I may have imagined this, but I've a feeling GGA was involved in George 
Atkinson's tuition. 

Thanks for getting me going about piping ensembles too - was it intentional???  
I've had a few private conversations about this recently, (I hope my 
correspondents won't lurk in the background) and there is some agreement that:
1) Group piping is more to do with social inclusion than musical standards
2) More than 3 sets of NSP in ensemble starts to sound like one of those 
kazoo-based Juvenile Jazz bands e had in the 1960s
3) Plaid is bad

Discuss................

Chris


-----Original Message-----
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 22 August 2008 11:39
To: nsp
Subject: [NSP] Re: jhf


On 22 Aug 2008, Ormston, Chris wrote: 

>  it's not just a Clough
> thing.  Joe Hutton's playing clearly demonstrated detached fingering
> and contained few open gracings, and I'd urge readers to listen to his
> earlier recordings .  George Atkinson's name appears again and again on the
> competition cups, and his contributions on the Wild Hills of Wannies
> LP shows why - 

Joe was taught by GG Armstrong, and within my time (1992 or 3, I 
would think) remarked in a teaching situation that it was not the 
notes that were important as the spaces in between. I learnt a lot 
from him - possibly not always what he was trying to teach.

Do we know who George A's teachers were - if any?

The influence of GGA, himself taught by Clough, is much underrated, I 
think. I remember meeting the late John Miller (also a GGA pupil) in 
NZ in 2001, hearing him play, and sensing how strongly his style was 
a product of his teaching, even after 40-50 years at the other end of 
the world.
It contrasted so much with what the rest of us were playing, in a 
group.......

Ouch
Julia




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