[NSP] Re: More choyting!
Allan, As you have noticed, the small pipes are not tuned to a tempered scale and the "E" is frequently deliberately tuned so that it is correct when playing in A major and a minor i.e. a perfect fifth with the "A" (as Colin already mentioned). This means that it is not going to sound quite right when playing in the keys of G and D (concert F and C for your perfect pitch ear.) Try some tunes with the drones in "A" and see what you think. Cheers, Sheila __ It's only a deal if it's where you want to go. Find your travel deal [1]here. -- References 1. http://information.travel.aol.com/deals?ncid=aoltrv000547 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] re-Bellingham show
.. they had no choytce, as it were...? With solemn apologies. Richard On 27 Aug 2008, JuliaSay wrote: > I have just been informed that Bellingham Show has been cancelled. The > field is waterlogged, and it's still raining there. They could not > leave a decision any longer. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: More choyting!
Nope. My pipes were quite a bit out and it took me around 15 years or more to realise that they needed some work doing on them as I just couldn't get some of the notes to sound in tune regardless of pressing the bag harder, pressing really hard on the holes, blowing fag smoke down the chanter to check for leaks etc. It can take a long time to realise that it ISN'T you that's the problem and it really IS the set. Of course, they didn't go back to the maker (he was no longer with us) but went to CR who did a great job on them and it was worth every penny - you can see little black marks where he had to fill and redrill some of the holes although I had to re-learn where to put my fingers all over again - some were quite a bit away from where they were.). Maybe I should have realised it hadn't quite been finished when there was no hole on the G drone under the collar to tune it to A - I had to drill that myself but the maker was very elderly and in poor health by then and the set was a joy to look at). OK, that's a little extreme but it should (I hope) be pretty obvious to the maker that he didn't quite tune that note regardless of how long ago he/she made it. You do, after all, get a 12 month guarantee if you buy a toaster from Comet. That's all assuming you haven't actually done anything to them yourself with undercutting or filing the hole down. I would think the maker would be rather keen to make sure they were in perfect order. I hope so anyway. What's the worst they could say "You plonker, couldn't you tell it was wrong in 9 months - you plantpot" or "no". Believe me, the enjoyment you will get when it's in tune will be well worth the risk! Colin Hill - Original Message - From: "Wright Allan" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; Sent: Wednesday, August 27, 2008 7:57 PM Subject: [NSP] Re: More choyting! Not a bad idea, the problem I've got though is I've only just realised and it's been around 9 months. I know it's stupid, but I've had absolute pitch ever since I was a kid, which means that developing relative pitch was something I only recently realised the importance of (shameful thing to say as a professional musician) - when you factor in that I'm already dealing with thinking g and hearing something that's threatening to be an F if it calms down a bit, I think it threw me as to whether the E was a little flat or not. I'd feel foolish going back now and saying - I've just realised your pipes are out of tune - then again, I suppose it's worth a try. Do you think 9 months is too long to still be expecting the original maker to sort it out ? Allan Le 27 août 08 à 19:36, [EMAIL PROTECTED] a écrit : On 27 Aug 2008, Wright Allan wrote: Does anyone have a solution (other than the kicking option, which I'm considering) Send it back to the maker and tell him / her to put it right. If this doesn't work find another maker who *can* fix it for you - or reject the pipes as unplayable and get your money back, then find a better set. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] chanter key pads
one of my chanter key pads has come off the key but is still in place - can someone tell me what's the best glue to use to stick it back on with - assuming I can simply clean with alcohol and refix it as it is still in place? Also assuming it may have to come off again at some time in the future and that epoxy or superglue wouldn't be appropriate. thanks Richard - Original Message - From: "Wright Allan" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; Sent: Wednesday, August 27, 2008 7:57 PM Subject: [NSP] Re: More choyting! Not a bad idea, the problem I've got though is I've only just realised and it's been around 9 months. I know it's stupid, but I've had absolute pitch ever since I was a kid, which means that developing relative pitch was something I only recently realised the importance of (shameful thing to say as a professional musician) - when you factor in that I'm already dealing with thinking g and hearing something that's threatening to be an F if it calms down a bit, I think it threw me as to whether the E was a little flat or not. I'd feel foolish going back now and saying - I've just realised your pipes are out of tune - then again, I suppose it's worth a try. Do you think 9 months is too long to still be expecting the original maker to sort it out ? Allan Le 27 août 08 à 19:36, [EMAIL PROTECTED] a écrit : On 27 Aug 2008, Wright Allan wrote: Does anyone have a solution (other than the kicking option, which I'm considering) Send it back to the maker and tell him / her to put it right. If this doesn't work find another maker who *can* fix it for you - or reject the pipes as unplayable and get your money back, then find a better set. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: More choyting!
