[NSP] Irish tunes in the Northumbrian tradition
It seems that there are quite a few Irish tunes in the Northumbrian smallpi= pe repertoire, and I'm wondering what the general feeling is about Irish tu= nes that have come in, and continue to come into the repertoire. They seem= to undergo an Northumbrianization and for the most fall into the jig and h= ornpipe categories. =20 Thanks, John To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] "Tich's Reel"
Who or what was "Tich's Reel" named after? Also, are there plans to collect all of Will Taylor's tunes in place? Perhaps, this has already been done and I'm behind the times (once again). thanks, John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] stiff fingers and aging
When I started playing the NSP in 1979 I had no teacher. In fact, it was years later that I finally met another NSPiper, another American, who was also largely self taught. Then when I did meet someone who had grown up playing in Northumberland, technique was not the strong point of his playing. After playing flat fingered since I started Highland pipes at age eleven I was very strict with myself about using the tips of my fingers for NSP, having read the phrase "little pistons" to describe proper NSP technique. It turns out I was a bit too strict, because years later I learned to relax the angle of my fingers and use the pads at the ends of my fingers rather than the tips. Huzzah, the insight made playing much easier and put far less stress on my hands. The smallest details of finger placement can have huge impact. While many of my Highland piping friends suffer from pains in their wrists and forearms, I never have and credit paying attention to finger position and making sure my wrists are not crooked. Finger muscles are in the forearm, so you want to keep the wrist both relaxed and fairly straight. Someone wrote "speed comes from rhythm" but I think it's the other way around, although it's a chicken and the egg question. Often rhythm is sacrificed for speed. Of course, there are pipers who can go like the Victoria Clipper (Andy May, Ian Lawther and Chris Ormston come to mind) without jettisoning rhythmic subtlies. For myself, however, I've found that when I find the hull speed for a particular tune my hands relax and my hard won but insufficient technique lines up with the tune resulting in a very pleasant sail through the music. I suspect that no matter how old your fingers are, trying to play too fast might encourage long term muscular discomfort. John Dally What I'm reading right now: Welcome Home My Dearie, Pete Stewart, Hornpipe -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Medal
Freddy Mercury would be proud. John "Chris Ormston" 03/16/2009 02:25 PM To "'NSP List'" cc Subject [NSP] Medal I'd just like to publicly thank the person who sent me the "Queen's Medal for Proper Piping" http://chrisormston.com/miscellany.aspx Much appreciated! Chris Ormston chrisormston.com borderdirectors.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[NSP] Re: Monkey hunting
My Morpethian friend plays "The Hesleyside Reel" as a reel, up tempo,
with a bump-ditty, 2/2 rhythm. It's quite easy to play flat fingered
on the Border pipes at that tempo. Call me a slacker, but I doubt I
will ever have the technique to play the tune on the NSP at his tempo,
which is faster than the tempo Anthony Robb takes with the tune on
SPIRIT OF THE BORDER. I'd be happy if I could even approach that tempo
without having the tendons surgically detached in my right hand as it
is always the 'a' in the runs that takes me down.
As in most things NSP, I labor to emulate the playing of Joe Hutton,
and attempt to play "Hesleyside" with the same feel and tempo as his
recording of "Speed the Plough" (NORTHUMBRIAN RANT, Temple?). Does he
play it as a rant or a reel? You can hear him beating out four beats
to a bar, 4/4 as opposed to 2/2. Willy Taylor's recording of his own
two reels ("Pearl Wedding", "Nancy Taylor") on the same CD have the
same 4/4 rhythm I've come to think of as a rant. It seems uniquely
Northumbrian, whether it be a rant or a reel.
There's more than one way to skin a monkey, I suppose, but through this
discussion I've come to realize that my Morpethian friend's reel style
is, as I suspected, influenced by Scottish and Irish reel rhythms.
Many thanks to all,
John --
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[NSP] Re: First 30 tunes
Perhaps, you could make the recordings yourself, Colin. That way the bench would be quite clearly marked. It would seem likely that there could be all sorts of interpretations of a tune, or bad playing technique, if the sound source were another instrument. Last night I played tunes with a friend, an ear player who grew up in Morpeth, was active in the folk scene in Northumberland for many years before moving here. He plays stringed instruments, so the popping pipe sound goes nicely with the slurry string sound. He doesn't play any of the tunes note for note the way they appear in the books, because he picked them up by ear, having heard many from the time he was a lad. If I said, look, you're not playing that tune correctly, it would be like the anthropologist telling the tribesman in New Guinea he's hunting monkey incorrectly. One tune in particular, "The Hesleyside Reel", is very difficult for me to play at his tempo without cutting out some of the notes. Was it written for the pipes? It's a lovely tune, but my right hand's ligature doesn't like it very much unless I play it at a rambling pace. Now, I realize, if I had Chris Ormston's technique I could do it properly, but I never will (I'm not alone, am I?). If the choice is mucking up the tune or adapting it to fit my technical abilities, what's a guy to do? John rosspi...