thelanes wrote:
How did this go? Sounds an interesting week. What happened to the recent
Open Air Festival in Kelso?
Jan Lane
Excellent concert - odd. Bert had two guitarists in support, both of
whom he named, but were not down in writing... so of course, I can't
remember anything except
Toby Rider wrote:
David Kilpatrick wrote:
Bert Jansch plays the Wynd Theatre, Melrose, Scottish Borders on
Saturday, Sept 27th.
Does Bert Jansch qualify as a traditional Scottish musician? If so,
does that mean that Johnny Marr does as well (heavily influnced by Bert
Jansch)? :-)
Yes
David Francis wrote:
Yes, 100 per cent. Bert is a Glaswegian
from Edinburgh surely? He was brought up in Pilton, I think.
I'll have to read his biography again. I thought he was born in
Edinburgh but brought up Glaswegian!
whose primary repertoire is
traditional Scottish song.
I saw him
announcement, I had already posted about this,
it's a recap and reminder.
David Kilpatrick
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I will be 'appearing' at the Auld Hoose Festival (and then disappearing
for a further year) at 9.00pm on Saturday August 9th - till 10.30pm. The
venue is New Dalry House, a Jacobean house in Dalry, Edinburgh, near the
Haymarket railway station - the King Charles Music Room, a 90-seat venue
[EMAIL PROTECTED] wrote:
I found this tune in Bremner's Scots Reels and wondered about the title.
'Hirpl'd', I understand, means 'hobbled', but He hobbled till her
makes little more sense to me than the original. Any ideas of what is
meant?
Till means 'unto' - or just to. Normally speltt
thelanes wrote:
Give us some warning! That event sounded excellent! Hope it went well. It
would take us a bit of an early start to make it to the borders, but it
would have been worth it. (This list takes a few days sometimes?)
It was a lovely day - worth staying at home instead for, actually...
2.00pm to evening, Saturday June 14th, the village of Swinton (between
Kelso and Duns, Scottish Borders) has its annual Gala and has been given
some asssistance based broadly on King James VI/1st accession
quattercentenary. Expect some oddly costumed villagers wandering round.
Musicians are
[EMAIL PROTECTED] wrote:
In a message dated 7/6/03 9:34:41 am,
[EMAIL PROTECTED] writes:
NB: on the Buckfast topic - someone has left an 80 per cent finished
bottle of Buckie opposite my back door. Abandoned midway down a 100 yard
lane. Says it all, about Buckfast, and about small towns!
Toby Rider wrote:
However... some small towns have a lot of social problems and some of
these places would need a bit of care, particularly if you have kids
and are concerned about schools etc.
What sort of social problems??
Same as in the Borders - lovely towns, sod all to do for
A few things happening:
On Friday March 28th at Hawick High School there's a concert to kick off
the Reivers Festival, starting 7.30pm.
The compere will be Fiona Armstrong of Border TV ('Songs of the Clans'
etc) and there will be an introductory talk by author and Border
historian Alan
Jack Campin wrote:
(re Xaphoon)
Interesting idea but I don't see how anybody could play it accurately
in tune: very short, no tuning barrel, no adjustable ligature, and a
fiercely hard reed that would give you no lip control of the pitch at
all.
My demonstrator had a saoft no 1.5 reed fitted
Toby Rider wrote:
Jack Campin wrote:
(re Xaphoon)
Interesting idea but I don't see how anybody could play it accurately
in tune: very short, no tuning barrel, no adjustable ligature, and a
fiercely hard reed that would give you no lip control of the pitch at
all.
Okay.. I have to ask.. What
George Seto wrote:
On Tue, 11 Mar 2003, Toby Rider wrote:
Okay.. I have to ask.. What on earth is a Xaphoon?
It's a bamboo sax. Check out the web-site Jack provided.
I'd heard of it a few years ago, but the price was outrageous for a
Canadian. The new injection molded one, is REALLY well
Hard to believe it's seven years, shortly, from that day.
http://artists.mp3s.com/artist_song/1382/1382022.html
I can tell that this year is much warmer, because the exact state of the
snowdrops on March 13th 1996 is something I don't forget. They are
pretty much over here now in Kelso, still
Cynthia Cathcart wrote:
Traditional musicians can sound dead-wooden as well, but luckily they
tend to be fewer and farther between. Does anyone have theories on why
this seems to be so?
Not just traditional, but self-taught in general, or informally taught.
