Hi John
The forum on the NPS web site is open to all (you just have to
register) For some reason it is tucked away on the members page - I
think that it should be on the front page! Currently things are a bit
quiet but I hope that it will perk up once people try it and like it.
It is ce
Hi Francis,
I joined the NPS in 1991 as expat, the magazine was really the only
contact I had with piping. Later the problems of payment caused so much
hassle I left perhaps 10 years later. I joined the LBPS because they
had payment by bankcard and they were more towards musicology,
And an even better case for posting it on the NPS forum (its open to
non members)
Quoting Francis Wood :
On 1 Jul 2011, at 20:39, david...@pt.lu wrote:
How about posting the article here? There are lots of people who are
interested but are not NPS members
Hi Dave,
I think you've made
On 1 Jul 2011, at 20:39, david...@pt.lu wrote:
> How about posting the article here? There are lots of people who are
> interested but are not NPS members
Hi Dave,
I think you've made quite a good case here for joining the NPS.
Francis
To get on or off this list see list information at
ht
(Suspicious voice)
Hullo,
Anyone there? I've got my tin hat on. Any incoming fire?
(Normal voice)
Attempts at humour on the internet are dangerous and generally misunderstood.
I am the vile editor of the NPS Journal who changed the title of
Anthony's article without his consent and I have
Hi Antony,
How about posting the article here? There are lots of people who are
interested but are not NPS members
-- I like the hint of lilt in your playing - always have
A
regards
Dave S
Anthony Robb wrote:
Hello John
That's sounds great.
It's exactly the
Hello John
That's sounds great.
It's exactly the response I was hoping for when I submitted the article
on Rants to the NPS Journal. I'd titled the piece "Anyone For a Rant?"
but it was apparently unsuitable and altered without my consent or
knowledge to "A Bit Of a Rant" which r
On 24 May 2011, at 13:12, Richard York wrote:
> Love and piece indeed... did you have any particular piece in mind this
> month, Francis?
Well, as a matter of fact, yes!
The last 'piece' I played was 'Handel's Water Piece', a duet arrangement of
Handels 2nd Water Music Suite (the Ouverture),
And gold is amazingly soft, so won't wear well.
John
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
My SSP set is gold-plated (no keys) and looks as good as new 15 years on now.
My NSP (only a few years old) is silver-plated and also looks as good as new.
But the gold really stands out, so if you can afford the extra cost, it's
really worthwhile!
--Rick
On Jan 14, 2011, at 5:29 PM, Julia Say
On 14 Jan 2011, Colin wrote:
> Gold fittings won't tarnish (well, people have gold flutes so why not).
There are gold-plated sets. The cost, in the current metals market, involves
the
phrase "arm and a leg" when compared to silver plate though. Gold plate is also
applied much thinner than sil
le have gold flutes so why not).
Colin Hill
- Original Message -
From: "Bo Albrechtsen"
To:
Sent: Friday, January 14, 2011 9:45 PM
Subject: [NSP] Re: re-conditioning ... (dangers of brass tarnish?)
Den 14-01-2011 21:39, [1]gibbonssoi...@aol.com skrev:
..snip
With brass,
Quoting Bo Albrechtsen :
Yes ! Also the metal oxides accelerates the tendencies of vegetable
oils to turn into gum-like "snotomers" ( he-he, thank's Julia)
I believe that the most famous snotomer in the world is the glue on
post-it notes.
And it looks vile as well.
Depend
Den 14-01-2011 21:39, [1]gibbonssoi...@aol.com skrev:
..snip
With brass, the same is not true for copper and its alloys.
So corrosion doesn't prevent further corrosion.
Sorry, but I don't quite follow you there. Rust on iron or steel does
not prevent further corrosion, but exac
Brass is not gunmetal.
With gunmetal, iron oxide forms a thin airtight layer for a while,
protecting the metal underneath, at least till proper rust gets going.
With brass, the same is not true for copper and its alloys.
So corrosion doesn't prevent further corrosion.
Fu
Gibbons, John wrote:
Oddly 'Poll Hapenny', an Irish set dance, seems sometimes to appear as Holy
Ha'penny (I'll check tonight in Breathnach); -
I never thought of this as a personal name but assumed a reference to a
1/2d tax per head...maybe I have an odd way of thinking of
things
Holey ha'penny = a ha'penny with a hole in?