Not a bad idea, the problem I've got though is I've only just realised and it's been around 9 months. I know it's stupid, but I've had absolute pitch ever since I was a kid, which means that developing relative pitch was something I only recently realised the importance of (shameful thing to say as a professional musician) - when you factor in that I'm already dealing with thinking g and hearing something that's threatening to be an F if it calms down a bit, I think it threw me as to whether the E was a little flat or not. I'd feel foolish going back now and saying - I've just realised your pipes are out of tune - then again, I suppose it's worth a try. Do you think 9 months is too long to still be expecting the original maker to sort it out ? Allan Le 27 août 08 à 19:36, [EMAIL PROTECTED] a écrit : On 27 Aug 2008, Wright Allan wrote: Does anyone have a solution (other than the kicking option, which I'm considering) Send it back to the maker and tell him / her to put it right. If this doesn't work find another maker who *can* fix it for you - or reject the pipes as unplayable and get your money back, then find a better set. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: More choyting!
On 27 Aug 2008, Wright Allan wrote: > Does anyone have a solution (other than the kicking option, which > I'm considering) Send it back to the maker and tell him / her to put it right. If this doesn't work find another maker who *can* fix it for you - or reject the pipes as unplayable and get your money back, then find a better set. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Tuning chanter notes
I saw the post for raising the pitch of a note that is flat on a chanter. How can you lower the pitch of a sharp note. The rest of the chanter is pretty well in tune. Thanks Jack Rawlins - USA To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: E note
I'll give that a go, thanks Colin. Le 27 août 08 à 18:42, [EMAIL PROTECTED] a écrit : Dear Allan, The way to get the top hand E sounding in tune is to tune it against an A drone ( tuning bead on the G drone) when it becomes the fifth or dominant interval which is easy to tune, like tuning fiddle open strings. Undercutting should do the trick without having to increase the diameter of the hole or make it bean shaped. Best of luck with it. Colin Ross To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: the cry of the curlew, the wind in the reeds...
The pun was intended :) Most were in little-used rooms above pubs or in cellars as more the more "posh" rooms - used for wedding receptions etc - were way out of price range. They were usually very damp as well (through under-use) which didn't help the reeds! I do remember seeing a rather good group at a T.A. Barracks though in the late-60's (posh hall and nice wooden floor and a real stage) now, what was their name? Ah yes, that's right, the High Level Ranters with a certain Mr Ross on fiddle! It was one great night. Colin Hill - Original Message - From: "Ian Lawther" <[EMAIL PROTECTED]> To: "colin" <[EMAIL PROTECTED]> Cc: Sent: Wednesday, August 27, 2008 4:02 PM Subject: Re: [NSP] Re: the cry of the curlew, the wind in the reeds... colin wrote: huge cavern of a room Were all music clubs in Liverpool Caverns? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: the cry of the curlew, the wind in the reeds...
colin wrote: huge cavern of a room Were all music clubs in Liverpool Caverns? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Bellingham show
On 27 Aug 2008, JuliaSay wrote: > I have just been informed that Bellingham Show has been cancelled. The > field is waterlogged, and it's still raining there. They could not > leave a decision any longer. Further to which, I had a phone call from Tommy Breckons offering the use of the Youth Hostel for the piping competitions. He would like to see them go ahead. The hostel will be open from 1pm, competitions will commence at 2pm. There will be tea & coffee making facilities: the hostel has plenty of parking. Please pass this message on to anyone you think might be interested. Cheers Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Bellingham show
We are expeiencing some e-mail problems, so I am attempting to send this on Julia's behalf. - I have just been informed that Bellingham Show has been cancelled. The field is waterlogged, and it's still raining there. They could not leave a decision any longer. Julia Say NPS Hon. Sec. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: the cry of the curlew, the wind in the reeds...
