Matthew,
Bruce was one of the 2 editors of the Northumbrian Minstrelsy, though Stokoe
was the main editor for the tunes. Both were not ideal - but many of the
earlier Ancient Melodies Committee, particularly William Kell, had died by the
time the book was being prepared. They got the book out,
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Julia Say
Sent: 07 March 2012 14:21
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: Book on J. Collingwood Bruce (early NSP supporter) free on
GoogleBooks
On 7 Mar 2012, Gibbons, John wrote:
> Bruce was one of the 2 editor
This also applies to the pinched fingering - which apart from pinching the
thumb, is identical to low A, which is the one you need if you have to move
from high a up to b.
John
From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of Matt
Rob,
The Woodhorn pictures are still visible, but I could not link to the search
engine either.
Off to the day job
John
From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of
rob@milecastle27.co.uk [rob@milecastle27.co.uk]
On Border pipes, nominally a tone higher, the drones are fixed, in A; they have
no bead holes.
Cuckold, or the Peacock followed the Hen, swap around between B minor and D
major above the A harmony of the drone.
This corresponds to playing them in Aminor/Cmajor against G drones on NSP.
It works,
The trouble is - all us monomaniacs followed the Forum, and nobody joined us.
Are they trying to tell us something?
'Here's a lovely forum to have your discussions in', then they tiptoe away
quietly and have a great party somewhere else.
John
From: lute-
The best way of getting an idea of what the different dance rhythms
sound like is to listen to a recording - those of Joe Hutton, Will
Atkinson and Willy Taylor have a good strong sense of rhythm, and they
played for dancing for many years. Of course there is a lot of
flexibility in speeds - for a
lto:[EMAIL PROTECTED]
Sent: 07 November 2005 14:11
To: Gibbons, John; [EMAIL PROTECTED]
Subject: Re: [NSP] Re: re tunes and speeds of playing
Yes, Hamish's talk was very interesting. Perhaps he could be
persuaded to write an article for
I think it is the same bird, except for possible regional variation -
the US Geological Survey's wildlife research centre have a page on it:
http://www.mbr-pwrc.usgs.gov/id/framlst/i7220id.html
John
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 07 Decembe
Jock Agnew once said waggling one leg off the ground works for a good
vibrato on any instrument except a piano
-Original Message-
From: Donald Lindsay [mailto:[EMAIL PROTECTED]
Sent: 06 January 2006 13:19
To: discussion group
Subject: [NSP] Belly Wobbling Vibrato
Shoogling the chant
He didn't usually start too fast!
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 15 May 2006 10:13
To: [EMAIL PROTECTED]; [EMAIL PROTECTED]
Cc: nsp@cs.dartmouth.edu
Subject: [NSP] Re: Penguin Cafe Choyting
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.ht
Paul,
Yours have been some of the more considered replies to my views; I agree
calling her a silly name wasn't respectful.
But one message since has called traditionalists Nazi, so maybe
disrespect is ok after all.
But I do care about the music, as you do, and I do feel that recordings
like that
Edward,
The reason this argument got so heated is for the best of reasons - most
people involved care about the music.
Some because they like a good scrap - Northumberland is on the Borders
after all - but most opinions expressed have concerned the music, and
what is a good style on NSP.
But if yo
I'll probably get flamed for this too, but having tried both, I find the
composite reeds have a brighter tone, with more harmonics, and are a bit
more reliable (unless I accidentally smash them).
But if you prefer a mellow rather than a bright tone, you may like
all-cane instead.
Andy May once ma
Just make sure you don't light the reed - they burn prettily, I'm told.
Not enough is better than too much.
John
-Original Message-
From: Richard Shuttleworth [mailto:[EMAIL PROTECTED]
Sent: 16 May 2006 17:23
To: nsp@cs.dartmouth.edu; Sam Edwards
Subject: [NSP] Re: Drone reeds: natural
Working definitions, perhaps more precise than pip, pop, etc?
Staccatissimo < 1/2 of written length
Staccato~1/2 written length
Poco staccato ~3/4 written length
Tenuto minimal gap at end of note
Slurred no gap
In 'I saw my love' Chris uses most of these
Slurred = muddy would be an alternative to the one I just gave.
Don't confuse with sliding from one note to the next, which can be very
effective.
In 'Miss Hannah Ormston' I don't recall any slurs, and a slide (e->f) in only
one place - it's a lovely, and probably effective, lullaby.
