If you haven't yet got yourself one of these CD's, I suggest you give it
serious thought. I just got my copy and am thoroughly enjoying it. Thanks
Anthony.
(see: [1]http://robbpipes.com/HowDoesItGan.html)
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Stringing of baroque violins is another can of worms since tension varied
widely according to local conventions and personal preferences. There is also
the question of equal tension versus progressive tension and whether wound
strings should be used for the G and/or D. It is, or at least used
Would someone care to admit to a close enough acquaintance
with a female baroque
violinist to safely enquire about her knicker elastic?
I'm working on it ;-)
c
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Hi Chris,
Is this anything to do with your vested interests (or lack of them).
(See other thread)
Barry
christopher.bi...@ec.europa.eu wrote:
Would someone care to admit to a close enough acquaintance
with a female baroque
violinist to safely enquire about her knicker elastic?
I'm
Never tried Infeld. I'm not too keen on the medium dominants but the heavies
work well for this purpose.
Heavy Evah Pirazzi or Obbligato might do a good job too. I use the mediums on
my normal fiddles.
c
-Original Message-
From: lute-...@cs.dartmouth.edu
This is interesting to me as I have an unreconstructed baroque violin from
about 1820 which is currently strung with Larsen strings and playing in G,
wheras we also have a c.1900 czech violin strung with I know not what which
is tuned down to F'n'abit for playing with nsp. Seems it might be
This is interesting to me as I have an unreconstructed
baroque violin from about 1820
Sorry Tim, but it ain't baroque . .
True, this is very late to be referred to as baroque, but if it's
unreconstructed it's probably closer to the baroque setup than a real modern
violin. Maybe it was
I have a smallish fiddle with a neck very similar to what is seen on baroque
instruments. I have been told by a luthier friend, however, that it probably
doesn't even predate 1900.
I don't think makers and players have ever been all that conscientious about
fitting in with the history books ;-)
On 10 Feb 2010, at 10:42, tim rolls BT wrote:
However, what about the rest of my questions?
Hi Tim
Your other questions . . .
Am I right in thinking that before 1920ish and the current standardised
concert pitch at G that many instruments' G was lower anyway, which would
have led to
I have a smallish fiddle with a neck very similar to what is seen on
baroque instruments. I have beenold by a luthier friend, however, that
it probably doesn't even predate 1900.
I don't think makers and players have ever been all that conscientious
about fitting in with the history books ;-)
Francis Wood wrote:
Also is pitch purely dependent on tension?
The danger with such a question is that one might receive a full and
comprehensive answer, which in such cases is usually to be regretted!
This is one case where I think the answer is simpler than one might expect.
Quoting
Thanks Barry.
Returning to the core topic of piping, do similar principles apply in human
behaviour terms?
In NPS Committee meetings for instance, if you double the evident tension in
the meetings does this result in a proportionate decrease the frequency of
meetings?
Similarly if you double
Barry said
If only pipes were so simple
The formula for strings:
f = (1/2L) * sqrt (T/mu)
neglects all sorts of effects, such as the bow or the finger, the rigidity of
the string, the speed of tension waves in the string, etc. And we haven't
thought of the motion of the fiddle's bridge and
Or the pitch of the discussion could rise...
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Francis Wood
Sent: 10 February 2010 13:01
To: Barry Say
Cc: NSP group
Subject: [NSP] Re: NSP duet with other instruments
Thanks Barry.
I've a clear mental image of seeing somewhere, a photograph of an old
street musician playing what looked very like a strung kipper box. He
was holding it like a fiddle.
I saw the photograph at least 25 years ago, and I'm fairly sure it
dated from the 1950s at the latest. I think the
I've a clear mental image of seeing somewhere, a photograph of an old
street musician playing what looked very like a strung kipper box. He
was holding it like a fiddle.
I'm sure the staff at the Irish Traditional Music Archive would be able
to help with this query, Dru.
My
On 10 Feb 2010, at 13:26, Dru Brooke-Taylor wrote:
I've a clear mental image of seeing somewhere, a photograph of an old street
musician playing what looked very like a strung kipper box. He was holding
it like a fiddle.
Hello Dru and others,
This does sound extremely likely. People have
Gibbons, John wrote:
Barry said
If only pipes were so simple
The formula for strings:
f = (1/2L) * sqrt (T/mu)
neglects all sorts of effects, such as the bow or the finger, the rigidity of
the string, the speed of tension waves in the string, etc. And we haven't
thought of the motion of
On 10th Feb Christopher Birch wrote:
Never tried Infeld. I'm not too keen on the medium dominants but the
heavies work well for this purpose.
Heavy Evah Pirazzi or Obbligato might do a good job too. I use the
mediums on my normal fiddles.
c
Lots of Trad players didn't move in
struggling to find a kipper box, but plenty of cigar boxes here
http://www.cigarboxnation.com/page/free-plans
Tim
- Original Message -
From: Francis Wood oatenp...@googlemail.com
To: Dru Brooke-Taylor d...@brooke-taylor.freeserve.co.uk
Cc: nsp nsp@cs.dartmouth.edu
Sent: Wednesday,
Sorry missed me B didn I
Dave S wrote:
Hi,
arry mentioned between the nut and the bridge OK but if the nut gets
tight does the pitch go up or down?
ciao
Dave
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