I don't think that people with
Cynthia Cathcart wrote:
I'm in a rather unique position with respect to the question of
authenticity and history: I play the wire-strung clarsach, whose
tradition was absolutely broken in the late 1800's, to lie extinct until
the 1950's. So I have little choice but to look to history,
.
For a look at/listen to Dave Gibb's stuff see http://www.davegibb.co.uk/
- David Kilpatrick
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Jonathan Hill wrote:
Fusion? That reminds me, whatever happened to Jesse Rae? ( For the
benefit of younger lurkers, think of a cross between Wham and
Groundskeeper Willie!) If he's Left the Building can I have his stage
gear?
Jesse is alive and well, living in St Boswells or its environs,
David Francis wrote:
You could imagine a certain gentility and politeness in the
Edinburgh Assembly Rooms, but you would expect other gatherings to be a bit
more vigorous and boisterous. Were gatherings smaller? Did fewer people
dance at a time? Were the bands bigger (I'm thinking about the
A short set of Burns stuff from various artists -
http://www.mp3.com/stations/burnsnight
Needs iTunes, Realplayer or similar.
cheers!
David
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Toby Rider wrote:
re:
http://www.maxwellplace.demon.co.uk/pandemonium/guittar.html
and also at
http://www.robmackillop.com/
Wow, these are some very nice photos. I can almost smell the wood. What a
fascinating axe! I noticed that the two bass strings are not doubled,
whereas all the other
Jack Campin wrote:
Oswald himself specialised in guittar (English guittar) which has a
sound like a very quiet harp or lyre. It's also a very easy instrument
to write music with, as it transposes and the tuning forms two major
chords (CEGceg, GBDgbd or AC#Eac#e normally).
Here's the tune,
Jack Campin wrote:
Barfly is so frustrating on my Mac! I can't use anything except
'beep' and it plays in a way which bears no resemblance to your
demosntration - all the note lengths are wrong and the result
doesn't even sound like a tune. More like some very long horrible
ringtone.
1.
Cynthia wrote: re Highland march:
Rather, Mike told me it was a swinging fast walk. Maybe he
was thinking of the kilts, but a louping jog could fit the description
as well.
I think the great kilt (full thingy, huge length of fabric in one piece
for cloak and all) pretty much forces a
Richard Evans wrote:
I've started playing this tune on Northumbrian Pipes, having found it in
'Bewick's Pipe Tunes', published by Matt Seattle. In his notes, Matt
says that this version is similar to James Oswald's.
It sounds like a harp tune to me, and the title would possibly support that.
Cynthia Cathcart wrote:
Dancing maybe, but not marches writes my friend David (hi David!)
Actually, that's not true. The brosnachadh (the incitement to battle)
was a march, and was originally played with the wire strung harp,
perhaps solo or perhaps as accompaniment for a chanted poem.
I
[EMAIL PROTECTED] wrote:
The sad thing is that to be a master harper according to the Scottish
Harp Society one must be able to play a March/Strathspey/Reel set and
not much else. The repertoire requirement is 40 tunes, 75% of which is
MSR's. (one also has to have 10 airs which are
Wayne Morrison wrote:
I don't know how this happened, but I apologize to you Cynthia (and anyone
else bothered by the faster tempos) for any heartache and finger-stress I
caused you in trying to match these higher tempos.
It's even worse for guitarists where dance tempos can pretty much
mary umbarger wrote:
Dear Nigel,
Along this same thought: I have looked for the music to The Sweetness
of Mary which I heard on a CD by Alsdair Fraser (Return to Kintail). It is
really a beautiful strathspey -at least that is what I think it is. Anyway
it is really nice.
That's a
Jack Campin wrote:
I fully appreciate that this notice will be reaching many who are
thousands of miles from Kelso, but if you play loud enough we'll hear you!
[...] tunes will include: [...] Balvenie Manor
Freudian slip - I listed a tune as 'Balvenie Manor' due to not having
info next to
Jack Campin, author of the EMBRO, EMBRO CD-ROM which has been so
acclaimed for its lyric, commentary and tune content will be giving a
performance-talk about this with the help of large screen projection at
Kelso Folk Club next Friday.
As Jack's 'piece' is an unusual one, we have arranged for
[EMAIL PROTECTED] wrote:
Nigel, et al,
MY interpretation, Here's to those who are like us is inclusive and
outward-looking.
Given my context, I have a hard time hearing that as anything but
racist. I'll trust you that it's not intended as such.