Jim and Shirley were usually found at Gregson's Well on a Tuesday (been there, sung there) along with John ? (his nickname was Yogi) who formed the Carlton three. Great traditional performers although I haven't seen them for years (if they are still alive, of course). There was, at that time, one other piper in Liverpool (I heard him play at St Sebastian's Folk club in the mid 70's but never saw him again. He was pretty good. If he's on this. please list give us a wave! Cross Keys? Yes, went there as well - the formidable Tony Wilson in charge (Bothy ) with his captain's hat. Great days for folk. Colin Hill - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; Sent: Wednesday, August 27, 2008 12:13 PM Subject: RE: [NSP] Re: the cry of the curlew, the wind in the reeds... Ah, I left in 1968 and have not been back much since. Coach House and Jim Peden's were main venues. Only played guitar (and just started fiddle when I left) in those days, so sessions were not much of an option - I didn't want to be yet another annoying thrasher, even if I could get my head round the rhythms of slip jigs and dorrington lads ;-), which I confess in those less enlightened days I thought was called Byker Hill ... So it goes chirs. -Original Message- From: Ormston, Chris [mailto:[EMAIL PROTECTED] Sent: Wednesday, August 27, 2008 1:06 PM To: BIRCH Christopher (DGT); [EMAIL PROTECTED]; nsp@cs.dartmouth.edu Subject: RE: [NSP] Re: the cry of the curlew, the wind in the reeds... Me too! Used to go to the Liverpool Trad Club at the Cross Keys in the early 80s, and the Baltic Fleet, the Grapes on Matthew Street, and the shorter-lived Brook House Club, and made occasional forays to the Bothy in Southport. I mostly played in sessions though at the Cracke, the Nelson on the Dock Road, the Irish Centre and a pub somewhere behind the Philharmonic Hall, the name of which escapes me. Most memorable, though was a session on board the Irish Oak which was docked near the Nelson - had to give a backhander to the security man at the dock gates to get in, and nearly got arrested trying to leave again as we were mistaken for illegal immigrants! Chris -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 27 August 2008 10:38 To: [EMAIL PROTECTED]; nsp@cs.dartmouth.edu Subject: [NSP] Re: the cry of the curlew, the wind in the reeds... There were many Folk clubs during the 60's - 80's including a few excellent "traditional" clubs (I ran one - and played my pipes there Which one was that? I was quite active on the folk scene in Liverpool in the mid-60s but had only ever encountered nsp on record (played by colin ross accompanying louis killen on derwentwater farewell). Strange our crossths didn't path ;-) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html The information contained in this e-mail may be subject to public disclosure under the NHS Code of Openness or the Freedom of Information Act 2000. Unless the information is legally exempt, the confidentiality of this e-mail and your reply cannot be guaranteed. Unless expressly stated otherwise, the information contained in this e-mail is intended for the named recipient(s) only. If you are not the intended recipient you must not copy, distribute, or take any action or reliance upon it. If you have received this e-mail in error, please notify the sender. Any unauthorised disclosure of the information contained in this e-mail is strictly prohibited.
[NSP] Choyting in London
London piping meetings are recommencing on Wednesday September 3rd at The Calthorpe Arms, 252 Grays Inn Road, WC1X 8JR where our attitude towards choyting is very liberal. As usual we meet on the first Wednesday of each month, August excepted. Starting times can be variable but you can contact me via this address if you would like to come and need further details. Francis Wood To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: More choyting!