@aol.com 03/10/2009 10:40 AM To j.gibb...@imperial.ac.uk cc nsp@cs.dartmouth.edu Subject [NSP] Re: First 30 tunes Dear John, When I was saying that I thought the tunes in the 'First 30 Tunes' might be better played on some other instrument than the small pipes to give an idea of how the tune went it was to avoid the copying of pehaps bad playing technique from pipers who had contributed tracks for the CD. I had no experience of using ABC copies of the tunes to generate audio copies but it seems to be a relatively straightforward way of getting the printed tunes out there to be heard. At the moment the NPS is only interested in producing a CD to accompany the '30 tunes' book but as we have most of the other tunes that are in our publications in ABC form it could be applied to all those tunes that beginners have difficulty in lifting off the page. As you say the main problem is in finding someone to do the job. Colin R -Original Message- From: Gibbons, John To: 'colin' ; nsp@cs.dartmouth.edu Sent: Tue, 10 Mar 2009 16:41 Subject: [NSP] Re: First 30 tunes An abc pipers' tunebook should ideally - * Not be a copy of a printed source. It might affect its sales. Let alone copyright questions. * So should be mostly traditional unpublished material. * It could contain new tunes too, if submitted by the composer - copyright again. * It should be communally authored - wait for a single author and it will take a long time, and will mirror his taste; be it excellent or otherwise, someone will disagree! It is a view of the tradition that we are after, not just Joe Bloggs' bit of it. * Abc's could be submitted to the nsp mailing list, and someone web-literate could put it online. * So we need a willing able volunteer. * Here the plan falls to the ground. John -Original Message- From: nsp-request+j.gibbons=ic.ac...@cs.dartmouth.edu [[1]mailto:nsp-request+j.gibbons=ic.ac...@cs.dartmouth.edu] On Behalf Of colin Sent: 10 March 2009 16:23 To: nsp@cs.dartmouth.edu Subject: [NSP] Re: [NSP]Re: irst 30 tunes I'm glad you wrote this. I suggested something similar but my post never appeared (that happens quite often and yes, I did send it to the list, not the person who posted it). As I said there, I've been trying to do something similar with a book of hurdy gurdy tunes but some other player beat me to it by playing all the tunes on the piano and making it available as an mp3. The cries of "ah, that's how that bit goes" continue to echo. Colin Hill - Original Message - From: "Mike and Enid Walton" To: Sent: Saturday, March 07, 2009 6:53 AM Subject: [NSP] [NSP]Re: irst 30 tunes > > If tunes (the "first 30" in the current context, but it holds for all > the NPS tunes) were posted in "abc" format on the NPS website, it would > enable people with the necessary programs to print them in whatever > format they wished, hear them as midis, transpose them etc. It might, > of course, reduce the sales of NPS books. > >
[NSP] Re: Copyright issues
Something else to think about is putting performances up on youtube or myspace. All I know about this is what I hear on the radio, but if I'm not mistaken, technically, you are infringing copyright if you put a video up on the internet of a performance of protected melodies--like "happy birthday" or "Lindesfarne"--unless you own the copyright, even though you're making no money off it. I think you will be breaking some sort of copyright law even if you post your own compositions in one format or another (score, audio or video) if they are not copyrighted. There is some law designed to protect recording companies that doesn't allow individuals to put their own stuff up on the web without formal copyright. Yes, Martha, apparently you can be sued for giving your own stuff away. BTW, Michael Jackson owns the Beatles' catalog as well, so don't get caught whistling "All you need is love" on your way to the bus stop. John julia@nspipes.co.uk 01/16/2009 02:36 AM Please respond to julia@nspipes.co.uk To nsp@cs.dartmouth.edu cc Subject [NSP] Re: Copyright issues On 16 Jan 2009, julia@nspipes.co.uk wrote: But here's a PS: "Publishing" includes typesetting more than one copy and handing it round to friends: writing out a copyright tune by hand, copying it by any means and distributing that:course music of any sort: workshops: and so on, and so on. Yes, really - I'm not kidding. In practice we get away with it, but anyone who does any of these things without specific permission should be aware of what they are doing. One day a litigious composer / copyright holder could come back and get shirty. And don't copy out Happy Birthday for distribution: people in the States have been prosecuted by the copyright holder (Michael Jackson) for doing just that. Anyone who *really* needs to know the potential danger areas in Northumbrian music of which I am presently aware is welcome to contact me - offlist. Cheers Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[NSP] Re: Jimmy Allan traditional (?)