I think that would depend on the company.
Nigel wrote:
here is a toast which has become traditional in Scotland:
Here's tae us wha's like us!, meaning Here's to those that are like
us!. Unfortunately it has become distorted into an arrogant Here's
tae us! Wha's like us? meaning who on this earth is as magnificant as
we Scots?, usually
David Francis wrote:
David Kilpatrick wrote:
maybe the ballads really go back even further to the
Bronze Age, and ALL iron is 'metal clear' while those old bronze swords
are 'metal broon'...
It's an interesting thought, and maybe not so far fetched. Take a look at
Alan Garner's essay (he
I have a new Romanian fiddle outfit for sale - basically a sample I
bought in with a view to reselling as a regular item - which would make
a really nice Christmas present for someone.
http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItemitem=930975610
What's unusual about this is the appearance. It
Clifford Abrams wrote:
In many texts, spears or other weapons are often shod with metal
'free'. Why free. I understand (from the late Tony Cuffe) that a
wee pen knife was really very likely a weapon knife-- which
people were much more likely to carry around in earlier days. (As an
aside, many
I'm doing a solo set - songs and guitar instrumental, more of the former
than the latter - at the Listening Room, the Blue Blazer, Spittal
Street, Edinburgh, Sunday night 8.00-10.00pm. No amplification - part of
Acoustic Underground's Edinburgh programme, in conjunction with Brett
Perkins'
Ellen Sinatra wrote:
Secondly, it is my observation that the traditional music scene in Scotland
is healthy -- and even musicians who incorporate instruments from outside
the Scottish instrumentarium and who perform popified arrangements
are playing in pubs and festivals without their added
Ted Hastings wrote:
And I suspect that it's the only one with which you've tried to use the
complex mixture of applications described above.
Not at all, and also about the 'no-one is obliged to install... etc'. We
are. When you publish reviews of peripherals and software, you can not
Ted Hastings wrote:
As far as I can see, the principal characteristic of the Unix user
community is to criticise Microsoft and Windows at every opportunity.
Windows users don't seem to be nearly as prone to bashing the
competition, perhaps because they're getting on with productive work
using
Jack Campin wrote:
I just got a copy of the bugbear virus that must have come from someone
reading this list. It was not routed through scots-l itself. Here are
the relevant parts of the header and body:
Received: from [80.40.54.94] (helo=aol.com)
by
Eric Falconer wrote:
I also got a flood of digests last night. I stopped receiving them in
January this year for no obvious reason. I tried re-subscribing a number of
times without success. Thought I'd been blacklisted! Nice to see all the
old familiar names still here - same old
Border Television News, Scotland, tomorrow night, Thursday, 5-5.30pm:
look out for bald bloke playing banjo badly
We had a TV crew in to film a news item about music sessions in local
pubs (we just started a two-month funded program of free live music) and
I got 24 hours notice to attempt to
Philip Whittaker wrote:
David,
Thanks for the chance you gave to my flute playing daughter to get on TV
with her fiddling pals. Did the school day lunch-time session on the TV
give the flavour of the Friday night sessions? Did the school garb look
obvious?
Looking forward to seeing
Nigel Gatherer wrote:
Wha saw the tattie howkers,
Wha saw them gang awa?
Wha saw the tattie howkers,
.. the Berwick Law?
I believe it may originate as hawkers, based on Irish potato sellers.
No, it's to 'howk' or dig. Tattie howkers is not just Scottish, it's
what they are
tom hall wrote:
Hail andrew, et al,
I assume that you're referring to John Anderson, My Jo, by Burns.
The version he wrote for the Merry Muses of Caledonia does suggest that he
was a piper. To wit:
To see your hurdies fyke, John,
And hit the rising blow:
It's then I like your
Philip Whittaker wrote:
Thomas the Rhymer - who was a real scholar who probably went off to Italy,
giving rise to alegend that he lived in fairy land for this time. As i
recall he entered he entered after meeting the Fairy Queen by the Eildon
Tree - presumeably near the three Eildon Hills,
Nigel Gatherer wrote:
I have been asked for any info on a group called Schehallion who
...used to include parodies of songs in their set. There was one
called Rose Street Rag and another one which was sung to the tune of
Peter Sarstedt's Where do you go to my lovely which included the
Nigel Gatherer wrote:
I'm going to see a Celtic folk group from Tasmania called Tantallon,
who are playing in a nearby village. Anybody heard of them?