John
Adriam and everybody,
In competitions where I've played I've certainly heard competitors
criticised for playing open - even for open fingered gracing, when the
melody notes were clearly detached. Depends who the judge is to some
extent.
But we don't want to go down the route of saying 'competitio
Adrian,
You asked
This is what I'm trying to get at - I would like to know: does
the NPS accept that legato is a correct way of playing the pipes?
I hope true legato is an absolute no-no; slurring/sliding only permitted
as a deliberate and rare effect - eg in Border Spirit.
As for how to
Julia,
This topic is certainly worth a detailed and wide discussion, and it
would ultimately be worth the Committee issuing //advisory// guidelines.
But //prescriptive// guidelines - eg
any 2 notes should have a gap between them;
grace notes should also be separated, both from their melody note
Colin,
'Right reverend' for the Chairman and VP, surely??
I would absolutely agree that the music comes first, and a rigorous
prescriptive style could kill the music. My feeling is this is what
happened to Highland pipe music. Advisory guidelines, though, might
serve to remind people, especially b
Adrian said,
"It is a shame that the true way may be lost, due to the ignorance of
others. "
Keeping it religious, I see.
But I agree - it annoys me when piper X's non-standard technique is used
to justify piper Y's sloppiness.
John
-Original Message-
From: what.me [mailto:[EMAIL PRO
It's gone horribly quiet all of a sudden...
How do you play either the Peacock or Clough versions of 'New Highland
Laddie' at all convincingly? I've never heard it live, and can't really
make it work myself (but that's only me).
Peacock chose it to finish the book, it was the last thing Old Tom
Francis,
Does that mean 'Dorrington Lads' is safe now?
John
From: Francis Wood [mailto:[EMAIL PROTECTED]
Sent: Tue 23/05/2006 14:25
To: Gibbons, John
Subject: Re: [NSP] 'New Highland Laddie'
On 23 May 2006, at 12:01, Gibbons, John wrote
From: Matt Seattle [mailto:[EMAIL PROTECTED]
Sent: Wed 24/05/2006 12:46
To: Gibbons, John; [EMAIL PROTECTED]
Subject: OFFLIST 'New Highland Laddie' OK
On Tue May 23 14:23 , [EMAIL PROTECTED] sent:
>I'm not competent to comment on this question but I have a related one.
>
&
When I started NSP, I was in the habit of using open-fingered gracings
(I had been playiing Irish music on flute, so there's an explanation if
not an excuse). 'When I was a child, I spake as a child...'.
Since I've heard some of the better players live and recorded, I've
moved towards eliminating
Chris,
A choyte is a grace note slurred onto the pincipal note. Uillean pipe
'cuts', typically from a note one step away, or highland graces,
typically from the other end of the chanter - in either case without
closing the chanter in between - are choytes alright, and should be
avoided.
The way
Some of those are MSS and printed music in his possesion - eg the 1st
edition of the NPS tunebook. Others are the family's own MSS. I'll look
which one you mean - Julia will know the documents better.
John
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 31 May
One gets the impression that if Clough had had more (any?) input into
the NPS tunebook, it would have looked very different. He may not have
been that happy with what was produced, either.
The sets of variations on graph paper you can see on FARNE must have
been prepared with publication in mind.
Then there's composer-player-listener, too...
This is maybe where one problem with the Sage piece lay -
The people who listened to KT and to the pipes are not the same people,
mostly, that listen to pieces by Max. Add in the fact that you couldn't
hear the pipes right whether you were listening or
Today, there are far more NSPers than probably ever before, but if
anyone needs more than one hand to count the good ones, he is either
very generous, or can't tell the difference between fair and excellent
piping.
I doubt if the number of excellent pipers is greater than it has ever
been. The po
Hardly - modern NSP and steam locos were invented a few miles and a few
years apart
Apologies to Trevithick though...
Now I'll be excommunicated.
-Original Message-
From: Paul Rhodes [mailto:[EMAIL PROTECTED]
Sent: 02 November 2006 15:59
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: P
How about, for a core repertoire:
*
Peacock,
*
Bewick,
*
the MSS on Farne - particularly the Antiquaries MS, and Crawhall
*
the Clough book,
*
the single octave tunes from Dixon (about half of them),
*
s
He prefers it to Mavis!
(Hence 'Mavis in Las Vegas', when he couldn't find what hotel he'd been
booked into, or what name the booking was under...)
