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
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
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
(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
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
And an even better case for posting it on the NPS forum (its open to
non members)
Quoting Francis Wood oatenp...@googlemail.com:
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
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),
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.
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
not).
Colin Hill
- Original Message -
From: Bo Albrechtsen b...@glaipnir.dk
To: nsp@cs.dartmouth.edu
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, the same
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
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
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
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
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
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
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
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 result
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 you
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 christopher.bi...@ec.europa.eu
Ah yes, taking the plunge in the first place.
and listen again; you
know it'll do you good.
As aye
Anthony
--- On Thu, 11/6/09, Philip Gruar phi...@gruar.clara.net wrote:
From: Philip Gruar phi...@gruar.clara.net
Subject: [NSP] Re: re notes v. ear
To: Dartmouth N.S.P. site nsp@cs.dartmouth.edu
Date: Thursday, 11
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
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
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
there.
Anthony
--- On Thu, 11/6/09, ch...@harris405.plus.com
ch...@harris405.plus.com wrote:
From: ch...@harris405.plus.com ch...@harris405.plus.com
Subject: [NSP] Re: re notes v. ear
To: Dartmouth N.S.P. site nsp@cs.dartmouth.edu
Date: Thursday, 11 June, 2009, 8:03 AM
I'm
On 6/11/09, anth...@robbpipes.com 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
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 doing
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
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
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
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 of
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
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 describing a
[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; nsp@cs.dartmouth.edu
Subject: [NSP] Re: Re:
I don't think it fair to call any style of playing any
instrument 'incorrect
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
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
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.
The Newcastle Journal
On 4/13/09, Ian Lawther irlawt...@comcast.net 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
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
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
isn't aware of what should be done and what
shouldn't.
Colin Hill
- Original Message -
From: lisa ridley lisaridley6...@hotmail.com
To: helen.ca...@paradise.net.nz; pipers list nsp@cs.dartmouth.edu
Sent: Monday, April 13, 2009 10:45 AM
Subject: [NSP] Re: Re:
Apologies, I was under
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 the pipers list
lisaridley6...@hotmail.com
To: i...@gretton-willems.com; pipers list nsp@cs.dartmouth.edu
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
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
]
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 sick of by
now.
Whatever might
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
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
'deeply
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=23hsubcat=198hpagenum=1hproductid=DWYER-61030
I am sure the same is available over there.
Happy New Year, by the way!!! I celebrate it on
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
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
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
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
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
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
@cs.dartmouth.edu
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 until relatively recently. When did it generally
get standardised, I wonder?
I know nothing
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 was
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 be
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 nsp@cs.dartmouth.edu
Sent: Tuesday, October 31, 2006 10:19 AM
Subject: [NSP] re Sir P. and K.T.
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
: [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. Today you will find
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=24products_id=126
)
includes some NSP but I don't know how much. I don't know of any others
This one which is for all regions (
http://www.bagpipediscs.travelingpiper.com/product_info.php?cPath=24products_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: NSP
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