Barry Say wrote: "Referring back to the earlier thread, I think Anthony Robb's point in the magazine was that it is possible to play some tunes as either a rant or a reel and he thought it important to choose the appropriate rhythm when playing in competition." If we have determined anything in this thread it's that there are varying opinions, even among judges, as to what is a rant and what is a reel, and that the title of a tune doesn't necessarily tell you what it is. There must be some tunes that can be played appropriately with the "to-MAto soup" rhythm (the light went on when it was pointed out where the down beat falls--thank you) or the "GOB stopper" rhythm. If someone could point out a definitive recording of a rant in the discography of NSP music, I would greatly appreciate it. As for "Jamie Allen", it seems natural that the names of tunes and the way they are played would change over time, especially in a musical culture where ear-playing is common. Joe Hutton didn't play "The Cameron Highlanders", which is also known as "Henderson's March" (I think), the way Highland pipers do, but it's the same tune and it's still a march. I once heard a busker near Seattle playing old time American music suddenly jump into "Jimmy Allen". Unfortunately, I didn't get a chance to ask him where he learned it. Perhaps it appears on an old A.L. Lloyd or Ewen MacColl recording. Once again, Barry, thanks for a great edition of the NPS Magazine. I didn't have to play the usual drinking game to get through it, and the last few pages of email humor had me laughing out loud. all the best, John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] another raving rant
There are two sides to this argument. Perhaps, both are valid. Go to any Highland games and you'll hear lots of technically correct Scottish piping. But is it music? Is it traditional? And if it is traditional, in what way is it traditional? Are they Pipers? They spent thousands of dollars on their costume, so they must be. Every piping tradition has authorities, self appointed or otherwise, whose business is to determine what is "good" and what is "bad." Of course, it's simply happenstance that their customers, students, children and friends are often deemed "good". Along side them the "has-been-wanna-bes" (as Graham Mulholland labled me on Dunsire, while hiding his own identity behind the appelation "Spook") struggle to find our way to a piping that is authentic, genuine and enjoyable. If my playing depended on whether or not a piping potentate or his coat-tailer deems me worthy of the name "piper" I might as well burn my pipes and sprinkle their ash on the sea. In the mean time, the potentates collect fees from has-been-wanna-bes who will pay handsomely for a crumb of approval and the small hope that they will one day be worthy of the name "piper". It's a rigged game either way. John Ian Lawther 01/05/2009 08:27 AM To julia@nspipes.co.uk cc nsp@cs.dartmouth.edu Subject [NSP] Re: Rants and reels julia@nspipes.co.uk wrote: > Like Chris, I am concerned at some of the material now being > preferred by players. There is a difference between "playing music on > the Northumbrian smallpipes" and "Northumbrian piping", and the > latter must not get swamped by the former or the tradition will be > gone. That said, there is nothing wrong with good music on the > Northumbrian smallpipes once in a while, provided it is an informed > choice by the individual. > > My twopennorth > Julia I am reminded of a article written by Pat McNulty, the Glasgow based uilleann piper, reflecting on the first 30 years of Na Piobairi Uilleann and the great increase in popularity of uilleann pipes in that time. He concluded a the comment come question "There are far more people with uilleann pipes that there were thirty years ago, but are there any more pipers?" Ian To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[NSP] Re: Ranting and raving
Thanks for the clarification. Astute, as always. So, is "The Keel Row" a rant? "the Mason's Apron" had to be Scottish. Someone on Dunsire made the Northumbrian claim. I can't think of a tune in the Northumbrian repertoire that references the Masons. John Dally National Account Manager Houghton Mifflin Co. 206-715-6311 - Original Message - From: "Matt Seattle" [theborderpi...@googlemail.com] Sent: 01/04/2009 06:42 PM GMT To: "Paul Gretton" Cc: nsp@cs.dartmouth.edu Subject: [NSP] Re: Ranting and raving Splitting it up into 4 beats, and putting a double line at the barline ||Nuts|and|rais|ins|| To||ma|to|soup|- I think we are saying, or trying to say, the same thing as Colin's example, i.e. a-||ONE-two-THREE-and a-||ONE-two-THREE-and To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Rants and reels
I enjoyed the most recent NPS Journal very much. There was lots of good stuff there to ponder and incorporate into my playing. Good articles raise more questions, so here are couple that came up for me. Anthony Robb described the rhythm of a rant as "tomato". That enhanced my understanding of the rant rhythm, but I'm still confused. The reel rhythm, I take it, is the common bump-ditty, which of course has subtle variations depending on local tradition. But I hear "tomato" as 6/8, not 2/2 or 4/4. If "bump ditty" is spelled out "strong, weak, strong, medium" in stresses per bar, how is the rant "tomato" rhythm spelled out? Chris Ormston's article was very interesting, but I didn't get the full gist of what he was saying because I think he was being polite. Chris could you spell out in "over seas layman's terms" which tunes have infected the repertoire, and which tunes are basic? I hope traditional NSP playing never reduces it's repertoire to a stock 100 tunes to be played exactly alike by everyone the way Highland piping has, but as an "over seas layman" it would be very interesting to learn what one of the very best NSPipers considers to be the top fifty tunes I should strive to learn, and which tunes I should avoid completely. As a side bar question: I was told recently that "the Mason's Apron" is a Northumbrian tune. It's played all over the British Isles, but I didn't realize it was from Northumberland. Is that true? many thanks, John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: An ear for drone music