-Original Message-
From: Philip Gruar [mailto:[EMAIL PROTECTED]
Sent: 03 November 2006 07:55
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: Trad
The main objection to playing from the dots is that your musical memory
never improves as it never has to. Some Irish musicians I have known had
prodigious musical memories, and played largely or wholly by ear.
But in the NE there seems always (starting HA) to have been an MS
tradition, and by the
Are through-composed variation sets 'improvisation' in any useful sense
of the word?
Even the Dixon tunes, which have a wild improvisatory feel to them, show
a lot of structure as soon as you start looking.
-Original Message-
From: Stephen Douglass [mailto:[EMAIL PROTECTED]
Sent: 05 Nove
If you look at the versions of 'Felton Lonnen' on FARNE, as well as in
the Clough book,
you will see that while written notes have served as a good record of
the *performers'* different intentions, there is wide variation between
them - it is a fallacy to believe that any one written version or any
ate a horse that hasn't won anything yet sounds unlikely
John
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 07 November 2006 14:13
To: Dartmouth N.P.S. site; Gibbons, John
Subject: Re: [NSP] Re: re the written note
On 7 Nov 2006, Gibbons,
Is there much theory of German plurals at all?
Or do you just have to look them up?
The Oxford/Duden let me down, presumably not having been written by a piper,
hence my mistake.
I think we can ignore the related but irrelevant meanings - if meaning affected
how plurals formed, languages would
We could try discussing piping again maybe?
The time we tried that about a year ago, war nearly broke out though
John
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
"G chanter with holes angularly fan-bored
to widen their outer-end spacing"
But the circumference isn't that great, so how much advantage can you get this
way?
On a recorder there is more bore so more profit in doing it this way.
And covering the holes is far easier when your fingers are str
You could have separate chanters for each note, avoiding messy multiple
key clusters, also enabling playing of chords. You could optimise the
reed for each note. Fit them all in a box fed by a compressor and you
might be getting somewhere...
John
-Original Message-
From: Dave Shaw [mailt
r key positions
on 11/1/07 12:26 PM, Gibbons, John at [EMAIL PROTECTED] wrote:
> You could have separate chanters for each note, avoiding messy
multiple
> key clusters, also enabling playing of chords. You could optimise the
> reed for each note. Fit them all in a box fed by a compressor and
Snowy Monday?
But not very Xmassy this year, or any year in London
John
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
Sent: 06 December 2007 10:12
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: Winter tunes
> On 6 Dec 2007, [EMAIL PROTECTED] wrote:
>
>> there
The finger spacing on such a tenor NSP would be like a treble, rather
than a sopranino recorder - should lie quite reasonably under the
fingers, and without too much stretch.
Presumably other dimensions - bore etc - would need scaling in
proportion. The reed could well be a difficulty, but not fo
But the fellow players' pitch, to the runner's ears, would be raised
too. Two minor thirds is a tritone, so if I run fast enough for the D
pipes I'm playing to sound F to a stationary player, the F pipes he's
playing will sound G# to me. Nasty
-Original Message-
From: Francis Wood [m
It sounded good.
Even the dire-sounding MIDI player on concertina.net didn't ruin it!
John
-Original Message-
From: Francis Wood [mailto:[EMAIL PROTECTED]
Sent: 23 January 2008 16:09
To: nsp
Cc: Matt Seattle
Subject: [NSP] Re: Inky Bob - 2nd attempt
On 23 Jan 2008, at 15:58, Matt Seat
As a companion policy to getting the Arts Council to slash grants to
smaller organisations despite an increased budget? Be warned!
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 29 January 2008 13:45
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: 1st national s
Oh good - taking about the music!
Of course, one thing to remember is that triple-time hornpipes almost all have
(explicit or implicit) syncopation in some bars - often the even numbered ones.
Some common time hornpipes did too - see Vickers' 'College Hornpipe, or The
Lankinshire Hornpipe'.
A
2 of Dorrington is an example.
But whether Rusty Gulley was played as a guajira remains open
Do any other sources notate it spaced as 3/4 + 6/8? Matt might know??
John
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 20 July 2008 21:55
To: Matt
10:32
To: Gibbons, John
Cc: [EMAIL PROTECTED]; nsp@cs.dartmouth.edu
Subject: Re: [NSP] Re: Rusty Gulley
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 distin
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
- they
Maybe his attitude to spelling was as consistent as his attitude to
property...