Dunno, but if they are any good, they can come and do a spot in Kelso.
Let me know.
David
Posted to Scots-L - The Traditional Scottish
[EMAIL PROTECTED] wrote:
[EMAIL PROTECTED] writes:
Many laments don't really contain much anger
I don't know about that, David. I don't mean to challenge you, it's just that
my experience is different from yours. I find that most laments do indeed
have at least one phrase that
At the weekend I purchased an 1880 facsimile reprint of the 1788
illustrated edition, with music, of Allan Ramsay's 'The Gentle Shepherd'.
The first picture shows Patie with his new ivory bound pear-wood 'flute'
(a recorder), and on the ground is what must be Roger's 'stock and horn'
- it
Or, as they say, gie's a song...
nothing to do with Scotland, but I've got my current 'signature tune' up
and playable on mp3.com. It's called 'Take Me Back to 1969' and at least
in the Borders, the average age of audiences means it goes down better
than anything I've ever done before!
Stuart Eydmann wrote:
Sorry, this should not have been under Tune Archive.
Just another note to say that my band the Whistlebinkies did a live webcast
from the Edinburgh Festival for BBC Radio 3 last Tuesday evening. The show
can still be accessed at the following:
Despite the total absence of traditional isntrumental music, Kelso got
an incredible turn out for the first of our 'enterprise board' backed
publicised sessions on Friday. There was standing room only. It was
pretty much all songs, but 75 per cent traditional (with the usual
modern stuff like
Jack Campin wrote:
Problem with Midlothian
is that most of the pub session and folk club space is taken up by people
with guitars doing tedious Nashville-type singer-songwriter stuff, which
I find so brainfreezingly dull my fingers don't work right any more after
listening to a few numbers
Judy Reynolds wrote:
Matter of fact,
Scottish humor is wonderful stuff. Is there a place to
go to where we can find more?
Aye, lass, it's ca'd Scotland... :-)
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A friend of mine is desperate to get Flower of Scotland for church organ
for a wedding, needed urgently. A piano 'arrangement' would do.
Any luck?
David
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Philip Whittaker wrote:
I think you are hard on teachers - those who are the stalwarts of what
traditional music scene there is. I do not think it is so much unease at
meeting ex pupils - or current pupils drinking under age. I think the
session/club problem is more one of venue.
I don't
Nigel Gatherer wrote:
Nigel, this is sub-judice. In fact the girl was from Kelso. You've just
written a pretty good ballad on an ACTUAL INCIDENT LAST WEEK. (Actually,
it's pretty traumatic and is being treated as a serious assault by the police).
How on earth did you know that the Gemini II
Eric Falconer wrote:
There is nothing Kelso girls like less than a pretty face, unless it's
long blond hair. The town is notorious for any girl who looks half decent
getting waylaid and scarred
for life by members of the plug ugly majority!
Oh David, how could you malign the young
Jack Campin wrote:
I have a pencil copy somewhere of a broadside from 1789 which is a rhymed
catalogue of Edinburgh prostitutes who would be available at that year's
Kelso Races
As usual, the local lasses just aren't up to it...
But I wonder if they grabbed their Edinburgh rivals in the
of yellow try to rhyme with Yarrow...
'onestly, guv...
David Kilpatrick: the plague reaching Kelso must have been a traumatic
time. Some infected houses were set on fire, but the flames went out of
control and destroyed the town. I wonder if this incident is recorded
in any local songs
A vendor on eBay with a $116 framed Victorian print of historic musical
instruments (Antiques and Art Section) has been kind enough to provide
highly detailed scans of the entire print which includes a back view of
'Rizzio's Lute' confirming my own suspicion that Rizzio did not play a
lute :-)
Nigel Gatherer wrote:
David Kilpatrick wrote:
There seem to be just about zero real songs about the place - it gets
a namecheck in 'The Runaway Bride', and 'We'll a' tae Kelso go'.
There's The Wife o' Kelso but that may be simply a local variant of a
widely known tune
Ted Hastings wrote:
Possibly, but the expression fye for shame seems to crop up fairly often.
I think the most recent example I can remember is the use of Fi! Fi! in
the English translation of Strewelpeter, which is around 1890 (something
about a cat, I seem to recall - I have a copy
Jack Campin wrote:
The Online Scots Dictionary at
gives the meaning as an expression signifying haste.
And given by English and American dictionaries as an 'expression of
digust, dislike or... being shocked'.