As requested by VE, see attached. thanks, John - Forwarded by John Dally/Trade/hmco on 11/14/2008 01:21 PM - "Victor Eskenazi" <[EMAIL PROTECTED]> 11/14/2008 01:18 PM To [EMAIL PROTECTED] cc Subject Re: [NSP] An ear for drone music John, Please help. It's been several years since I have responded. I replied to [EMAIL PROTECTED] expecting that my comments would hit the list serve. Obviously it hasn't. Would you please send this out on the list for me? Thanx. Victor On Thu, Nov 13, 2008 at 11:18 AM, Victor Eskenazi <[EMAIL PROTECTED]> wrote: They are indeed two very different scales. The "one size fits all" methodology used in Western music requires a deviation from the natural laws of nature. That's why, the low and upper octaves on an "in tune" piano sound dissonant. The "in tune" piano is slightly out of tune with the natural world, in any key. A drone provides an ever present "center of the universe". When playing your pipes you have a choice, to be in tune with the natural world, OR to be in tune with the "one size fits all" world. I highly recommend staying in tune with the natural world whenever possible, it is ever so much more vibrant. Some people acclimated to the "one size" world will hear the difference and may say you are out of tune, most people will not notice a thing, and the rest of the people will hear richer tones and may wonder why. Have Fun! Victor -- Forwarded message -- From: <[EMAIL PROTECTED]> Date: Thu, Nov 13, 2008 at 10:17 AM Subject: [NSP] An ear for drone music To: [EMAIL PROTECTED] I've observed that pipers (NSP, BP, GHP, whatever) who come from a classical background have a "blind spot" in their hearing when it comes to drone music. I don't know if my observation is correct, and recognize its potential for appearing inflammatory or prejudicial. I certainly don't mean offense. I do think that growing up playing a drone instrument does allow the piper to hear certain subtleties that someone who grew up with a tempered scale and classical or even Rock and Roll chordal progressions might not be able to hear. People with years of music theory and academic expertise in music have tried to convince me that such and such doesn't work, or that my pipes are "out of tune". I spent a lot of time and energy trying to correct the problem, because we all know musicians with lots of schooling and degrees know more than I do, a mere piper. But my gut and my ear tell me, they just don't hear the harmonics or the matching of the "out of tune" notes with the drones. It could be that I simply like the play between the wah-wah and the perfectly synched that is part and parcel of drone music, and they don't. What are your considered thoughts on the matter, please, my esteemed colleagues? John -- To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:nsp@cs.dartmouth.edu 2. mailto:[EMAIL PROTECTED] 3. mailto:[EMAIL PROTECTED] 4. mailto:nsp@cs.dartmouth.edu 5. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[NSP] An ear for drone music
I've observed that pipers (NSP, BP, GHP, whatever) who come from a classical background have a "blind spot" in their hearing when it comes to drone music. I don't know if my observation is correct, and recognize its potential for appearing inflammatory or prejudicial. I certainly don't mean offense. I do think that growing up playing a drone instrument does allow the piper to hear certain subtleties that someone who grew up with a tempered scale and classical or even Rock and Roll chordal progressions might not be able to hear. People with years of music theory and academic expertise in music have tried to convince me that such and such doesn't work, or that my pipes are "out of tune". I spent a lot of time and energy trying to correct the problem, because we all know musicians with lots of schooling and degrees know more than I do, a mere piper. But my gut and my ear tell me, they just don't hear the harmonics or the matching of the "out of tune" notes with the drones. It could be that I simply like the play between the wah-wah and the perfectly synched that is part and parcel of drone music, and they don't. What are your considered thoughts on the matter, please, my esteemed colleagues? John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Music for funeral
I have the dots for Amazing Grace (with twelve part harmony) if anyone wants them. ;-) John What I'm reading right now: The Truth About Stories, Thomas King, University of Minnesota Press "Paul Gretton" <[EMAIL PROTECTED]> 11/11/2008 10:40 AM To cc Subject [NSP] Music for funeral My gut reaction is: play anything appropriate - there are lots of options - but please, please, please don't play Amazing Grace! I don't think one should do anything that might contribute to that awful piece of slop becoming a part of the Northumberland repertoire too. It would be dreadful if it ever became a standard feature of funerals on this side of the Atlantic the way it has in the States. And in the States the problem is not just with funerals: over there, there are only two tunes associated with bagpipes (of any type), namely Amazing Grace and that other one. There was no Amazing Grace at the Cenotaph this morning and I think you may agree that the somber ceremony of commemoration was still pretty effective. And don't play effin' Highland Cathedral either Paul Gretton -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[NSP] Mistakes in public perfomance
All music, because it is art, is a gift. The generosity with which the gift is given and received is often more important than the technical skill through which it is given. Some of the most moving performances I've had the pleasure of experiencing have been from artists who will never adorn their living rooms with trophies or be acknowledged in the pages of society journals. Likewise, a technically perfect performance can occaissionally feel selfish and shallow. These comments are general and apply to music in general. Music lives in the moment, and to languish over a poor performance, my own or anyone else's, or otherwise to puff up over a successful outing, these reactions both miss the point. Just about any performance, private or public, can be turned into torture by negativity. A positive attitude will make any opportunity to play or listen a much more enjoyable and rewarding experience for everyone. To paraphrase Miles Davis (I think): don't worry about mistakes...there are none. John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: George Atkinson
