[NSP] Dixon and rhe NSP
Hi to All, a week or so ago on this site i read in a mail a passing comment of playing Dixon tunes on the northumbrian small pipes. i was a little surprised as with a 7 keyed set of NSP i would have thought the tunes were difficult/impossible to play due to the natural 7th note missing in the top and bottom of the scale. the more i thought of it, i wondered how it could be done? do people, who play from the Dixon manuscript, play with A drones and using the A major scale on the NSP starting on the bottom A note as their tonic, and using the natural 7th - above and below the tonic as the A scale would allow for this? this would work fine, and keep in key with the Border pipes key/manuscript setting, but one would be using fingering that would never have been used in the early 1800s or before, runs would difficult etc. or, do people transpose to the G major on the NSP and use the key for the bottom F# (so raising the natural 7th of Dixon to a sharpened 7th) for the 7th note, and using G drones? or, do people pay in D major, and miss out the bottom 7th note all together, and keep the natural 7th on the top note (C natural); playing with D drones? i have been experimenting with these variations. the best i have found is to play in G major, and tune my drones to D,d. this goes well with the bottom F# (sharped 7th), sadly missing out the natural 7th note of the original Dixon scale. occasionally i play in D major with drones tuned in D,d; if there is not a bottom 7 note in the notation, and gives me the flattened 7th note in the top register. these natural 7th notes are often strong and give a real feel to the style of music, but i wonder if this is what Peacock had to think about when designing and compiling music for the early NSP manuscripts? i am wondering what do people do when playing Dixon with NSPipes? Best wishes, Kevin -- http://www.ethnopiper.com http://www.youtube.com/kevnsp http://kevnsp.blogspot.com http://facebook.com/kevin.tilbury http://soundcloud.com/kevnsp -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Portuguese/UK melodies...is there any?
Hi to All, I am trying to find if the Northumbrian Small Pipes or the Border Pipes have any melodies that are connected with Portugal. A Portuguese friend of mine is asking if there is any musical connection with Lowland Scotland/Scotland/Northern England and the Portuguese. I know there are a few titles in Bewick that mentions Spain, but not Portugalas far as i know. Any other manuscripts, songs, titles, melody variants...that could be connected. We had a good relation with Portugal than with Spain in the past so i am surprised there is not some evidence. can any one help with titles or melodies or any hints to were i can find any? many thanks Kevin Best wishes, Kevin -- http://www.ethnopiper.com http://www.youtube.com/kevnsp http://kevnsp.blogspot.com http://facebook.com/kevin.tilbury http://soundcloud.com/kevnsp __ From: Kevin To: "nsp@cs.dartmouth.edu" Sent: Friday, 8 June 2012, 18:08 Subject: [NSP] Top 'A' fingering for Border pipes Hi to All, I am curious to know if any of the pipers who play open-ended pipes, such as the Border Pipes, mouth blown of with bellows, use or have come across a finger style/position that use a 'closed fingering' for the top A (or top note of your chanter). I am not taking about notes above the octave. I got my Border pipe chanter in the early 90s, tuned in A and plays 9 notes, it has a sharpened 7th (G#) hole and can get a G natural by cross fingering. The top A note is/was obtained by lifting the top hand off but keeping the ring finger down as in the Highland finger position (i believe this to be the standard way to get the top note: [bottom hand] oxxx [top hand] xoo o). But, recently I have come across a different and what seems to me a easier way of playing a top A which is in keeping with the 'closed fingering' of the Northumbrian/Scottish Border tradition, and i am wondering if anyone has used or uses this fingering style? the top A would be played like this: oxxx xxx o i have been trying this out on various tunes i play on the Border pipes from Peacock, Bewick, Dixon etc. and this finger style for the top A goes very well with a lot if not all of the tunes. if your chanter is a little sharp in the top A, this will flattening it a fraction, which can add colour to the melody as well as putting a out of tune chanter in tune! if you have a G natural hole/note, without cross fingering, the runs are easy to play as well, but what i find 'natural' to finger, is the tunes where there