-Original Message-
From: Francis Wood [mailto:[EMAIL PROTECTED]
Sent: 14 August 2008 13:33
To: [EMAIL PROTECTED]
Cc: nsp@cs.dartmouth.edu
Subject: [NSP] Re: Tune title spelling
I'm not altering my nice Tuneb
"Adrian gives an excellent description of the top a to g note gracing as
sounding like a seagull in pain if not executed properly, which is one
prominent example of open gracing very commonly heard."
Not executed properly? But isn't it meant to sound like that?
The cry of the curlew, bleating of
There's an Arvo Part piece, Credo, which starts quoting Bach in C major,
then as that introduces an accidental, Part introduces more and more,
till
the 'harmony' consists of a nasty 12-note cluster.
I heard him talking about the piece, and he said that first modulation
was like original sin,
intro
The question is whether choyting is *morally* wrong.
Inflicting horrible noises on the unsuspecting public, because it's
easier, and passing it off as 'traditional' in the absence of much
evidence that it was ever common in the tradition, could be regarded as
both selfish and dishonest...
Doing t
Inverted mordents, *if played detached*, can be quite effective for some
of these 'trills'.
They would sound better if I was good enough
But most seem to be where you want to put vibrato.
John
-Original Message-
From: Richard York [mailto:[EMAIL PROTECTED]
Sent: 22 September 2008 13
But there was at least one decent engraver in Newcastle!
And he liked pipe music too.
John
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 22 September 2008 11:56
To: NSP group
Subject: [NSP] Re: Fool, fearing to tread, aka Peacock marks
On 22 Sep 2008, Ormst
The Henry Atkinson MS has several commonly notated ornaments -
* A pair of vertical lines over a note: ||
* A pair of diagonal lines over a note: \\
* A pair of diagonal lines through the vertical of a note.
These are easy to distinguish and are often used together, eg in the
Reed House Rant.
W
Back to those comments of Tom Clough's that resurfaced in the great choyting
debate.
"I could sit hours and hear the worst piper that ever played, if
there is such a thing as a poor Northumbrian small piper. Imagination
has always played a big part in my playing and listening, and it's
wonderf
"Seems to me that as the pipes have been around for about 500 years in
their
present form, ..."
With the keys, 200 is more like it. 'Peacock's New Invented Chanter',
illustrated just after 1800.
So the core repertoire, at least in the earliest local version (Dixon,
in the 1730's),
predates the mo
So neither content-free nor context-free
Now we see through a glass, (of Guinness) darkly...
John
-Original Message-
From: Matt Seattle [mailto:[EMAIL PROTECTED]
Sent: 07 October 2008 10:02
To: Robert Greef
Cc: nsp@cs.dartmouth.edu
Subject: [NSP] Re: More code?
I'll spell it out
In the early part of the century there was a 'head' of perhaps half a
dozen excellent pipers in various styles.
And others, the 'tail' less excellent, but more numerous, perhaps in the
dozens.
The head is still less than a dozen strong at most, - I won't name them
as if I leave one out by mistak
Of course the 'ower long' in the printed text, probably sounded 'ower
lang',
so we don't fully lose the internal rhyme.
I read this song as referring to a keelman being nabbed by a press gang
when he was on shore.
If more verses had survived, the reading might be clearer.
John
-Origina
drowned.
Dru
> Message Received: Oct 31 2008, 02:53 PM
> From: "Gibbons, John"
> To: "the Red Goblin" , "nsp"
> Cc:
> Subject: [NSP] Re: "Maa Bonny Lad"
>
>
> Of course the 'ower long
Another one on the publishing agenda might be Lionel Winship's book.
Roughly contemporary with Bewick, it's on FARNE, but never published in
hard copy.
It gives another view of what pipers were playing then.
Some Irish tunes - 'Paddy O'Rafferty' is magnificent.
But difficult for NSP - did Lionel p
If the tune was not recorded pre 1974 (it seems), or known to be
published pre 1964,
then to assume 'it has been around for ever' is a bit of a long shot.
It doesn't appear in any of the sources on Farne, so if old it may still
be a recent import to the NE.
If it were an old NE tune I would expe
Performing right is a separate minefield, similar but not identical to
copyright.
Traditional music is ok, but composers and their heirs
should be paid the due whack for performances. Usually via PRS.
