
> Forster Charlton's description
> tells us that learning our instrument was taken as seriously as any
> classical instrument,
Tommy Breckons told me that competition pipers should expect to
practice 4 or 5 hours a day. He was taught by both GG Armstr
On 24 Aug 2008, Chris Ormston wrote:
> .and while I'm on a roll, can someone please explain the benefits
> of squaddies playing the Northumbrian pipes? The GHB went down that
> road years ago, with well documented results!
I'll leave the 4 TA nsp players to defend themselves.I think at leas
Sorry Ian,
I'm not getting your point..are you saying it's OK for Uilleann pipers
to 'carve out their own sound'.
But it's not for OK for Northumbrian pipers?
..
Steve D
-- Original message --
From: Ian Lawther <[EMAIL PROTECTED]>
> Chris Ormston wrote:
> > PS
Chris Ormston wrote:
PS Sorry to ramble - been in the..
http://chrisormston.com/Documents/Bridge_End.pdf
Sorry your evening was spent in such a manner , Chris. I spent my
Saturday night at a house concert here in Seattle with Paddy Keenan,
with red wine in hand. A month that started with C
e journey to the truth.
> Still, if you can't stand the heat.
>
> Chris
> "This is going to hurt me more than it will hurt you"
>
> PS Sorry to ramble - been in the......
> http://chrisormston.com/Documents/Bridge_End.pdf
>
>
>
>
&g
42
To: [EMAIL PROTECTED]; [EMAIL PROTECTED]; nsp@cs.dartmouth.edu
Subject: [NSP] Re: The great choyte debate redux
Thanks for your comments, Sheila. Firstly I'd like to say that being away
from Northumberland is not the disadvantage it's sometimes perceived to be.
People often think ther
iginal Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 23 August 2008 15:06
To: [EMAIL PROTECTED]; nsp@cs.dartmouth.edu
Subject: [NSP] Re: The great choyte debate redux
Obviously everyone has there own opinion regarding what is good form
and what is not.However, as a
[EMAIL PROTECTED] wrote:
<< For the soloist, . . . playing a full set of satisfying variations
is the most fun one can have . . . >>
But for the audience, most frequently, this can seem like the most
boring performance of an endless set of technical exercises.
As an example of
[EMAIL PROTECTED] wrote:
As to some of the sidelines that this debate has floated, I am
reminded of a CD review a few years back in the NPS mag, of a certain
group of pipers, in which the reviewer wrote something like:
"Group piping is like group sex - probably fun for the participants,
but n
Obviously everyone has there own opinion regarding what is good form
and what is not.However, as a person who is on the periphery of the
field, I find it difficult to know what indeed is correct, and what is
considered WRONG and to be DAMNED apart from the fact that it should
bas
On 22 Aug 2008, Ian Lawther wrote:
>Clough ... was critical of choyting that was emerging in the early
> Northumbrian Pipers Society which was Newcastle based.
And most of whose founding officers & committee were Highland pipers
before they took up nsp. The large "promote the half-longs" factio
On 23 Aug 2008, [EMAIL PROTECTED] wrote:
> Basically
> The less we know about our musical culture the more it is potentially
> open to misinterpretaion.
Which, IMO, brings us nicely back full circle to:
"The chief aim of any player is to produce good music. Now this can
only be attained by
Barry,
Don't dismiss the value of music theory in Folk and Traditional music.
Music Theory applies to 'Folk/Traditional' as well as 'Classical'.
When it is considered in a cultural context it is fascinating, and could helps
us
resolve or discount (to an extent) some of the arguments in Northumbri
The division is not as easy to make as to a northern / Newcastle one.
Players Chris has mentioned as fitting the Clough style include Hutton,
Armstrong and Atkinson who were just as far north geographically as
Billy Pigg. Clough (if I remember correctly) in his correspondence was
critical of ch
Chris:
> Seriously, though, you make an important point about use of ornaments
> BY CHOICE. Without this we'd never have had the raw expression of
> Billy Pigg ("He was a wild piper, but a lovely bloke" - Tom Clough IV)
> or the edgy earthiness of the first Cut & Dry LP.
As someone who came to t
bons, John" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Cc:
Sent: Friday, August 22, 2008 12:56 PM
Subject: [NSP] Re: The great choyte debate redux
There's an Arvo Part piece, Credo, which starts quoting Bach in C major,
then as that introduces an accidental, Part introduces
On 22 Aug 2008, [EMAIL PROTECTED] wrote:
> I remember reading somewhere (possibly in Boyden's book on the history
> of violin playing,)
>From the same book, which I'm currently reading / ploughing through,
I have bookmarked a small paragraph which remarks (of violinists in
the C17), that the
ust 2008 11:47
To: [EMAIL PROTECTED]; nsp@cs.dartmouth.edu
Subject: [NSP] Re: The great choyte debate redux
>It might have saved us from that Maxwell-Davis stuff
Not to mention Mozart and the Beatles ;-)
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I'm afraid I glaze over once we get into classical music theory - my own formal
training was limited to being forced to learn 3rd clarinet in the junior wind
band as an 11 year old - enough to put any young musician off for life. As a
piper I've relied on me fingers and lugs!
Seriously, though,
>It might have saved us from that Maxwell-Davis stuff
Not to mention Mozart and the Beatles ;-)
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"Where would music be today if tritones had continued to be proscribed and
thirds widely disapproved of as in the middle ages?"
It might have saved us from that Maxwell-Davis stuff
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