Pipers of any sort are famously without rigid opinions. Even if they might develop certain tastes, they never dabble in opinions that could be misinterpreted as prejudicial, pompous or pejorative. This is especially true of competitors and judges, who always put personalities, business interests, prestige and ego aside. I've never known a judge to show favoritism, or a competitor to grouse about results. Contrariness, petulance and territorialism simply don't exist in competition piping. It is, in fact, one of the few arenas of life in which love, peace and understanding thrive, where truth is beauty and beauty truth, where kindness and the simple joy of music are the highest value. John Dally -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: tchuning... lugs
"Lug" could also mean the awful sound resulting from loss of bag pressure as a result of poor blowing: that growling, asthmatic double tone and fade out, followed by a quack when the "piper" quickly fills the bag again, bellows arm a-flappin'. My old air-cooled VW made a very similar noise when the rpm's were dangerously low for the gear. John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: loose women
If I were to fully embrace your question, Paul, the inevitable passionate discussion might engender a new usage for the word "choyte." Vulgarity is rewarded in OTHER piping circles, but when it comes to NSP that just wouldn't be cricket. John "Paul Gretton" <[EMAIL PROTECTED]> 08/26/2008 02:56 PM To cc Subject [NSP] loose women John Dally wrote: >>Like most of you, I took up the NSP for the money, fame and loose women. Could you elaborate on just what you mean by "loose"? Are we talking about fingering? 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: connecting with one's roots
Like most of you, I took up the NSP for the money, fame and loose women. John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] more choyting on 'choyte'
This conversation, with it's figgleligee , provoked a perusal of my foxed copy of Jameson's Dictionary of the Scottish Language (Aberdeen: 1867). The word 'quyte' means "to skate or play upon the ice as with curling stones". Depending on one's style of choyting, choyting might be considered a skating from note to note without stopping. Because it is a pleasant image it probably has not relation to "choyte". Also, of possible interest is the entry for "chowl" or "chool", which means "to whine or cry", "applied to dogs or children, Fife," and also "it always includes the idea that they have no good reason for their whining." This might be related, if only distantly, to the Pitmatic "choyte". Perhaps it is a Pitmatic reiteration of a Fifian word brought south by some Scottish miner. The subjects of the kingdom of Fife are notorious for many things, including unintelligibility, even after Mr. Carnegie built all those libraries. This being a Scottish book it's relevance, to say nothing of its authority, is questionable. However, if not enlightening, I hope the information above is at least entertaining. John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Plumbing the depths
It's wonderful to see this email list come alive, flushed with excitement. Cuckold come out the Privy Morning Flush The Grey Bowl Hornpipe Gateshead Shower Flow The # One After That -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Flowers of The Forest
Since we're tangetially discussing GHB tunes in the NSP repertoire, what about "Amazing Grace?" The are many far superior settings to the one commonly played by GHB, which doesn't follow the song either. Perhaps someone could publish a book of all the sappy funeral tunes. "The devil made me do it." ;-) John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: NPS tunebook 2 - Parnell's March
Joe Hutton's playing of this tune is what I emulate. Joe's setting differs from the setting in Book 2. I don't have my books at hand, but if I remember correctly the setting of one Willy Taylor's hornpipes in that book is a bit off from his playing as well. thanks and the best of luck, John Dally Burton, WA -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: old Towler
Okay, I'll expose my ignorance. What's the joke here? Also, anyone know of a recording of the song, or where one might find it on the web? thanks, John "Chris Ormston" <[EMAIL PROTECTED]> 12/12/2007 12:19 PM To "nsp" cc Subject [NSP] Re: old Towler While this is written in straight jig time, it's much more effective played in a 'dotted' manner. Also, make sure the dotted crotchets are given their full value. Tom Clough's advice to sing the song in your head is relevant here to help with the phrasing. Ooops, sorry! Got the Champion of Champions at Bellingham mixed up with Crufts - sorry to interrupt the doggy talk ;-) Chris - Original Message - From: "Ged Foxe" <[EMAIL PROTECTED]> To: Sent: Wednesday, December 12, 2007 5:48 PM Subject: [NSP] Re: old Towler Maybe, or else related to Towser, also a common name for a dog. Towser is originally rough-haired (as tousled) or, as implied in Dictionnaire Royal Anglois-Francois 1768, a turbulent or nosy person. Jeremy - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Wednesday, December 12, 2007 4:10 PM Subject: [NSP] Re: old Towler > My 1994 OED has: > towl v. dial. > To yowl. > The two examples of use are from 1906 (Kipling, Puck of Pook's Hill), and > a Punch article of 1930. > > So, a noisy hound then. > > Pedantically, > > Richard Leach > > On Wed, Dec 12, 2007 at 02:05:19PM -, Colin has written: >> Oh, as a PS, this is from thefreedictionary.com >> Jowl'er >> n. 1. (Zool.) A dog with large jowls, as the beagle. >> >> Colin Hill >> - Original Message - >> From: <[EMAIL PROTECTED]> >> To: "Dru Brooke-Taylor" <[EMAIL PROTECTED]> >> Cc: "nsp" >> Sent: Tuesday, December 11, 2007 6:36 PM >> Subject: [NSP] Re: old Towler >> >> >> > What does the word "towler" mean? I've looked it up on a couple of >> > on-line Scots and Geordie dictionaries, but found nothing. For me the >> > tune title conjures up an image of an oldster wrapped in a soggy towel >> > having just emerged from his bath. I'm happy to replace it with that >> > of a >> > beagle or stag hound leaping over hill and dale. >> > >> > John >> > >> > >> > >> > Dru Brooke-Taylor <[EMAIL PROTECTED]> >> > 12/11/2007 10:20 AM >> > >> > To >> > nsp >> > cc >> > >> > Subject >> > [NSP] old Towler >> > >> > >> > >> > >> > >> > >> > Oh dear. This is embarrassing. >> > >> > I hadn't thought of checking the words. As this song is linked in my >> > mind, rightly or wrongly, with Yorkshire, I'd taken for granted Old >> > Towler pursued foxes. >> > >> > Dru >> > >> > >> > On 11 Dec 2007, at 15:39, Colin wrote: >> > >> > > Er, a little more than implied. The last line of the chorus is "This >> > > day a >> > > stag must die" which is then repeated.