Holy ha'penny = Peter's pence? the widow's mite?
In the absence of a lyric fitting the current tune, The Chorus Jig, explaining
the title will remain a matter of conjecture.
Oddly 'Poll Hapenny', an Irish set dance, seems sometimes to appear as Holy
H
Dear Peter,
Tradition is the name of the game in instrument making where makers are
sticking to well tried materials that they know will last two or three
generations and will be an investment as with string instruments.
When you start to mention computer aided design it is a mistake to
think t
the cliff car park at beer - devon
written many a tune
2009/8/12 P DUNN <[1]p.dun...@btinternet.com>
Thank you Richard for introducing a non-contentious topic!!
Definitely whilst walking for me. I can recommend the walk from
Lordenshaws car park to the forestry commi
the other option is to memorise the tune and then try playing it but
starting a note lower down, trusting your ears and fingers. you might
not even need to write the tune out at all.
2009/8/3
Ah yes, taking the plunge in the first place.
Though, Michael Dillon said he has s
Ah yes, taking the plunge in the first place.
Though, Michael Dillon said he has sucked them and seen.
Maybe it's a personal temperament/aesthetic thing. Like fact that we're playing
pipes and fiddles rather than synthesisers or riding choppers rather than
Goldwings.
>
>Errr.sorry, could yo
>>I've always got the impression that all this Midi, Abc, Sibelius stuff is
>>probably more laborious than long hand.
With all these programs, the laboriousness depends entirely on how practised
you are. I know from experience that ABC allows you to enter stuff at great
speed and the printed resul
>or at least what I
>thought was the
>easy option and eventually came round full circle and did them (and
>still do them) in long hand.
Thank you, Michael, for this info. I've always got the impression that all this
Midi, Abc, Sibelius stuff is probably more laborious than long hand.
You've s
christopher.bi...@ec.europa.eu wrote:
The "flatness" and mechanical playing problems which many
people perceive
with "playing from dots" is only inevitable for people who
struggle with the
reading, and those who think that the dots represent *exactly*
how music
should be played.
I would en
>The "flatness" and mechanical playing problems which many
>people perceive
>with "playing from dots" is only inevitable for people who
>struggle with the
>reading, and those who think that the dots represent *exactly*
>how music
>should be played.
I would endorse this (and the rest).
c
O
Dave S wrote:
No one has so far mention the fact that classical musicians usually have
an ally waving a stick and hands giving them the colour, speeds and
breathing life into the piece they are playing -- namely his
interpretation of what the COMPOSER wished to convey from the dots, with
all it
Richard Evans wrote:
Philip Gruar wrote:
I'm sure everybody with a so-called "classical" music training here
(and jazz or whatever) - i.e. anyone for whom the purely mechanical
act of reading written music is completely second nature, does the
reading without consciously thinking about doin
On 6/11/09, anth...@robbpipes.com wrote:
> When asked what the
> third tune was, Robin said he hadn't a clue - he'd forgotten the tune
> he was going to play and set off making a new tune up as he went along.
This has happened on several occasions with Border Directors, as Chris
would te
d you'll be more than halfway
there.
Anthony
--- On Thu, 11/6/09, ch...@harris405.plus.com
wrote:
From: ch...@harris405.plus.com
Subject: [NSP] Re: re notes v. ear
To: "Dartmouth N.S.P. site"
Date: Thursday, 11 June, 2009, 8:03 AM
I'm not
Philip Gruar wrote:
Can I just say, with particular reference to Richard's last post, that I
am in no way claiming any superiority for the classically-trained
position. Reading my post again, it looks a bit as if I am.
I didn't read that into it at all- it was just a comment by me on my
own
When teaching an evening class on playing traditional music a while
back, I was determined to get the dots only players to play by ear, &
visa versa too, so they all had the benefit of both techniques. Most
seemed to find it useful.
So after some weeks of working up to it, and following John
K
I'm not an artist, but my wife is, and she swears by a book called
"Drawing on the right side of the brain".
The premise is that the two halves of the brain work in different ways.
The left side (and I may have got this garbled, correct me if I'm wrong)
is analytical and logical, and the right side
all means use dots but also listen, listen and listen again; you
know it'll do you good.
