Hi Dave,
in haste - we have a mad w/e coming up rehearsing like crazy - thanks
greatly for this. I had a quick look it deserves a lot longer
reading, which I'm going to enjoy later on.
Best wishes,
Richard.
On 02/12/2010 21:52, Dave S wrote:
Hi Richard,
Hi Richard,
[1]http://books.google.lu/books?id=VoQXAQAAIAAJprintsec=frontcoverdq=
%22essays+in+musicology%22source=blots=ITEFvN0Hiisig=iIvdnoOEE_CRl_u
bQ_wRLOiSuyQhl=enei=cRD4TOSQMY2dOrX-kbkIsa=Xoi=book_resultct=resul
tresnum=1ved=0CBEQ6AEwAA#v=onepageqf=false
The link is on
Of course a drone instrument has its own bass.
But the implicit ground either fits or doesn't fit with the drones.
Hence the preference, from Dixon onwards, for grounds based on only 2 chords.
More complex grounds don't work so well.
But did Dixon play along with a cello or bassoon?
Peacock
Also is it not the case that when Highland pipers (including these
students) pick up a set of Border pipes (as quite a few are doing nowadays
though usually it's a set of 'Scottish Smallpipes' at first) the instrument
is treated only as an ersatz Highland bagpipe? Yes now probably OT so maybe
Richard, not only is it on topic but it's a very live topic (for me at
least).
I was lecturing yesterday at Glasgow for the 3rd year Piping Degree
students (as Highland pipers they are exposed to two hours of Border
pipe music in three years...) and the Dixon variations - which
It's hard to get across to anyone in Scotland that music didn't start
with the Gows, but it didn't, and the genius of the Scottish fiddle,
John MacLachlan, flourished c. 1700, and his variation sets on Scots
tunes set the gold standard. They mainly survive in lute transcriptions
and
