I've found the recent comments about music in north Northumberland very
interesting. I grew up among those who learned and played by ear (Joe
Hutton, Will Atkinson, Jimmy Little, the Cheviot Ranters band in its various
line-ups, and my dad, among many others) and owe them a great deal -
including dozens of splendid tunes which still live in my head, if not on
paper. 

When I was learning the pipes in 1974/75 with Joe at Alnwick Pipers Society,
it was clear that he could also 'read the dots' when necessary. George
Mitchell of the Cheviot Ranters was a very competent (and beautifully neat)
amanuensis for other members of the band, and it's evident from some of the
old sheets of manuscript I have that Willy Miller (fiddle player) could also
jot down a tune when necessary.

There are a few wonderful hand-written manuscripts from north Northumberland
from the early and mid nineteenth century which indicate that some ordinary
folk were competent music readers and writers. William Dobson of West
Thirston (a joiner and fishing rod maker) filled his manuscript book with
favourite tunes for the fiddle, including second parts for some melodies,
beautifully written over a period of at least thirty years. The inclusion of
about 20 hymn and metrical psalm tunes notated in up to four parts in a West
Gallery style (tune often in the tenor line) indicates that he had some
connection with a non-conformist chapel. 

William Darling of Bamburgh (c. 1810) also kept a manuscript book. His own
attempts at composition are sometimes rudimentary - bar lines in the wrong
place, note lengths not always accurate etc - but he clearly understood the
basic principles of notation, as did John Readshaw and George Wallace, just
over the border into Cumbria.

So there's definitely evidence of people being able to read/notate music in
north Northumberland, as well as plenty of examples of those who play (or
played) by ear. 


Best wishes
Margaret 

PS As Anthony pointed out in a different thread, the school song of the
former Duchess's Grammar School in Alnwick was Chevy Chase, the first and
last verses of which we sang at every prize giving. If the duchess took too
long to process through the hall and reach the platform, we were instructed
to sing the first verse again - nobody thought of teaching us the remaining
90+!!



From: Anthony Robb [mailto:anth...@robbpipes.com] 
Sent: 02 November 2009 09:32
To: nsp@cs.dartmouth.edu; Paul Gretton
Subject: Re: [NSP] Re: [BULK] Re: [nsp] file

 

Dear Paul

As Philip G. points out, some good points but hardly germane. I think I made
it clear that I was speaking very particularly, in fact here is the quote
from my original email refering to the region I was focussing on, "the
outlying districts of north Northumberland".

I was talking about the people I lived amongst and were the traditional
players of north Northumberland, i.e. the people at the heart of the
discussion. None of the 20th century "musical heavyweights" from that region
were dots readers and had all learnt by ear as had their predecessors. It
was not a general statement; it was a particular one of importance to those
discussing the music of Northumberland in terms of notated music and drawing
conclusions from it.
Cheers

Anthony
--- On Sun, 1/11/09, Paul Gretton <i...@gretton-willems.com> wrote:


From: Paul Gretton <i...@gretton-willems.com>
Subject: [NSP] Re: [BULK] Re: [nsp] file
To: nsp@cs.dartmouth.edu
Date: Sunday, 1 November, 2009, 6:20 PM

Anthony Robb wrote:

>>>dot reading was an extremely rare skill at the time

If you mean specifically among players of the NSP (or the fiddle, then
perhaps - I wouldn't know.

But if you mean in general, then that is a far too sweeping statement.
Musical literacy was my no means uncommon, even among the working class. You
are ignoring the influence of the Sunday school system, particularly among
Nonconformists, and the self-improvement movement among the so-called
"better" working class, with the miners being among the leaders. Large
numbers of "ordinary" people could read music - witness the great Handel
festivals and organisations like the Huddersfield Choral Society.

Cheers,

Paul Gretton 



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