As aye
Anthony
--- On Thu, 11/6/09, Philip Gruar wrote:
From: Philip Gruar
Subject: [NSP] Re: re notes v. ear
To: "Dartmouth N.S.P. site"
Date: Thursday, 11
Hi Philip, et al,
I guess I need to respond to this...
It is of course impossible to know just what Mr. Little was talking
about in his attribution of "flatness" to note-reading-- we don't know
the players involved, their abilities, their musical or cultural
background, and I fr
Can I just say, with particular reference to Richard's last post, that I am
in no way claiming any superiority for the classically-trained position.
Reading my post again, it looks a bit as if I am.
I enormously admire all those who play mostly by ear. I think on the whole
they are better musici
Philip Gruar wrote:
I'm sure everybody with a so-called "classical" music training here (and
jazz or whatever) - i.e. anyone for whom the purely mechanical act of
reading written music is completely second nature, does the reading
without consciously thinking about doing it.
This is the bas
Here here! I was hesitating about saying exactly the same thing, only you
put it better than I could.
Cheers,
Richard
Philip Gruar wrote:
I think Peter makes just the point here that I was going to make, when
Anthony (I think) first started the debate. Also, Dick made very good
points.
The "
Greets Rick et al.
>We're talking about
>something more simple than that, just learning to control the
>instrument.
Of course, and there's no better way than strict slow tempo staccatissimo. But
what you do in your practice is of necessity, I think, exaggerated.
playing than playing sloppi
But Chris, we're not talking about styles at all. We're talking about
something more simple than that, just learning to control the
instrument. Or do you consider playing well a different style of
playing than playing sloppily? Whether you play the traditional tunes
or rock and roll is s
rkby! (and
vice versa for Rameau or Lully)
Cheers,
Paul Gretton
-Original Message-
From: christopher.bi...@ec.europa.eu [mailto:christopher.bi...@ec.europa.eu]
Sent: 14 April 2009 10:51
To: davidthba...@googlemail.com; ch...@chrisormston.com
Cc: rosspi...@aol.com; lisaridley6...@hotmail.com; n
.
c
>-Original Message-
>From: Paul Gretton [mailto:i...@gretton-willems.com]
>Sent: Tuesday, April 14, 2009 10:30 AM
>To: nsp@cs.dartmouth.edu
>Subject: [NSP] Re: Re:
>
>David Baker wrote:
>
>>>Had it not been for certain groups of musicians breaking t
> Do you think math teachers are unfair for calling answers
>"wrong"?
>
>
I'm sorry, but this is frankly silly. Proving things write or rongue is what
maths is about.
Something may be "wrong" when playing a given style music (like playing jazz as
if it was classical and vice versa) but descr
< I don't think it fair to call any style of playing any
> instrument 'incorrect' simply because it does not adhere rigidly to
> tradition.
Here we go again!
FWIW:
I a) value the tradition (and the baroque) and b) agree wholeheartedly with the
above statement.
I play various instruments in
David Baker wrote:
>>Had it not been for certain groups of musicians breaking the rules
>>because what resulted sounded good to them, the only style of trumpet
>>playing would be baroque, and jazz would not exist (to give but one
>>example).
Hmmm...that is a very interesting take on the history o
David,
Are you also opposed to giving out grades in school, as it might
traumatize or hinder the creativity of those who "march to a different
drummer"? Do you think math teachers are unfair for calling answers
"wrong"?
--Rick
On Apr 13, 2009, at 2:56 PM, David Baker wrote:
Though I
On 13 Apr 2009, Chris Ormston wrote:
> Andy May, Pauline Cato and I were discussing competitions at the
> Whitley Bay residential course last year, and we concluded that
> judging - a thankless task in the best of circumstances.
Well I for one am extremely grateful for the positive and helpful
]rosspi...@aol.com [mailto:[3]rosspi...@aol.com]
Sent: 13 April 2009 18:49
To: [4]lisaridley6...@hotmail.com
Cc: [5]...@cs.dartmouth.edu
Subject: [NSP] Re: Re:
Beware of the press. The same article had Katherine pictured in her
usual langorous pose which even she might be getting a bit sic
2009 18:49
To: lisaridley6...@hotmail.com
Cc: nsp@cs.dartmouth.edu
Subject: [NSP] Re: Re:
Beware of the press. The same article had Katherine pictured in her
usual langorous pose which even she might be getting a bit sick of by
now.