are jumps from the lower notes to the top A or from a high A down to the lower notes, such tunes as Newmarket Races, Blackett of Wylam...the list is endless... one can play these jumps without leaving go of the chanter with the top hand, a lot steadier and notes are obtained faster. By playing both finger positions for top A, (often in the same tune depending on runs and note order) can add to a versatile technique, also a leap from cross fingering to closed fingering (Border Pipes to Northumbrian Small Pipe) is a step closer (?). I am still experimenting with this finger position but i find i am naturally using it with out much difficulty for my chanter, it would make life easier if i had a chanter with a G natural hole, but when i play G# the top A is not so difficult to play, by alternating the top A finger positions I find playing the difficult passages more steadier and quicker (i consider myself having a slow tempo). I would be curious to know if any of the chanters who model their style on european fingering use this finger position? such as the John Swayne chanters? Best wishes, Kevin -- [1]http://www.ethnopiper.com [2]http://www.youtube.com/kevnsp [3]http://kevnsp.blogspot.com [4]http://facebook.com/kevin.tilbury [5]http://soundcloud.com/kevnsp __ -- To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.ethnopiper.com/ 2. http://www.youtube.com/kevnsp 3. http://kevnsp.blogspot.com/ 4. http://facebook.com/kevin.tilbury 5. http://soundcloud.com/kevnsp 6. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[NSP] Top 'A' fingering for Border pipes
Hi to All, I am curious to know if any of the pipers who play open-ended pipes, such as the Border Pipes, mouth blown of with bellows, use or have come across a finger style/position that use a 'closed fingering' for the top A (or top note of your chanter). I am not taking about notes above the octave. I got my Border pipe chanter in the early 90s, tuned in A and plays 9 notes, it has a sharpened 7th (G#) hole and can get a G natural by cross fingering. The top A note is/was obtained by lifting the top hand off but keeping the ring finger down as in the Highland finger position (i believe this to be the standard way to get the top note: [bottom hand] oxxx [top hand] xoo o). But, recently I have come across a different and what seems to me a easier way of playing a top A which is in keeping with the 'closed fingering' of the Northumbrian/Scottish Border tradition, and i am wondering if anyone has used or uses this fingering style? the top A would be played like this: oxxx xxx o i have been trying this out on various tunes i play on the Border pipes from Peacock, Bewick, Dixon etc. and this finger style for the top A goes very well with a lot if not all of the tunes. if your chanter is a little sharp in the top A, this will flattening it a fraction, which can add colour to the melody as well as putting a out of tune chanter in tune! if you have a G natural hole/note, without cross fingering, the runs are easy to play as well, but what i find 'natural' to finger, is the tunes where there are jumps from the lower notes to the top A or from a high A down to the lower notes, such tunes as Newmarket Races, Blackett of Wylam...the list is endless... one can play these jumps without leaving go of the chanter with the top hand, a lot steadier and notes are obtained faster. By playing both finger positions for top A, (often in the same tune depending on runs and note order) can add to a versatile technique, also a leap from cross fingering to closed fingering (Border Pipes to Northumbrian Small Pipe) is a step closer (?). I am still experimenting with this finger position but i find i am naturally using it with out much difficulty for my chanter, it would make life easier if i had a chanter with a G natural hole, but when i play G# the top A is not so difficult to play, by alternating the top A finger positions I find playing the difficult passages more steadier and quicker (i consider myself having a slow tempo). I would be curious to know if any of the chanters who model their style on european fingering use this finger position? such as the John Swayne chanters? Best wishes, Kevin -- http://www.ethnopiper.com http://www.youtube.com/kevnsp http://kevnsp.blogspot.com http://facebook.com/kevin.tilbury http://soundcloud.com/kevnsp __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] finger measurements for SSP
