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
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
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
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
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
-