Whatever might be said of her and her style of piping you c
...@gretton-willems.com; pipers list
Sent: Mon, 13 Apr 2009 17:40
Subject: [NSP] Re: Re:
No I do not - curiousity sattisfied? My thoughts and concerns lie
with
the ridicule facing Northumbrian piping and the child herself as a
consequence of publicity and unheeded advice.
> Date:
tain's Got Talent" with
even
more trepidation than usual :-(
Chris
-Original Message-
From: lisa ridley [mailto:lisaridley6...@hotmail.com]
Sent: 13 April 2009 10:45
To: helen.ca...@paradise.net.nz; pipers list
Subject: [NSP] Re: Re:
Apologies, I was under the impression that
.@gretton-willems.com
> Subject: [NSP] Re: Re:
>
>
> Just a tiny question, Lisa. You don't happen to have a child of your
own who
> enters NSP competitions, do you? Just curious.
>
> Cheers,
>
> Paul Gretton
>
> -Original Message-
o the next broadcast of "Britain's Got Talent" with even
more trepidation than usual :-(
Chris
-Original Message-
From: lisa ridley [mailto:lisaridley6...@hotmail.com]
Sent: 13 April 2009 10:45
To: helen.ca...@paradise.net.nz; pipers list
Subject: [NSP] Re: Re:
Apolog
g the hosepipe and the response he got?).
The general public just isn't aware of what should be done and what
shouldn't.
Colin Hill
- Original Message -
From: "lisa ridley"
To: ; "pipers list"
Sent: Monday, April 13, 2009 10:45 AM
Subject: [NSP] Re: R
> My mistake Matt - but then you too are a kid from Kent (and more precisely
> I think you and Tim Edey are both native to the Planet Thanet)
'Tis true, sir (along with Tracy Emin & Edward Heath), though my genes
are from elsewhere. As are my jeans.
To get on or off this list see list informat
Matt Seattle wrote:
I think you mean Session A9 Ian. Session A7 is me and Bill Telfer, and we rock
My mistake Matt - but then you too are a kid from Kent (and more
precisely I think you and Tim Edey are both native to the Planet Thanet)
Ian
To get on or off this list see list information
On 4/13/09, Ian Lawther wrote:
> ... Session A7 among
> many others.
I think you mean Session A9 Ian. Session A7 is me and Bill Telfer, and we rock.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
ipers list
Subject: [NSP] Re: Re:
Apologies, I was under the impression that the pipers list was a forum
for self expression and discussion. I was not aware there was a
required censorship in case "the truth" about these pretenders reaches
the "public" domain.
T
Apologies, I was under the impression that the pipers list was a forum
for self expression and discussion. I was not aware there was a
required censorship in case "the truth" about these pretenders reaches
the "public" domain.
The Newcastle Journal is a publication with a weekly circ
There's no 'answer' to this because the situation is a muddle. Aurally
transmitted music and written music are in constant interaction, and
an inaccurate written version can be learnt and then passed on aurally
so that it then becomes part of 'the tradition'.
A few examples:
Out of a dozen or so
> With regard to the Tom Anderson quote, "Never try to learn
>a tune you
> don't already know", as posted by Christopher Birch,
Just for the record, I was referring to a previous posting by Colin Ross, in
which he wrote:
"It has already attracted criticism from one of our pipers who is
'd
While many NSPers both can play by ear and can read and write music,
the main problem is not that nobody writes the music down, but rather,
that many players prefer, on hearing a tune in a session or playaround,
to ask what book it's in, dig out the notes, and start playing from the
dots. Some
Off-topic but see here
http://www.marquise.de/en/themes/linksrechts.shtml
Colin Hill
- Original Message -
From: "Richard York"
To: "NSP group"
Sent: Wednesday, January 14, 2009 8:05 PM
Subject: [NSP] Re-Images reversed or not
Dunno about ladies, but I believe that gents have the b
This what I use and I have been quite happy with it. It's range covers that of
most bagpipes of all types.
http://www.hvactool.com/catalog.php3?hcategory=23&hsubcat=198&hpagenum=1&hproductid=DWYER-61030
I am sure the same is available "over there".
Happy New Year, by the way!!! I celebrate it on
I risk being shot down for ignorance, but is it not the case that the
GHB's were traditionally a shade away from Bb concert pitch, and have
now come to roost on Bb as such for similar reasons?