Hello to All, I am making a scottish small pipe chanter in D, i have bored the wood and turned it down and i am at the stage of drilling the holes. can anyone advice me on the correct measurements to use? it is not for commercial purposes just my own pleasure. i could give it a go myself but i do not want to waist all the wood and time. any advice? if you want to contact me my email is tilb...@yahoo.com Best wishes, Kevin -- -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Mallorca melody
Hi to All, Can anyone tell me the origins of the the tune Mallorca (1st NSP Tune Book), how old it is, and why it was written, and which member of the Royal Family wrote it? Best wishes, Kevin -- http://www.ethnopiper.com http://www.youtube.com/kevnsp http://kevnsp.blogspot.com http://ethnopiper.blogspot.com http://facebook.com/kevin.tilbury http://soundcloud.com/kevnsp -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: 4mm or 6mm staples
Hi To All, many thanks to all who wrote. i will give the 4mm rod a try as it is the closes i can get to 4.76mm. since it might be a little narrow, will i have t compensate in the length or the width of the reed when making it? or is the difference to small to make a real difference? in time i will order the right rod from the model shops which you have kindly sent me, but for now i will have a go with the local brass rods. many thanks, kevin __ From: Francis Wood To: cwhill Cc: "nsp@cs.dartmouth.edu" Sent: Sunday, 27 November 2011, 18:26 Subject: [NSP] Re: 4mm or 6mm staples Colin's interesting account of making staples from sheet metal is a very good reminder that this was the staple [pun unavoidable] method of making staples for historical reeds - they generally relied on the binding to keep them airtight. No reason why that shouldn't work perfectly well today, although many of todays tins are corrugated. However, the easiest source of tube fit for the job is brass or (cheaper) aluminium tube from the nearest model shop. Quite often this stuff is sourced from the US and though it may have nominal metric sizes, is often actually imperial with a 5/32" (4mm) internal diameter and a 3/16" (4.76mm) exterior. I think some experimentation and variation on the standard recommended dimensions would be really good (is anyone already doing this?) and the hand -rolled staple may be an excellent way of doing this. A final word in praise of the NPS Forum and its 'Pipe making and Maintenance' area - which is a really good place for following and preserving discussions like the present one. Francis On 27 Nov 2011, at 16:51, cwhill wrote: > 3/16" is 4.76mm (so very near to 5mm) so I presume you meant that and > should you downsize to 4 or try for a 5mm tube? > Personally, I made my staples from a Fray Bentos pie tin lid as brass > tubing was hard to get back then so never had to buy any (it worked - > paint side out - as I had a drill the right size to mould it around. > That was what was in my instruction book - along with getting reed cane > from old flower baskets!). > Current reed makers must have gone metric by now so they should know. > Yes, you can get 5mm > [1]http://www.metalsmith.co.uk/metals-materials.htm > BT5 on that page 500mm for -L-2.60 > Do note that the size is external diameter so the internal bore is > actually 4mm > Unfortunately I don't know what your instruction book means by 3/16 > (internal or external). > > > Colin Hill > > > On 27/11/2011 15:33, Kevin wrote: >>Hi to All, >>can any one advise me what size staples to buy for making NSP chanter >>reeds? >>in my local D.I.Y. there are brass rods of 4mm or 6mm, but i read in my >> >>booklet on making reeds that it is 3/16th (imperial) and my chart says >>3/16th is 4mm. so what do i go for? is 6mm too big or is 4 too small? >>can one get 5mm rods now? >>any advice on what to buy. >>thanks >>kevin >> >>-- >> >> >> To get on or off this list see list information at >> [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >> >> - >> No virus found in this message. >> Checked by AVG - www.avg.com >> Version: 2012.0.1873 / Virus Database: 2101/4641 - Release Date: 11/26/11 >> >> >> > > > - > No virus found in this message. > Checked by AVG - www.avg.com > Version: 2012.0.1873 / Virus Database: 2101/4641 - Release Date: 11/26/11 > > > - > No virus found in this message. > Checked by AVG - www.avg.com > Version: 2012.0.1873 / Virus Database: 2101/4641 - Release Date: 11/26/11 > > > > -- References 1. http://www.metalsmith.co.uk/metals-materials.htm 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[NSP] 4mm or 6mm staples