John
-Original Message-
From: malcra...@aol.com [mailto:malcra...@aol.com]
Sent: 16 J
"Must have been nice when the likes of Mr Allen just swapped and played tunes "
Actually the word is 'stole'. Especially Mr Allen.
Long may it continue.
-Original Message-
From: colin [mailto:cwh...@santa-fe.freeserve.co.uk]
Sent: 16 January 2009 14:12
To: NSP group
Subject: [NSP]
This explains why a lot of tune books in print have slightly tweaked versions
of standard tunes -
If these are reproduced, which would be unlikely to be accidental or on grounds
of taste in many cases,
there is then a potential claim for breach of copyright.
John
-Original Message-
The survey may not tell Malcolm as much as he hopes.
As well as 'where are the holes?' we also need to know 'is the note
sharp or flat?'.
It's not just size that matters - internal shape does too, as if a hole
is significantly undercut,
it will affect the pitch. And the bore of the chanter, the
Mouth music?
-Original Message-
From: nsp-request+j.gibbons=ic.ac...@cs.dartmouth.edu
[mailto:nsp-request+j.gibbons=ic.ac...@cs.dartmouth.edu] On Behalf Of
julia@nspipes.co.uk
Sent: 10 March 2009 10:04
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: Confused!
Date: Tue, 10 Mar 2009 10:
An abc pipers' tunebook should ideally -
* Not be a copy of a printed source. It might affect its sales. Let
alone copyright questions.
* So should be mostly traditional unpublished material.
* It could contain new tunes too, if submitted by the composer -
copyright
.uk]
Sent: 10 March 2009 23:06
To: nsp@cs.dartmouth.edu
Cc: Gibbons, John; rosspi...@aol.com
Subject: Re: [NSP] Re: First 30 tunes
: said
> as we have most of the other tunes that are in our publications in ABC
> form it could be applied to all those tunes that beginners have
> diffic
'susceptible smallest environmental
Change, whether atmospheric'
Going from one room to another at Halsway was enough to unfettle mine very
seriously.
Going out in the drizzle with them cured it for a while.
Happily, so did bringing them home.
The warm welcoming atmosphere there has its dr
ested in producing a CD to accompany the '30 tunes' book
but as we have most of the other tunes that are in our publications
in
ABC form it could be applied to all those tunes that beginners have
difficulty in lifting off the page.
As you say the main problem is in
But the Scottish name was not Jimmy Allen - it was 'Reel of Tullochgorum', so I
understood.
Stealing a tune, and renaming it is what Jamie would have done - but getting
the new name wrong smacks of carelessness...
John
-Original Message-
From: nsp-request+j.gibbons=ic.ac...@cs.dartmouth
Alan,
I think this would be a bad idea - the tuition is crucial to getting people
thinking intensively about piping.
The playarounds are better in consequence.
John
-Original Message-
From: nsp-request+j.gibbons=ic.ac...@cs.dartmouth.edu
[mailto:nsp-request+j.gibbons=ic.ac...@cs.dartmo
Couldn't have been before 1731, as Jack was yet to dance his way to world
stardom...
I'm very impressed the tune - or at least the new title - spread so wide, so
quickly.
Or was he already famous when still a live teenager?
John
-Original Message-
From: nsp-request+j.gibbons=ic.ac..
http://www.concertina.net/tunes_convert.html
Is good too, but doesn't like blank lines.
John
-Original Message-
From: nsp-request+j.gibbons=ic.ac...@cs.dartmouth.edu
[mailto:nsp-request+j.gibbons=ic.ac...@cs.dartmouth.edu] On Behalf Of tim rolls
BT
Sent: 14 March 2009 09:41
To: 'NSP L
'I can feel a jig coming on!'
Or a dirge - given the speed these recordings came out?
John
-Original Message-
From: nsp-request+j.gibbons=ic.ac...@cs.dartmouth.edu
[mailto:nsp-request+j.gibbons=ic.ac...@cs.dartmouth.edu] On Behalf Of Francis
Wood
Sent: 16 March 2009 11:21
To: julia
Colin,
There may be a problem.
I thought I'd noticed that once or twice with messages of mine,
but decided I might have hit 'reply', not 'reply all'.
Are you getting one or 2 copies of this vacuous message?
John
-Original Message-
From: nsp-request+j.gibbons=ic.ac...@cs.dartmouth.edu
The words 'reel' and 'rant' were quite unstable in meaning in the 18th century
-
'The Reel of Harden' is a 9/8, for example. 'Hornpipe', too, can mean a dance
in 4/4, 3/2 or 9/8.