( I just wish they wouldn't play them alongside brass bands, which tend
to have a different temperament
Francis (Wood) wrote:
>>>The course of instrumental pitch is a complex and controversial one.
Indeed! For anyone seriously interested in this topic, there is now a
fascinating book by Bruce Haynes:
A History of Performing Pitch: The Story of "A"
http://findarticles.com/p/articles/mi_hb6657/is_
Hello Peter and others.
I agree absolutely with your suggestion and would advocate the use of
standard pitches only, whether D, F, F# or G.
The course of instrumental pitch is a complex and controversial one.
Unfortunately, the history of woodwind and brasswind making is plagued
by exampl
Dear Peter,
When I came into piping very few pipers could play together because of wide
variations of pitch so when I took up pipemaking I determined to establish a
standard pitch with my pipes. As the pitch was between F and F# I chose F as
the standard as at least it was a key that was reaso
Although Derwentwater's Farewell is an excellent to play as the mourners are
coming in or going out at a funeral as well as playing for the committal, it is
fraught with danger of squeaks when playing the lower notes on the chanter.
Much safer to play The Rowan Tree which does not use the keys a
As you can probably well imagine this altering of names has occurred
very frequently with immigrants whose names seemed quite
unintelligible to the immigration authorities. A good friend told us
the other day that his father and his 2 uncles (father's brothers)
all arrived in New
> variation usually
>occurs through verbal propagation
I'm sure this is true but there are also instances of deliberate spelling
changes by educated literate people, the reasons for which seem obscure. Eg
The engineer Thomas Telford born in 1757 for some unnaccountable reason
changed his own nam
Original Message -
From: "the Red Goblin" <[EMAIL PROTECTED]>
To: "NSP group"
Sent: Saturday, August 16, 2008 9:18 AM
Subject: [NSP] Re: re-Tune title spelling
Interesting - name spelling consistency seems to have been a remarkably
variable thing anyway unti
On 16 Aug 2008, the Red Goblin wrote:
> variation
> usually occurs through verbal propagation - the hearer writing it down
> as they think right and not necessarily correctly.
>I've found several instances, mainly in
> more rural communities, of census enumerators (apparently
> insufficiently
> Interesting - name spelling consistency seems to have been a remarkably
> variable thing anyway until relatively recently. When did it generally
> get standardised, I wonder?
I know nothing of the politics here but if family research has taught me
anything it's to keep an open mind. Just becaus
Is that as in Yorke-Withany?
Honor Hill
-Original Message-
From: Richard York [mailto:[EMAIL PROTECTED]
Sent: Friday, August 15, 2008 3:27 PM
To: NSP group
Subject: [NSP] re-Tune title spelling
Interesting - name spelling consistency seems to have been a remarkably
variable thing anyway
The school assembly I am playing in is a "holiday" celebration which is
the way US schools get to cover Hanukkah, Christmas, Kwanzaa, and Eid
al-Adha without offending anyone. Last year we were going to do the
North Skelton dance but the school ended up closed due to a huge power
cut but it wa
Peter Dunn wrote:
. Having examined the practices of Colin Ross, Richard Butler and John
Liestman, I cannot find any great difference in science, but merely a
difference in the subtleties of method which are to be expected in the work
of any craftsman.
>
> Would a completely standardised reed b
On 7 Nov 2006, Gibbons, John wrote:
> Read Clough on a proposed book of 'standard versions' of pipe tunes for
> use in competitions.
> Was this the precursor of the NPS first tune book?
I don't think so - I think it was a suggestion by the Highland-pipe-
trained early organisers of the NPS th
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
S. site
Subject: [NSP] Re: re reply
in the same way that the Highland pipes are very suitable for the music
they play, but let's be honest, they still remain a primitive,
undeveloped
instrument.
Peter Dunn
With all due respect, Peter, this popular view betrays a lack of
understanding. Toda
in the same way that the Highland pipes are very suitable for the music
they play, but let's be honest, they still remain a primitive, undeveloped
instrument.
Peter Dunn
With all due respect, Peter, this popular view betrays a lack of
understanding. Today you will find that from its synthet
I really agree with you Maureen. Brilliant mailing.
Push the boundaries but retain the roots!