On 8/27/08 8:02 AM, "Wright Allan" <[EMAIL PROTECTED]> wrote: > Tell me about it! I've tried everything from more pressure to less > pressure - even a bit of swearing and, very nearly, a kick but no, it > won't have it - it just wants to be flat and that's all there is to it. > > Does anyone have a solution (other than the kicking option, which I'm > considering) Refer to it as "traditional" and tell others to love it??? Best wishes. Steve To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: connecting with one's roots
I will not give in, I will not give in, I will not give in... Well, maybe just one little viol... it can't hurt. I can stop any time I want... I can. Le 27 août 08 à 11:27, <[EMAIL PROTECTED]> <[EMAIL PROTECTED]> a écrit : You sound like a man who absolutely has to take up the viols. c -Original Message- From: Wright Allan [mailto:[EMAIL PROTECTED] Sent: Tuesday, August 26, 2008 6:35 PM To: Paul Gretton Cc: nsp@cs.dartmouth.edu Subject: [NSP] Re: connecting with one's roots Well, if I chose instruments based simply on whether I liked the sound of them and the size of the repertoire, I'd have a fairly long list of instruments to play, hm? I already play violin, piano and cello and sing so already have a fair few delightful instruments with large and interesting repertoires. I chose the pipes because they remind me of where I came from and I confess to a certain nostalgia when I hear them - sorry if that sounds twee, I'll try to make up some interesting nonsense next time I post. Cheers, Allan Le 26 août 08 à 17:19, Paul Gretton a écrit : Allan wrote: I .. play pipes as an attempt to connect with my roots. Groan! How about playing the pipes because they are a delightful musical instrument with a large and interesting repertoire? Cheers, Paul Gretton -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: More choyting!
Tell me about it! I've tried everything from more pressure to less pressure - even a bit of swearing and, very nearly, a kick but no, it won't have it - it just wants to be flat and that's all there is to it. Does anyone have a solution (other than the kicking option, which I'm considering) Insane Allan. Le 27 août 08 à 11:16, <[EMAIL PROTECTED]> a écrit : tune...) You'll be lucky ;-) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: the cry of the curlew, the wind in the reeds...
Ah, I left in 1968 and have not been back much since. Coach House and Jim Peden's were main venues. Only played guitar (and just started fiddle when I left) in those days, so sessions were not much of an option - I didn't want to be yet another annoying thrasher, even if I could get my head round the rhythms of slip jigs and dorrington lads ;-), which I confess in those less enlightened days I thought was called Byker Hill ... So it goes chirs. >-Original Message- >From: Ormston, Chris [mailto:[EMAIL PROTECTED] >Sent: Wednesday, August 27, 2008 1:06 PM >To: BIRCH Christopher (DGT); [EMAIL PROTECTED]; >nsp@cs.dartmouth.edu >Subject: RE: [NSP] Re: the cry of the curlew, the wind in the reeds... > >Me too! Used to go to the Liverpool Trad Club at the Cross >Keys in the early 80s, and the Baltic Fleet, the Grapes on >Matthew Street, and the shorter-lived Brook House Club, and >made occasional forays to the Bothy in Southport. I mostly >played in sessions though at the Cracke, the Nelson on the >Dock Road, the Irish Centre and a pub somewhere behind the >Philharmonic Hall, the name of which escapes me. Most >memorable, though was a session on board the Irish Oak which >was docked near the Nelson - had to give a backhander to the >security man at the dock gates to get in, and nearly got >arrested trying to leave again as we were mistaken for illegal >immigrants! > >Chris > > >-Original Message- >From: [EMAIL PROTECTED] >[mailto:[EMAIL PROTECTED] >Sent: 27 August 2008 10:38 >To: [EMAIL PROTECTED]; nsp@cs.dartmouth.edu >Subject: [NSP] Re: the cry of the curlew, the wind in the reeds... > > >>There were many Folk clubs during the 60's - 80's including a >>few excellent >>"traditional" clubs (I ran one - and played my pipes there > >Which one was that? I was quite active on the folk scene in >Liverpool in the mid-60s but had only ever encountered nsp on >record (played by colin ross accompanying louis killen on >derwentwater farewell). >Strange our crossths didn't path ;-) > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >The information contained in this e-mail may be subject to >public disclosure >under the NHS Code of Openness or the Freedom of Information Act 2000. >Unless the information is legally exempt, the confidentiality >of this e-mail >and your reply cannot be guaranteed. >Unless expressly stated otherwise, the information contained >in this e-mail >is intended for the named recipient(s) only. If you are not >the intended >recipient you must not copy, distribute, or take any action or >reliance upon >it. If you have received this e-mail in error, please notify >the sender. Any >unauthorised disclosure of the information contained in this e-mail is >strictly prohibited. >
[NSP] Re: the cry of the curlew, the wind in the reeds...
