[NSP] Re: Doubleday

2010-12-21 Thread Christopher.Birch
the special quality of the smallpipes is that they can be played in tune But unfortunately often aren't, even by respected players! If the cap fits... csirz To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[NSP] Re: Doubleday

2010-12-21 Thread Christopher.Birch
what Northumbrian pipes can do better than any other; that precise delivery of detached notes with duration and silences perfectly timed. But unfortunately the obsession with detaching the notes sometimes lead to the durations and silences being somewhat random - thus destroying the rhythmic

[NSP] Re: Doubleday

2010-12-21 Thread Francis Wood
I think the discussion was really about the best that can be heard in Northumbrian piping. Random timing and poor intonation can be heard in abundance whatever the instrument and has nothing to do with NSPs in particular. Rather than dwelling any further on mediocre musicality, I'd rather

[NSP] Re: Doubleday

2010-12-21 Thread Dave S
Hello inky-adrian, This is interesting and thought provoking, but I would like to have your insight on where, and how, the precision can be found and appreciated. At my level of fumbling I need all the help I can get to begin to feel the phrases the composer unconsciously put together to make

[NSP] Re: Doubleday

2010-12-21 Thread Christopher.Birch
There is no more expression in those who can play the detached method with feeling. This seems an odd statement from one such as Adrian. Is there a word missing? E.g. than ... (... in those who can play the detached method with feeling)? Or shouldn't the word no be there? c To get on or

[NSP] Re: Doubleday

2010-12-21 Thread Jim McGillivray
Talking about expression outwith the context of tone, technique and rhythm is like talking about tone as detached from tuning. The most moving performances are always a combination of all three. One may play the greatest expression in the world, but if it is on an instrument the is not well

[NSP] Re: Doubleday

2010-12-21 Thread GibbonsSoinne
only one finger off at a time is usually read as being about open-fingered ornaments, or the horrible slurred playing some people go in for. No need to make a fetish of it, avoiding vibrato too. I've heard at least 3 excellent close fingered pipers advising using vibrato in

[NSP] Re: Doubleday

2010-12-21 Thread Richard York
We've been at risk of straying onto the which instrument is best? territory here, methinks, but Jim's points are right, to my mind. And they bring me a few more thoughts which I hope are useful and not merely pompous! Some instruments are easier to make an acceptable sound on than

[NSP] Re: Doubleday

2010-12-21 Thread Anthony Robb
Richard York wrote a very thoughtful posting ending: And yes, a really good player can make a poorer [insert instrument name here] sound better, and a music-less player is never going to make anything sound wonderful, but I do feel there are too many instruments of

[NSP] Re: Doubleday

2010-12-21 Thread Richard York
Na - keep it up! Far better than a boring silence and complacency :) All this reminds me of a sermon we once heard preached at a massed Morris event, by Father Kenneth Loveless, the concertina (previously owned by Wm Kimber) playing Rector. The essence of it was that Spirit was the most

[NSP] Re: Doubleday

2010-12-20 Thread Paul Gretton
: 20 December 2010 07:21 To: inky-adrian Cc: Dartmouth NPS Subject: [NSP] Re: Doubleday On 6 Dec 2010, at 01:14, inky-adrian wrote: Expression is emphasised in precision. Well, I think that says it perfectly, really. There are many things the pipes can't do. No dynamics. A relatively limited

[NSP] Re: Doubleday et al

2010-12-19 Thread Richard York
(I've missed a day on this, while I was daft enough to honour a gig in Hampstead: 1 hr 40 there, 7 hours 20 back. The joys of the soft south!) You're absolutely right, John. It is, to adapt an earlier comment, pointless comparing apples and potatoes. But since we've mentioned it I was

[NSP] Re: Doubleday et al

2010-12-19 Thread Matt Seattle
On Sun, Dec 19, 2010 at 12:55 PM, Richard York [1]rich...@lizards.force9.co.uk wrote: for me hearing Billy Pigg (interesting how often his name crops up in this) playing the Wild Hills of Wannie just Did It ... a seed was set Yes -- References 1.

[NSP] Re: Doubleday et al

2010-12-19 Thread Francis Wood
On 19 Dec 2010, at 12:55, Richard York wrote: It would be interesting to know how many people, either within the North Eastern fold or out of it, were first inspired by hearing Mr Pigg's playing, though. Well, me for a start. Knowing almost nothing about traditional music, and never

[NSP] Re: Doubleday et al

2010-12-19 Thread Colin
group nsp@cs.dartmouth.edu Sent: Sunday, December 19, 2010 2:55 PM Subject: [NSP] Re: Doubleday et al On 19 Dec 2010, at 12:55, Richard York wrote: It would be interesting to know how many people, either within the North Eastern fold or out of it, were first inspired by hearing Mr Pigg's

[NSP] Re: Doubleday et al

2010-12-19 Thread brimor
playing and teaching that I ordered a set right away. Sheila -Original Message- From: Richard York rich...@lizards.force9.co.uk To: John Dally dir...@gmail.com; NSP group nsp@cs.dartmouth.edu Sent: Sun, Dec 19, 2010 7:55 am Subject: [NSP] Re: Doubleday et al (I've missed a day

[NSP] Re: Doubleday

2010-12-19 Thread Helen Capes
The pipes are a brilliant but not capable of the highest level of expressiveness. Anthony, go wash your mouth out with soap!! Helen To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[NSP] Re: Doubleday

2010-12-19 Thread inky-adrian
Hello all this instrument does not lack ability, it lacks players who can't play in the correct method; not many can do that. Expression is emphasised in precision. I'm not here to delineate. There is no more expression in those who can play the detached method with feeling. To get on or

[NSP] Re: Doubleday

2010-12-18 Thread GibbonsSoinne
One thing I like about NSP is the way vibrato alters the colour, rather than the volume of a note. You can emphasise higher harmonics this way, and Billy Pigg seemed to use this a lot in The Lark in the Clear Air, for example. As for apples and potatoes - in Cologne they have

[NSP] Re: Doubleday

2010-12-18 Thread Anthony Robb
, gibbonssoi...@aol.com gibbonssoi...@aol.com wrote: From: gibbonssoi...@aol.com gibbonssoi...@aol.com Subject: [NSP] Re: Doubleday To: cwh...@santa-fe.freeserve.co.uk, nsp@cs.dartmouth.edu Date: Saturday, 18 December, 2010, 12:35 One thing I like about NSP is the way vibrato

[NSP] Re: Doubleday

2010-12-18 Thread Gibbons, John
; gibbonssoi...@aol.com Subject: [NSP] Re: Doubleday John, I know what you mean. I also think that fiddle and pipes in duet are a Northumbrian version of 'Himmel un Aed'. If I may rewind the discussion and with particular reference to the Chris Ormston's Blackbird, I have to say it is a far

[NSP] Re: Doubleday

2010-12-17 Thread Richard York
I'll think more on what he meant when I have more time! For expression - I quite agree with you on fiddle tunes. On the other hand, there are expressive tunes written primarily for pipes, surely, where they sound superbly best on pipes? And it is truly hard for anyone to make them work with

[NSP] Re: Doubleday

2010-12-17 Thread Colin
: [NSP] Re: Doubleday I'll think more on what he meant when I have more time! For expression - I quite agree with you on fiddle tunes. On the other hand, there are expressive tunes written primarily for pipes, surely, where they sound superbly best on pipes? And it is truly hard for anyone