Helen
- Original Message -
From: "Maureen Davison" <[EMAIL PROTECTED]>
To: "Dartmouth N.P.S. site"
Sent: Tuesday, October 31, 2006 10:19 AM
Subject: [NSP] re Sir P. and K.T.
> Sunday, October 2
I think you are right BUT with reservations.
It's not the music so much as the explanation of the instrument for those
who are not familiar with it.
Provided that it is not implied that this is the "tradition" then ok,
anything goes. For those not familiar with the usual way and style of
playing, t
On Mon, 2006-10-30 at 21:19 +, Maureen Davison wrote:
> Great Highland bagpipes haven't been forced into changing form or repertoire
> to become known from North Shields to Nepal, so it's a rather alarming
> notion that NSPs should evolve into something capable of being played in
> orchestras o
"it certainly wasn't to play Stranger on the Shore in preference to
the Apprentice Lads of Alnwick!"
Maureen
Bugger! You found that clip on YouTube then :-)
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I agree with you - I just don't think this was the piece which is going
to make that breakthrough. Quite frankly, it wasn't good enough
(although it was excellently performed by all musicians involved).
On Sun, 2006-10-29 at 15:54 +, peter dunn wrote:
> In all the comments made, I seem to be t
ECTED]
Sent: 30 June 2006 20:38
To: NSP Mailing List; Robert Smith
Subject: [NSP] Re: re DVD and Northumbrian pipes
This one which is for all regions (
http://www.bagpipediscs.travelingpiper.com/product_info.php?cPath=24&products_id=126
)
includes some NSP but I don't know how much. I
This one which is for all regions (
http://www.bagpipediscs.travelingpiper.com/product_info.php?cPath=24&products_id=126
)
includes some NSP but I don't know how much. I don't know of any others
currently available.
Ian
- Original Message -
From: "Robert Smith" <[EMAIL PROTECTED]>
To:
Thanks for all your help lads, now I understand...17 versions..oh dear.
By the way, I'm Portuguese, not spanish...I don't even speak the language. :-)
Obrigado pela ajuda e pela informação, agora tenho muito mais material
para trabalhar. Dezassete versões é muita fruta, caraças. ;-)
Até à vista,
Miguel
Mi bemol mayor, y no Do menor. Vale? Si, estoy seguro.
go to-
http://trillian.mit.edu/~jc/cgi/abc/tunefind
type-
waltzingmatilda
click FIND
there are 17 versions, they are not quite the way I know the tune but they will
give you the right idea. You'll see it's in a major key.
Hasta la
Are you sure about the key? I was assuming that the fourth line from
the top was G (hence, A flat, B flat and E flat, as marked on the key
= C minor).
As for the possible transcription errors, it's possible, but I don't
know the song.
2006/2/21, Matt Seattle <[EMAIL PROTECTED]>:
> On Tue Feb 21 10
On Tue Feb 21 10:39 , 'Miguel Costa' <[EMAIL PROTECTED]> sent:
That link is to something very vclose to the STANDARD version of the song, it
is
NOT in C minor but E flat major, and the 2 bars 'marching down to Rochester'
should be only 1 bar with half the note lengths.
>And I have excellent ne
Yes, the website has tons of information...it will take me some time
to digest the whole thing.
And I have excellent news: I found another site with a score for the
Bold Fusilier with the EXACT key I need to play the song: C
minor...which is the key of all my scores for Transmontana chanter
(tuned
On 7 Nov 2005, [EMAIL PROTECTED] wrote:
> I am most
> grateful to Julia and Adrian for including the metronome marking in the
> "Billy Pig"
> book.
Er...well actually it was Colin who wanted to put these in. I was
very much against it at the time, thinking it too prescriptive. They
were
I have been trying to indicate the timings in all the new publications of
the NPS as a guide based on my experience as a player for dancing over the
years
but these are only a guide as the nature of the tune is as important as its
suitability for dancing in deciding on what tempo it should
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
Yes, Hamish's talk was very interesting. Perhaps he could be persuaded to
write an article for the newsletter.
What I found most interesting at a workshop on playing for dances, was the
comment that you also bore the age of your dancers in mind. If the majority
were elderly the music shoul
With reference to the speeds at which music should be played I am most
grateful to Julia and Adrian for including the metronome marking in the "Billy
Pig"
book. Those of us not living in Northumberland do not have the advantage of
having heard the repertoire played repeatedly at every session
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
98 matches
Mail list logo