In the case of 'fye gar rub her o'er' it could be either. In the case of
Wendy Galovich wrote:
Might this variation in the harmonics also explain another phenomenon: two
instruments are tuned using the same electronic tuner, and when checked
against that, appear that they're in tune with each other, and each one
sounds in tune by itself, but.. when played
Jack Campin wrote:
Another table is pertinent to a discussion we had a few weeks ago;
the lists of historic fundamental pitches beginning on p.495 show how
fantastically implausible it is that anyone in Britain in the mid-to-
late 18th century would have used a pitch below A=390, even for
Toby Rider wrote:
On Thu, 19 Jul 2001, John Chambers wrote:
So you'd think that fiddlers with a classical background would know
and understand that different musical groups use different intonation
rules. Traditional Scottish music shouldn't be anything other than
yet another
Alexander wrote:
If the interval between A and a flatted C#
were a deliberate musical choice in the key of A major then the interval
between G and B in the key of G major should also be a flatted B. It
never is.
You've never tuned a guitar by ear then. One of the nice things about
the
Nigel Gatherer wrote:
Jack Campin wrote:
...I have occasionally thought about implementing an ABC-to-solfa
translator. The bit I don't have a tool to do is a solfa font...
Showing my ignorance here, but wouldn't any non-proportional font do,
such as Courier?
It's got wee
Jack Campin wrote:
Odd thing is that similar brief bursts of 'drone' occur in smallpipe
playing
What do you mean? The actual drones don't do brief bursts; are you
talking about using a chanter note as a secondary pedal by filling in
the subsidiary beats with it?
Probably. It usually
SUZANNE MACDONALD wrote:
All of this brings us back to the beginning of this discussion, the
pitch of the seventh note in a Scottish fiddle tune, specifically G# in
the key of A major. The pitch of the seventh note is dictated by the
ratios of the just intonation scale. Playing this note
Anselm Lingnau wrote:
As a pianist, I don't know what to make of all this varied-interval
business. On the one hand, I'm half glad that I don't have to worry
about it; on the other hand it seems that I can't really play Scottish
music, which I think is a pity :^(
The use of crushed
[EMAIL PROTECTED] wrote:
[EMAIL PROTECTED] writes:
For harp you would assume that tuning using an advanced electronic tuner
set to the same kind of temperament used for virginals,
I gotta get one of those tuners! What I do on my clarsach is tune with the
aid of a tuner (it saves
Janice Hopper wrote:
What's the definition of Scottish in style?
Maybe I just need to go back to my CDs and listen a while longer. I think
it's not so easy for many of us USians to recognize Scottish style. It's a
good bit harder for me to recognize the Scottish musical accent in
Janice Hopper wrote:
Ok, I have a question:
The Scottish Harp Society of America (SHSA) has recently revised its Rules
of Competition. One of the requirements states:
Music must be Scottish, or an explanation give as to the tune's
relationship to the Scottish tradition Scottish
Rita Hamilton wrote:
As Alsion Kinnaird says(Paraphrased):You can tell by my voice that I am from
Scotland. Thus you can also tell Scottish music when you hear it. I've heard
her say that often enough in US Scottish Harp Competitions. And, when you hear
her speak, you know she's Scottish.
PLEASE READ THIS CAREFULLY and *pass it on to anyone you know* who may
be able to help. I have about seven days in which to put together a
diary of venues and sessions: I do not have a complete email address
list and your help in reaching others will be appreciated.
- David Kilpatrick, vice-chair
Jack Campin wrote:
- the ballad air Lord Gregory, which is in 7-bar phrases.
Eight bar phrases, surely?
This is the tune I know for it (from several sources):
X:1
T:Lord Gregory
B:Burns, Poems and Songs, OED collected edition
M:3/4
L:1/8
K:A Minor
A2 |e4 AB |({A}^G4)
[EMAIL PROTECTED] wrote:
Re (scots) TOW
On the way to the Ligonier Highland Games last September we
stopped at
a festival in honor of flax--they had demonstrations of the whole
process and
the machines used. It is an annual event up there in Pennsylvania
(USA).
Interesting about
Nigel Gatherer wrote:
I have been contacted by a sixth year pupil who wants to do tenor banjo
as his second instrument for Higher Music (his first being euphonium!).