As tunes seem not to have been interchanged with others of similar type for a
given dance until later,
a tune would
So from rants to rants...
My feeling is that the crotchet-heavy 4/4 feel of a rant, as played for
dancing, is probably the opposite of what Peacock liked doing - that is
playing/listening music if anything is. But there are tunes in there - some of
the short ones particularly - with an affini
Robert quoted: "Let pipers take the music in any direction they wish but to
have any connection with Northumbrian piping as such they must spend
time studying the starting point thoroughly before setting off on their
journey. If people dont see the point in doing this then chosing to
pl
Was there anyone mortal who ever executed a turned shake on the NSP at
reasonable speed?
Without slurring or poor intonation? To do it open, you need to lift 3 adjacent
fingers.
I can't execute anything much more complex than a mordent closed-fingered,
though I'm sure better pipers can.
That
'The notes should come out like peas'
Chris has pointed out that in the pod, the peas are separate, but touch or
almost touch.
So we are talking about 'poco staccato' not 'staccatissimo'.
Adrian used to practice staccatissimo, but it's not very musical, and he
doesn't play that way.
-Or
James Galway playing tin whistle used to be alarming,
though the Chieftains taught him a better, more fluid, style subsequently.
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
christopher.bi...@ec.europa.eu
Sent: 28 April 2009 09:46
'poco staccato' - >> 1/2 its written length, replacing the remainder with a
short period of silence
'staccato' - half its written length, replacing the other half with a period of
silence
'staccatissimo' - << 1/2 its written length, replacing the remainder with a
long period of silence
Aim
I have never heard them played closed, and they sound dreadful, open.
Simpler graces sound better closed to my ear, but I thought these were beyond
the power of human fingers...
John
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Ian La
If the 'Clough exercises' are based on the ones he was taught by Thomas Todd,
presumably as exercises for tunes he'd play subsequently,
and some are found in Felton Lonnen and Jacky Layton,
it strongly suggests these 'Fenwick' versions are Todd's.
Frightening, but very instructive, that these tu
This excuses the Society - for Bruce and Stokoe may have been the best men they
had left for the job -
But B&S stating distinct tunes (with distinct harmonies) to be versions of one
another, and drastically cutting variation sets just as they get interesting,
suggest a deep failure of understa
The President's role has in my experience been seen as more ceremonial and PR -
Advocacy for the pipes is what the job needs, and got from its last 2
incumbents.
An analogy might be the Chancellor as against the VC of a University.
Choosing a short list of outstanding players would be the easy b
Colin's services to the instrument and its music are huge - and far outweigh
any recent disagreements.
His contribution to pipemaking alone is vast; his contribution to the music
over decades, is equally so.
That there are so many pipers today, playing beautiful and reliable instruments
in the s
Anthony,
I don't want to add to the rancour - but is it a 'fundamentally' oral tradition?
Of course music is dead unless played and heard, but local people,
starting with Henry Atkinson 300+ years ago and continuing till the present,
have been writing down versions of Northumbrian tunes.
The bi
There is no doubt that KT can play as accurately as anyone, when/if she chooses
to.
But as she has got more 'popular' the style has got more open -
lots of choytes, still against an otherwise closed background.
She's obviously trying to add contrast.
Too many choytes for my taste, though.
The
Anthony,
There is certainly more to any music than the dots on the page.
A lot of the nuances of style are unwritten, (unwritable?),
whether you are talking about French baroque flute,
or modern North Northumbrian traditional fiddle.
I must read Stewart Hardy's book;
if he writes as well as he
Started from? 1862?
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Dave S
Sent: 27 May 2009 21:23
To: Anthony Robb; nsp@cs.dartmouth.edu
Subject: [NSP] Re: Style/dots
Hi Anthony, let me quote a passage showing that perhaps todays trad
Wasn't Sebastian's grandpa, Christoph Bach, a town piper in Erfurt?
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Francis Wood
Sent: 28 May 2009 09:57
To:
Cc: Dartmouth NPS
Subject: [NSP] Re: smallpipes
On 28 May 2009, at 09:26,
The point about KT's gracenotes isn't that they are there, but they are
open-fingered.
Not in the traditional manner - indeed 'a grievous error in smallpiping'.
Tom Clough had gracenotes - but his style was to play those detached from the
notes they decorated.
'There is no arguing with taste -
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