(I have been singing it for >> > > over >> > > 30 >> > > years anyway). >> > > Colin Hill >> > > >> > > - Original Message - >> > > From: "Ged Foxe" <[EMAIL PROTECTED]> >> > > To: "nsp" ; "Dru Brooke-Taylor" >> > > <[EMAIL PROTECTED]> >> > > Sent: Monday, December 10, 2007 9:08 PM >> > > Subject: [NSP] Re: old Towler >> > > >> > > >> > >> I've missed the beginning of this thread, I think, so this may have >> > > already >> > >> been refuted, but the song implies that Old Towler was a stag hound. >> > >> >> > >> Jeremy >> > >> >> > >> - Original Message - >> > >> From: "Dru Brooke-Taylor" <[EMAIL PROTECTED]> >> > >> To: "nsp" >> > >> Sent: Friday, December 07, 2007 7:20 PM >> > >> Subject: [NSP] Re: old Towler >> > >> >> > >> >> > >>> Old Towler was indeed a fox hound. Hence the wintry connection. >> > >>> >> > >>> Dru >> > >>> >> > >>> >> > >>> On 7 Dec 2007, at 17:31, Marianne Hall wrote: >> > >>> >> > >> > I always though Old Towler was a fox hound. We learn something new >> > > every >> > day>Marianne. >> > -- >> > >> > To get on or off this list see list information at >> > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > >> > >>> >> > >>> >> > >> >> > >> >> > >> >> > >> >> > > >> > > >> > > >> > > >> > >> > >> > >> > >> > -- >> > >> > >> >> >> >> >> -- >> This email has been verified as Virus free >> Virus Protection and more available at http://www.plus.net > > -- > Richard A Leach | Why look through windows when you can walk through > gates? > The great little festival -- http://www.PennineSpringMusic.co.uk > A Centre of Excellence for Domestic Information Technology Solutions > 5344.9735,N,00201.2268,W,263.0 > > --
[NSP] Re: old Towler
What does the word "towler" mean? I've looked it up on a couple of on-line Scots and Geordie dictionaries, but found nothing. For me the tune title conjures up an image of an oldster wrapped in a soggy towel having just emerged from his bath. I'm happy to replace it with that of a beagle or stag hound leaping over hill and dale. John Dru Brooke-Taylor <[EMAIL PROTECTED]> 12/11/2007 10:20 AM To nsp cc Subject [NSP] old Towler Oh dear. This is embarrassing. I hadn't thought of checking the words. As this song is linked in my mind, rightly or wrongly, with Yorkshire, I'd taken for granted Old Towler pursued foxes. Dru On 11 Dec 2007, at 15:39, Colin wrote: > Er, a little more than implied. The last line of the chorus is "This > day a > stag must die" which is then repeated.(I have been singing it for over > 30 > years anyway). > Colin Hill > > - Original Message - > From: "Ged Foxe" <[EMAIL PROTECTED]> > To: "nsp" ; "Dru Brooke-Taylor" > <[EMAIL PROTECTED]> > Sent: Monday, December 10, 2007 9:08 PM > Subject: [NSP] Re: old Towler > > >> I've missed the beginning of this thread, I think, so this may have > already >> been refuted, but the song implies that Old Towler was a stag hound. >> >> Jeremy >> >> - Original Message - >> From: "Dru Brooke-Taylor" <[EMAIL PROTECTED]> >> To: "nsp" >> Sent: Friday, December 07, 2007 7:20 PM >> Subject: [NSP] Re: old Towler >> >> >>> Old Towler was indeed a fox hound. Hence the wintry connection. >>> >>> Dru >>> >>> >>> On 7 Dec 2007, at 17:31, Marianne Hall wrote: >>> I always though Old Towler was a fox hound. We learn something new > every day>Marianne. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >>> >>> >> >> >> >> > > > > --
[NSP] Re: Loud Drones
Don't want to head down a path that only experts should tread, but since more informed people have not responded, here's what I'd suggest. I would first look to the reeds. I would make a the reed more quiet by tying on a new tongue or wrapping a bridle on so as to shorten the length of the tongue. In my experience opening up the reed by flexing the tongue or taking off bridle wraps will allow more air through, thereby making the reed louder. In addition, in the past I have used very small elastic bands over the end of the bridle wrap to dampen the reed, thereby softening the tone and turning the volume down. All the usual caveats apply, but it's really difficult to know what the root issue is without having the pipes in hand. That's probably why responses have been few. John Leistman's book, Colin Ross's book, and Ray Sloan's free download might all help you. Each one is indispensable in it's own way. best wishes, John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] thumb injury
Last Saturday I crashed on my bicycle avoiding a couple of dogs at the bottom of a long downhill. The worst of my injuries is a torn ligament between my thumb and forefinger on my right hand. I was in the drops when I hit the pavement and jammed my thumb against the handle bar, pushing it in the opposite direction of its normal bent. It requires surgery to reattach, which I'm scheduled to have next Monday. The orthopedic doctor gave me some very bad news about how this will effect the movement of my right thumb. He said I need physical therapy to do regular things like typing on a key board, so I'm very concerned how this will effect my ability to hit keys with my thumb. Has anyone here ever had this injury and how did you get back up to speed on the pipes after surgery? I hope the doctor was just giving me a worse case scenario. all the best, John Dally -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] suppliers
Is it possible to order just enough leather for one bag, or is a whole hide the minimum order? Perhaps there are enough of us interested in a small lot that we could go in on a hide together? I'm not a pipemaker but I make a bag every once in a while, and finding suitable leather is always a challenge. Here is an interesting web site with instructions for making a bag for Swedish pipes. List members might find it interesting even though it doesn't pertain to NSP: http://www3.telus.net/bo/bag.htm John Dally [EMAIL PROTECTED] 03/12/2007 03:24 PM To nsp@cs.dartmouth.edu cc Subject [NSP] suppliers I had a call from Mr Scott of Scotts Leathers this morning to let me know they were still in the business of supplying leather for bags and bellows. This was in response to a call I made to the firm last week wondering if they were still operating. He said they had rented out the majority of their factory space as rented lots for storing furniture,etc. but still had a part that they used to keep a stock of leather. The main point of this posting is to say to those of us who make pipes that we need to keep firms like Scoots going by buying the good quality