I told him that my adult mandolin class would not satisfy him (many of
the participants are picking up an instrument for the
Janice Hopper wrote:
At 12:36 PM 6/24/01 -0700, you wrote:
Would anyone be able to tell me what the title Weary Pund o' Tow
means? Its the title of a slow air from Gow's 3rd Repository.
Tow is wool in its unspun state. A pound of it represents one hell of
a lot of work ahead in
[EMAIL PROTECTED] wrote:
and Mr. Iain Fraser of Glasgow, Scotland.
You mean Mr Iain Fraser of Jedburgh, Scotland. Happily living in a
better place and running Calburnie Records which is his/Alastair's label
and doing excellent work getting the Borders fiddle tradition on record
for the
W. B. OLSON wrote:
[EMAIL PROTECTED] wrote:
Would anyone be able to tell me what the title Weary Pund o' Tow means?
Its the title of a slow air from Gow's 3rd Repository.
(snip)
There's another song that's related to Weary Pund o' Tow. It's called
Wary Bachelors in Jean Thomas's,
Nigel Gatherer wrote:
I've played three great mandolins in my life:
Sam's Red Diamond, Mike's Nelson #3, and a friend's Vanden.
To me most mandos sound pretty good but if you'd like something quite
different I've just fixed up a rather crude, but impressive, 100+ year
old 12-string triple
Nigel Gatherer wrote:
David K, what are your plans
for the Scottfest?
First priority - get our local paper NOT to spike my letters on the subject!
So far I've got myself dragged into an impromptu 1-minute interview with
Michael Aspel to go out next April in Antiques Roadshow from
Eric Falconer wrote (re Billy and Me, Hogg):
My brother had to learn that at primary school and recite it. So he
practised at home over and over again. Funnily enough I've loved it ever
since.
It probably sounds perfect from the mouth of a six-year-old! I know what
you mean. Anything you
W. B. OLSON wrote:
Can I try again to do that 5 verse version of John Anderson, my Jo
from 'Philomel', 1744, that I sang last Friday night? That verse where
the reciter of the traditional text in 'Philomel', forgot the 3rd and
4th lines of one verse and just repeated the 1st and 2nd, sort
George M R Duff wrote:
Hi David,
Serendipity or what?,I've just been asked this week to record an album of
Hogg's songs with Tony McManus,John Martin,Ian McInnes and Marc Duff as
backing musicians.I'll keep ypu informed of developments.
Hogg's songs are nearly all later than his
Keith W Dunn wrote:
Just what would be the deciding factor that would make it Scots Fiddle
music if you didn't know the origin or author?
a) the tune
b) the style of playing
In the first case you have total crossover and sharing anyway, but there
are trademarks of Irish tunes and
will be turned into a year to make up for the
foot-and-mouth led disaster of 2001.
We intend to hold a meeting to from a committee, and make contact with
anyone who can be of help. Those who are interested should contact me on
Kelso (01573) 226032 or email to [EMAIL PROTECTED]
David Kilpatrick
and events.
David Kilpatrick (Vice-Chair of JAM)
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Janice Lane wrote:
Thanks, Philip, for a fantastic weekend. The children in the Borders are
very lucky to have such caring adults providing such a variety of events. No
wonder they are so talented.
We moved the Kelso session on Friday night to Coldstream, arrived at
7.30pm (two hours
New' typeface (probably
Baskerville). It converted to PC Truetype well enough apparently.
David Kilpatrick
NB: are you doing Friday night sessions at Yetholm now?
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Just a reminder that I have an mp3.com 'station' which plays at the moment approx 50
tracks all related to the Scottish Borders, and could do with more - they have to be on
mp3.com, I can't add mp3s or ra from other sites. Anything relating the the Border
tradition (Scott ballads, etc),
Stuart Eydmann wrote:
Have I stumbled on something really important?
Yes, the inability of Real Player to play backwards the way the old original Apple
Quicktime player can - so far all attempts to save the file, convert it and open in and
ancient Quicktime player have failed, but I have
Sally Greenberg wrote:
Scottish guitarist Tony McManus is returning for the 3rd time after 2
previous sell-outs to perform a concert at my house on Sunday, April 15th.
For those of you who don't know Tony, he is incredible. In 1996 I received a call from
an
Edinburgh music shop saying 'you
as the front of the leaflet is a mini version of the poster. These two total only
46Kb and can be printed on your inkjet or viewed using Acrobat. Please feel free to
copy
and print any you like for your own club or friends, or for a number of 'printed'
copies,
email Liz Marroni - [EMAIL PROTECTED]
David
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