> From: [EMAIL PROTECTED]
and Sheila wrote (in answer to my):
>> playing a full set of satisfying
> variations is the most fun one can have . . . >>
>
> But for the audience, most frequently, this can seem like the
most
> boring performance of an endless set of technical exercises.
Following from this and Ian Lawther's remarks on Chris Ormston at
Killington, I would venture the heretical and dangerously unpopular
view that an 'average' musically literate audience is more educated and
open-minded than an 'average' piper. I do think there is a place for
'piping-as-social-inclusion' but I also despise the inverted snobbery
that sometimes goes along with it. A more realistic attitude recognises
excellence as a desirable and praiseworthy goal, even if only attained
by a few.
I think it was Matt S who wrote somewhere that "if 9 note tunes with
variations are not your cup of tea, there are plenty of other brews
available".
I hope I haven't misquoted him
It sounds like the sort of thing he would say, Julia. There are other
brews, but if you ignore the variation repertoire of the NSP you are
left with a pretty inefficient fiddle-substitute.
As for choyting,,, There is a misperception of the role of 'grace
notes' in GHB playing. Many of them are not ornaments but
articulations, and paradoxically serve the same purpose as the tiny
silences between notes on NSP, bow changes on fiddle, plectrum strokes
on guitar etc. As a listener and onlooker I don't get as worked up
about choyting as a smallpiper. As with Border piping, I regard
articulation as part of technique, necessary as an area of focus for
the player but unhealthy as an obsession, especially if pursued at the
expense of rhythm, musical sense, and playing really good tunes.
--
References
1. mailto:[EMAIL PROTECTED]
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