leather they supply or they may eventually go out of business. I did make the point with him that we are never going to buy in the quantity that say Highland pipemakers buy in setting up pipebands as we are dealing with single pipers most of the time. If we buy a skin for pipebags we may get half a dozen bags out of it which may represent more than a years work which is fine for us but he as the supplier is not going to make a living from selling it to us. I am not advertising for Scotts but I can say that the Stormforce leather they sell is absolutely airtight and soft enough to make the ideal small pipe bag, and the Scawfell leather is also airtight and the right thickness for bellows leather. The survival of pipemaking is in the hands not only of us makers but also in the hands of the suppliers of the materials we need. If any one wants any details of how to contact Scotts let me know and I will give you his address. Colin Ross Technical adviser NPS -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[NSP] Re: Wannies Boxing Day session
Very good, sir. The question some of the troopers have here, sir, is, when do we get into "The Bigg Market Lasses"? John "Chris Ormston" <[EMAIL PROTECTED]> 12/22/2006 09:39 AM To "NSP List" cc Subject [NSP] Re: Wannies Boxing Day session -Original Message- From: Chris Ormston [mailto:[EMAIL PROTECTED] Sent: 22 December 2006 17:38 To: 'Helen Capes' Subject: RE: [NSP] Re: Wannies Boxing Day session "Play Elsey's Waltz for me. Cheers Helen" Participants are reminded that Boxing Day rules apply! This means that Elsey's Waltz can only be performed after The Cott and before Whittingham Green Lane, except in a leap year, when, at the discretion of the Committee, the latter two tunes may be substituted with Caddam Woods or A Scary Night in Shetland. Leaving Lismore needs written dispensation ratified by a quorum of the membership, including the signature of at least one winner of the Blackthorn Stick trophy. Major Misunderstanding VSO, VC, MFI, DCS Commander in Chief of Allied Carpets (Retd.) Hesleyside To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[NSP] Re: re reply
in the same way that the Highland pipes are very suitable for the music they play, but let's be honest, they still remain a primitive, undeveloped instrument. Peter Dunn With all due respect, Peter, this popular view betrays a lack of understanding. Today you will find that from its synthetic bag with an internal moisture control system, to the machined drone reeds with carbon fiber tongues, the machined drones and chanter, the various synthetic glues and oils, and even the mechanically produced chanter reed, there is very little that is primitive or undeveloped about the modern Highland bagpipe. It may sound primitive to many people, but that is another thing altogether. I would wager it sounds very primitive to fans of Barry Manilow, Brittany Speirs and the Bee Gees. Likewise, the music of Muddy Waters, Howlin Wolf and Son House is desperately primitive stuff yet highly developed. My personal belief is Highland piping has been marching backwards into the future, with it's eyes firmly fixed on an imaginary past, for so long that the tradition has become a competition exercise, like skating figure eights. It is in fact so highly developed as such that most listeners are challenged to find the music in it, which is even true of most of the practitioners. In fiddling today I long for a small hint of the old dirt. The young ones are so smooth, flashy and fond of technique. John Dally -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Kathryn Tickell on Radio 3
Post-Imperial cultural tripe, a few steps above Disney. I didn't bother giving this piece a listen because one of my most unsatisfying gigs was playing the piper in a stint of Orkney Wedding. It was clear that the composer knew very little about the pipes. From the ornaments alone it was clear he hadn't even given the most basic tutor a once over, because one or two were impossible and most were pointless. It required the piper to start in the lobby and walk in from the stage right. Fair enough, except the piper's part starts on the beat four of the bar previous to the orchestra...playing the same melody a beat ahead of the orchestra. You are supposed to do this while waiting off stage without being able to see the conductor. Add to that the fact the conductor spoke only Japanese, and no one in the orchestra gave the piper a cursory "hello." Like playing with the Cheiftains, it may be prestigious but afterwards you feel like a cheap trick. Wham, bam, there's the door. John "Chris Ormston" <[EMAIL PROTECTED]> 10/28/2006 03:28 AM To cc Subject [NSP] Re: Kathryn Tickell on Radio 3 I managed to listen for a few minutes, then had to switch off. The little that I heard clearly demonstrated the composer's lack of understanding of the instrument and its music. Bagpipe music is all about the relationship between melody and drones, yet we were subjected to strange intervals that neither sit comfortably on the chanter nor relate to the drone accompaniment. Previous works by this composer have included a piece for pipes which goes beyond the range of the chanter - enough said??? More high-brow, emperor's-new-clothes fodder using the pipes as a gimmick! Chris -Original Message- From: Matthew Walton [mailto:[EMAIL PROTECTED] Sent: 28 October 2006 08:47 To: Richard Shuttleworth Cc: nsp@cs.dartmouth.edu Subject: [NSP] Re: Kathryn Tickell on Radio 3 I had some of the same feelings myself. It definitely wasn't in the mould of the traditional music for the pipes, and while I do like to see composers and players branching out into other types of music for instruments from time to time, in a lot of cases unless one does stick close to the traditional style, one doesn't get the most out of the instrument (this is something I've also observed on the recorder, although modern recorder music is something quite evil which relies on techniques fit to drive you mad). But as you say, Kathryn played it well. There were some bits in there which I definitely wouldn't have wanted to attempt on any instrument! On Fri, 2006-10-27 at 18:24 -0400, Richard Shuttleworth wrote: > Thanks for the heads-up. I managed to catch it but was quite disappointed. > The pipes were under-recorded most of the time and were often drowned out by > the orchestra. The second (slow) movement raised my hopes for a while but > sadly missed a golden opportunity to showcase the pipes, almost as though to > composer