Fair enough. George Welch sings it in B minor -
or very low of course. though George appears to be having problems with
the high notes even at this pitch.
c
__
From: Matt Seattle
On 9 Feb 2011, at 07:20, Paul Gretton wrote:
So in fact the variety of pitches for the NSP is extremely traditional! Two
hundred years ago it wouldn't have been thought in any way remarkable.
Hello Paul and others,
I must say, I disagree here.
It's often forgotten that the the NSP of two
One maker having lots of influence again, or rather previously!
C
-Original Message-
From: lute-...@cs.dartmouth.edu
[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood
Sent: Wednesday, February 09, 2011 10:31 AM
To: Paul Gretton
Cc: nsp@cs.dartmouth.edu group
Subject: [NSP]
Absolutely! Couldn't agree more. But I wasn't really talking about
inconsistency or carelessness. Rather, I was thinking of the various
prevailing standards such as F F# a bit sharp of F, G and us lot
'ere all tune to old Fred's chanter 'cos he's the one wot sounds the best.
I would assume that
On 9 Feb 2011, at 15:11, Paul Gretton wrote:
I would assume that the Reids worked to a chosen pitch standard in the same
way as did Silbermann or - more relevant here - the Hotteterre gang.
And at least the Hotteterre gang had the sense to pitch their instruments a
whole tone below modern
Francis wood wrote today:
There's no reason to suppose that Robert and James Reid were careless
about the consistency of pitch of their products. No doubt, they would
be extremely surprised to know of the latitude in pitch (and indeed
tuning) of many of today's pipes.
Hello
Hi Anthony,
Perhaps we should also take reed variations into consideration.
Cheers,
Richard
- Original Message -
From: Anthony Robb anth...@robbpipes.com
To: Dartmouth NPS nsp@cs.dartmouth.edu
Sent: Wednesday, February 09, 2011 11:02 AM
Subject: [NSP] Tuning/pitch
Francis wood
But have they been rereeded (almost certainly) and retuned (quite possibly)
since leaving the workshop? Rereeding can account for a semitone, and the
tuning could then have been readjusted for consistency once they were flattened.
John
-Original Message-
From:
On 9 Feb 2011, Anthony Robb wrote:
The puzzling thing is that we have had two reports in recent postings
of Reid sets happy to play up near F# (for example Billy Pigg) and yet
Andrew Davison's Reid set are said to be happy at F+20.
We know that Billy was in the habit of making his
As for the Reids' hole spacings, Dr. Wells is probably better placed than
anyone to answer, having looked at most of the survivors. He might also know
which ones look to have the original hole spacings and which show signs of
subsequent work?
John
-Original Message-
From:
The original question I posed was more a rhetorical one. The point being
that, until the invention of the tuning fork, there was no set or
standard pitch as such. Only the sound of other instruments - hence the
plethora of tuning methods to ensure everyone played the same (or as near as
On 9 Feb 2011, at 16:02, Anthony Robb wrote:
Hello Francis, John and others with the stamina to keep reading this,
The puzzling thing is that we have had two reports in recent postings
of Reid sets happy to play up near F# (for example Billy Pigg) and yet
Andrew Davison's Reid set
(for anyone puzzled by this discussion, one cent is 1/00 th of a semitone. So
20 cents is 1/10th of a whole tone, or 1/10th of the difference between C and
D.That's not a subtle difference, of course!)
On 7 Feb 2011, at 17:26, Julia Say wrote:
Shortly after Andrew Davison took over the 17 key
Absolutely Francis, music is a sociable activity, I also think the idea
is take your pipes out of the box and be able to muck in with any other
type of instrument. I may be considered different but I like the idea of
just saying - yep it's a Bb transposing, so treat it like a clarinet. I
On 9 Feb 2011, Francis Wood wrote:
What
Julia said was that when a reed was first put in the chanter it was
said to have played at F+20. I took that to be an interesting and
amusing anecdote without any specific conclusions to be drawn from it
[is that correct, Julia?]
When I was told
- Original Message -
From: Julia Say julia@nspipes.co.uk
This can also be seen on some modern sets (various makers), although I
have been
taught to put a rod down the bore before drilling to prevent it happening!
(And had
the bore inspected closely to check I'd done so!)
Sets
Hello Folks
* Yes, reeds make a huge difference. In general I use different reed
patterns to converge pitch, that's why I have 4 different patterns
just for 'F' chanters.
* When I referred to a modern trend towards concert F (A=440) I did
not for a millisecond
That's very interesting. I still have to ask though (and it IS a genuine
question) - how did they tune to those standard pitches?
Did a clarinet maker in the area say I'll make my clarinet to be in tune to
Fred's serpent, he make's good ones?
Most standards are set in various ways (like a size
Given that the vagaries of NSP tuning take some explaining, and are
briefly mentioned in the NSP article on Wikipedia, I turned the term
F+ into a wikilink and started a new article for it here:
http://en.wikipedia.org/wiki/F%2B_%28pitch%29
If anyone has any _footnoted_ material
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