Me too! Used to go to the Liverpool Trad Club at the Cross Keys in the early 80s, and the Baltic Fleet, the Grapes on Matthew Street, and the shorter-lived Brook House Club, and made occasional forays to the Bothy in Southport. I mostly played in sessions though at the Cracke, the Nelson on the Dock Road, the Irish Centre and a pub somewhere behind the Philharmonic Hall, the name of which escapes me. Most memorable, though was a session on board the Irish Oak which was docked near the Nelson - had to give a backhander to the security man at the dock gates to get in, and nearly got arrested trying to leave again as we were mistaken for illegal immigrants! Chris -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 27 August 2008 10:38 To: [EMAIL PROTECTED]; nsp@cs.dartmouth.edu Subject: [NSP] Re: the cry of the curlew, the wind in the reeds... >There were many Folk clubs during the 60's - 80's including a >few excellent >"traditional" clubs (I ran one - and played my pipes there Which one was that? I was quite active on the folk scene in Liverpool in the mid-60s but had only ever encountered nsp on record (played by colin ross accompanying louis killen on derwentwater farewell). Strange our crossths didn't path ;-) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html The information contained in this e-mail may be subject to public disclosure under the NHS Code of Openness or the Freedom of Information Act 2000. Unless the information is legally exempt, the confidentiality of this e-mail and your reply cannot be guaranteed. Unless expressly stated otherwise, the information contained in this e-mail is intended for the named recipient(s) only. If you are not the intended recipient you must not copy, distribute, or take any action or reliance upon it. If you have received this e-mail in error, please notify the sender. Any unauthorised disclosure of the information contained in this e-mail is strictly prohibited.
[NSP] Re: the cry of the curlew, the wind in the reeds...
Mainly at Adrian House in Aigburth but that was in the 80's and I didn't start on the pipes until 1972 although before that we spent several years at the Lamb Hotel in Wavertree (upstairs, huge cavern of a room with some buffalo horns over the side stage - coal fires and freezing cold in the winter - our audiences collapsed after a long bus strike in the 60's and never recovered . It was held in a building run by the Knights of St. Columba and had an enormous crucifix on the back wall which always caused concern to those singing the more risqué songs :) We did have Alistair Anderson as a guest on one occasion and his playing of the pipes went down a treat (I still have that on cassette somewhere) and Canny Fettle (Pipes made by the same chap that made mine - Bill Hedworth) so we "did our bit" . Dreadful name for our trio/duo of "The Thatchers" - selected by Barney from the Dubliners from a list of two or three names. There was a fashion for calling groups from traditional trades then - Spinners, Weavers, Farriers etc. Bad move. We went down pretty fast when a certain Iron Lady came to power. On reflection, we weren't that good (pretty bad, actually) but very enthusiastic! Colin Hill - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; Sent: Wednesday, August 27, 2008 10:38 AM Subject: *** SPAM *** RE: [NSP] Re: the cry of the curlew, the wind in the reeds... There were many Folk clubs during the 60's - 80's including a few excellent "traditional" clubs (I ran one - and played my pipes there Which one was that? I was quite active on the folk scene in Liverpool in the mid-60s but had only ever encountered nsp on record (played by colin ross accompanying louis killen on derwentwater farewell). Strange our crossths didn't path ;-) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: It's not the leaving of Liverpool that grieves me -- quite the opposite!