didn't really know how to treat the instrument and tried to bend it > into a classical mold instead of taking advantage of the traditional gendre > that the pipes could have made available to him. > > None of the above detracts from Kathryn's playing, she was superb! > > Just my 2 pence work, > > Richard > > Matthew wrote: > > > It's working right now as I'm in the middle of the relevant piece. > > Probably won't be available after today though, as they take them down > > after seven days - may not even be available later this evening. > > > > I'm in no position to comment on Kathryn's playing style but it > > certainly doesn't sound like the sort of pipe music she usually plays on > > her albums. Of course, on her albums she's not got the Northern Sinfonia > > playing with her either. > > > > Tis good. > > > > On Sun, 2006-10-22 at 23:47 +0200, Bart Blanquart wrote: > >> WILLIAM REEDER wrote: > >> > Was this program ever archived? I seem to be completely unable to find > >> > it. > >> > >> The BBC seems to be having difficulty with the archiving feature; they > >> have 'Performance on 3' archived for all days this week but friday. > >> > >> At the top of their radio player > >> (http://www.bbc.co.uk/radio/aod/radio3.shtml) it currently says "We > >> regret that many programmes are unavailable. We are working to restore > >> normal service"... so hopefully it'll show up soon. > >> > >> Bart > >> > >> > >> > >> To get on or off this list see list information at > >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >> > > > > -- > > > -- --
[NSP] Northumberland Fusiliers pipe band
While browsing on ebay this photo of the Northumberland Fusiliers pipe band came to my attention, circa 1907. These pipers seem to be playing Highland pipes. Does anyone have knowledge of the Northumberland Fusiliers pipe band, specifically their repertoire? http://cgi.ebay.com/Pipers-of-the-3rd-Vol-Bn-Northumberland-Fusiliers-Rp_W0QQitemZ230037587337QQihZ013QQcategoryZ60662QQrdZ1QQcmdZViewItem many thanks, John Dally -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: peacock pipes
Hello Colin, Thanks so much for the advice. That does make a lot of sense. I have experimented playing closed fingered on my SSP chanter in D, but as you know many of the notes are out of tune if you play it closed fingered. It does, however, offer some insight into how closed fingering sounds on an open chanter. Of course, if you play closed fingered on an open chanter you have to keep your pinkie up so that the base note between the other notes, the sound that is not there on a closed chanter, is in tune with the drones. The result is something akin to Macedonian piping. It's perhaps more interesting intellectually than satisfying musically, by which I do not mean to imply anything negative about Macedonian piping. Best wishes, John Dally [EMAIL PROTECTED] 10/04/2006 09:22 AM To [EMAIL PROTECTED], nsp@cs.dartmouth.edu cc Subject Fwd: [NSP] peacock pipes In a message dated 02/10/2006 23:50:50 GMT Standard Time, [EMAIL PROTECTED] writes: I've had the idea of a keyless, open-ended chanter with a flattened seventh that would be played with NSP style fingering, primarily inspired by Dixon tunes. Dear John, I made a chanter as you describe and found that the tight spacing between the top two finger holes made it impossible to play if you are meaning making a chanter in F natural. I have made a simple set in D Northumbrian style with the closed end on which you could do that as I have found with all the Scottish small pipes I have made in that key. I would suggest you try that with a D chanter or perhaps a C chanter instead. Cheers. Colin R - Message from [EMAIL PROTECTED] on Mon, 2 Oct 2006 15:47:44 -0700 - To: nsp@cs.dartmouth.edu Subject: [NSP] peacock pipes I've had the idea of a keyless, open-ended chanter with a flattened seventh that would be played with NSP style fingering, primarily inspired by Dixon tunes. Julia very kindly gave me a keyless chanter to experiment with, but I haven't had the heart to open up the bottom or fill and redrill the 'f' hole. It's been a lot of fun to play as is. John Dally -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[NSP] peacock pipes
It would be interesting to hear what the pipemakers have to say about keyless chanters with a flattened seventh. In looking at my own scabrous keyless chanter one the reasons I've held off on filling in the f hole and redilling a flattened seventh is that unless the hole is drilled at an extreme angle the f hole will be too close to the e hole to finger on an F chanter. The point of playing a keyless chanter is that there are no keys to fumble with. This makes it relatively easy to play tunes with a flattened seventh, or whatever mode you want to play in. Playing keyless chanters in various keys is like a melodeon player having a single row melodeon for every mode he/she may want to play in, as opposed to having a B/C or C#/D box which would be the equivalent to playing a keyed chanter. John Dally -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] peacock pipes
I've had the idea of a keyless, open-ended chanter with a flattened seventh that would be played with NSP style fingering, primarily inspired by Dixon tunes. Julia very kindly gave me a keyless chanter to experiment with, but I haven't had the heart to open up the bottom or fill and redrill the 'f' hole. It's been a lot of fun to play as is. John Dally -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Looking for smallpipes
There is a reworked Burleigh set on ebay right now. The link is below. There are also two other new Burleigh sets listed by a dealer on ebay. Search "northumbrian." http://cgi.ebay.com/Northumbrian-Smallpipes-ivory-mounted-bagpipes_W0QQitemZ250031378229QQihZ015QQcategoryZ16226QQssPageNameZWDVWQQrdZ1QQcmdZViewItem Last I heard there is a D Sloan set for sale by Patrick Jones, with whom I have had very happy dealings: [EMAIL PROTECTED] Hope that helps. All the best! [EMAIL PROTECTED] wrote: The time scale is awfully short for most of the pipemakers I know, so her best hope is probably someone about to upgrade from a starter set, or selling a playing Burleigh set ( there's just so many more of them about than anything else). -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] looking for a keyless chanter
Hello everyone, I'm looking for a keyless chanter in F or G. many thanks, John Dally P.O. Box 13070 Burton, WA 98013-0070 tel 206-463-3535 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
