[NSP] Re: Rusty Gulley

2008-07-21 Thread Gibbons, John
Hemiola was certainly used in 18th c pipe music - it survives in 'Cuddy Claw'd Her' - besides the syncopated alternate bars, there is a strain, no 6 in Peacock, which has a clear 3 crotchet beats in the bar. Play the top g's short and it sounds that way. You can play it in 6/8 too. The

[NSP] Re: Rusty Gulley

2008-07-21 Thread Matt Seattle
Good examples, John. Everything you mention here I would consider as syncopation rather than change of metre, or in the case of Risty Gulley, alternating metre. Maybe this is a too-subtle distinction, but it's one that I experience. I use syncopation a lot in my own playing, and for me it works

[NSP] Colin Ross C chanter for sale

2008-07-21 Thread Ken Campbell
Dear All, I am looking for a good home for a Colin Ross 7 key C chanter, as Colin has just made me a new one with additional keys. It is a superb chanter and Colin gave it a complete check over in June this year. It is made from Lignum Vitae wood, with keys etc in brass and a chanter

[NSP] Re: Rusty Gulley

2008-07-21 Thread Ormston, Chris
I'd agree, Matt, about the subtle distinction. On NSP, highly-developed chanter skills are required to make evident any differences in emphasis - we can't use dynamics and ought not to be choyting, so instead we rely on subtle adjustments to note length. However. on first hearing All

[NSP] Re: Rusty Gulley

2008-07-21 Thread Gibbons, John
Colin, On my reading of Dixon, strain 4 is the one that makes most sense that way. Number 2 can play this way too. Strain 1, with the e's falling on the (dotted minim) beat, definitely reads as 9/4= 3 times 3/4 to me. So does strain 3. From 5 onwards, the interest is melodic, not rhythmic -