>We were quite happy to get rid of him I reckon to this day he thinks he's a great musician and doesn't realise that he wasn't being used by the other beatles as comic relief (the perfect voice for "a little help from my friends"). Good drummer, though, and made a serious contribution there. Oops, way off topic. Colin's fault, I think ;-) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: the cry of the curlew, the wind in the reeds...
>There were many Folk clubs during the 60's - 80's including a >few excellent >"traditional" clubs (I ran one - and played my pipes there Which one was that? I was quite active on the folk scene in Liverpool in the mid-60s but had only ever encountered nsp on record (played by colin ross accompanying louis killen on derwentwater farewell). Strange our crossths didn't path ;-) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: connecting with one's roots
You sound like a man who absolutely has to take up the viols. c >-Original Message- >From: Wright Allan [mailto:[EMAIL PROTECTED] >Sent: Tuesday, August 26, 2008 6:35 PM >To: Paul Gretton >Cc: nsp@cs.dartmouth.edu >Subject: [NSP] Re: connecting with one's roots > >Well, if I chose instruments based simply on whether I liked the >sound of them and the size of the repertoire, I'd have a fairly long >list of instruments to play, hm? > >I already play violin, piano and cello and sing so already have a >fair few delightful instruments with large and interesting repertoires. > >I chose the pipes because they remind me of where I came from and I >confess to a certain nostalgia when I hear them - sorry if that >sounds twee, I'll try to make up some interesting nonsense next time >I post. > >Cheers, > >Allan >Le 26 août 08 à 17:19, Paul Gretton a écrit : > >>Allan wrote: >> >> > I .. play pipes as an attempt to connect with my roots. >> >> >>Groan! How about playing the pipes because they are a delightful >>musical instrument with a large and interesting repertoire? >> >> >>Cheers, >> >> >>Paul Gretton >> >>-- >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >
[NSP] Re: More choyting!
>maybe we should have a society red nose for such players :) >Can I put my name down now. Count me in To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: More choyting!
tune...) You'll be lucky ;-) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: More choyting!
>Imagine if Pavarotti had thrown in the odd yodel in Nessun >Dorma, and you'll get the idea! Ah yes, but no one claims that Pavarotti's is the only way to sing - or even to sing Nessun Dorma. My personal pet hates are excessive and misplaced vibrato, conjectural intonation and pomposity. In other words, Pavarotti - not to mention most classical and opera singers. Now the Hilliard Ensemble and Ian Partridge are other matters entirely. (incidentally "pavarotti" has been used as an insult on the local rock scene here) (even if it's true...) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: sociology of NSP
On 27 Aug 2008, Chris O. wrote: > >>>Yes - we have yet to explain how the Cloughs came by their >instruments. How could Henry (I) afford a set of >>Reid pastoral >pipes, for example At the time of the Napoleonic wars, many of the miners had enlisted, and the mineowners were being forced to pay (to them) ridiculous wages, and bonding bonuses to keep their skilled staff. This is noted in the book "The Gay Delavals" who - fortuitously - owned the mines in Hartley at the time of HC (1). I only found it a couple of years ago. The cost of a Reid 7 key set in blackwood and brass such as the Clough family had was at this time around a week's wages.(Less than it is now!) I think the older Cloughs HC1 and possibly TC2, may have been sinkers -# a skilled job - from their movement patterns and dates. So able to have things that the generality of "drunken labourers" could not, if they were careful. I think the pastoral set might have been donated (by someone who no longer wanted it?), or maybe won in a contest. >and why is Tom (II)'s headstone made from >polished Cheviot granite. Tom died at a time (1885) when an impressive headstone, almost beggaring the family, would have been a way of showing their respect. See any Victorian cemetery for lots of examples. I think we should just be grateful it is - you'd never have found him otherwise. The majority of the stones in the same cemetery are sandstone, for those from away, and many are indecipherable, since it lies just behind the South Blyth dunes and is regularly sandblasted. >From the position I would judge that he was one of the first buried there. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