Hi to All, can any one advise me what size staples to buy for making NSP chanter reeds? in my local D.I.Y. there are brass rods of 4mm or 6mm, but i read in my booklet on making reeds that it is 3/16th (imperial) and my chart says 3/16th is 4mm. so what do i go for? is 6mm too big or is 4 too small? can one get 5mm rods now? any advice on what to buy. thanks kevin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: flat chanter in the middle
Hi to All, i did not clip the reed, i am not skilled in that, although i have done it before with success, but it is the only chanter reed i have so i wanted that to be the last resort. i opened the reed a fraction, it did give a different pressure but it was not to bad and i will get used to it. i also moved the reed out a bit, and this makes everything slightly flat to concert pitch G but i play solo, it is ok. also this flattened the top G a bit and sharpened the bottom G a fraction, so i closed the G hole with glue at one side until it was in tune. so in the end i altered the bottom G, but everything else is in tune, a pressure i can handle, not exactly G pitch but the chanter is in tune with itself. many thanks, kevin __ From: "Gibbons, John" To: Kevin ; Dartmouth nsp list N.P.S. site Sent: Wednesday, 16 November 2011, 11:41 Subject: RE: [NSP] Re: flat chanter in the middle Kevin, What was the trouble in the end? Or more precisely, what remedy cured it? I'd trust the ones with hands on experimental knowledge rather than a mere theoretician, but theory is all I have! John From: [1]lute-...@cs.dartmouth.edu [[2]lute-...@cs.dartmouth.edu] on behalf of Kevin [[3]tilb...@yahoo.com] Sent: 16 November 2011 08:57 To: Dartmouth nsp list N.P.S. site Subject: [NSP] Re: flat chanter in the middle Many thanks to all who wrote about my chanter being flat. i did what you advised and it has solved the problem. many thanks my chanter is now back in tune. best wishes kevin __ From: Dave Shaw <[4]d...@daveshaw.co.uk> To: Kevin <[5]tilb...@yahoo.com>; Dartmouth nsp list N.P.S. site <[6]nsp@cs.dartmouth.edu> Sent: Tuesday, 15 November 2011, 10:16 Subject: [NSP] Re: flat chanter in the middle Hi Kevin I would agree with the detail of Philips advice. When the octaves are in tune with each other and the fifth is flat then the reed is too long. You need to shorten the reed by half millimetre cuts(or less) until the intervals are correct. I use a cut throat type razor for this, on an endgrain hardwood block ( boxwood). A heavy craft knife would do on some firm surface, but you have to be careful as you can give yourself a nasty cut if the slightest slip occurs. Tuning the chanter to proper pitch is a whole different ballgame! Cheers, Dave Dave Shaw, Northumbrian and Scottish Smallpipes, Irish Pipes and SHAW Whistles www.daveshaw.co.uk ----- Original Message - From: "Kevin" <[1][7]tilb...@yahoo.com> To: "Dartmouth nsp list N.P.S. site" <[2][8]nsp@cs.dartmouth.edu> Sent: Sunday, November 13, 2011 8:20 PM Subject: [NSP] flat chanter in the middle > Hi to All, > Can anyone advice me on the tuning of my chanter to the drones. The top > G and the bottom G are in tune with the drones but the middle notes > especially the D is a fraction out of tune, a little flat. is this > rectified by moving the reed, if so which way? or opening the reed or > closing it? > the chanter has been in tune in the past but since changing the reed i > find these problems, it is either the top/bottom notes are out or the > middle notes are outany advice? > thanks > kevin > > -- > > > To get on or off this list see list information at > [3][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[10]tilb...@yahoo.com 2. mailto:[11]nsp@cs.dartmouth.edu 3. [12]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html -- References 1. mailto:lute-...@cs.dartmouth.edu 2. mailto:lute-...@cs.dartmouth.edu 3. mailto:tilb...@yahoo.com 4. mailto:d...@daveshaw.co.uk 5. mailto:tilb...@yahoo.com 6. mailto:nsp@cs.dartmouth.edu 7. mailto:tilb...@yahoo.com 8. mailto:nsp@cs.dartmouth.edu 9. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 10. mailto:tilb...@yahoo.com 11. mailto:nsp@cs.dartmouth.edu 12. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[NSP] Re: flat chanter in the middle
Many thanks to all who wrote about my chanter being flat. i did what you advised and it has solved the problem. many thanks my chanter is now back in tune. best wishes kevin __ From: Dave Shaw To: Kevin ; Dartmouth nsp list N.P.S. site Sent: Tuesday, 15 November 2011, 10:16 Subject: [NSP] Re: flat chanter in the middle Hi Kevin I would agree with the detail of Philips advice. When the octaves are in tune with each other and the fifth is flat then the reed is too long. You need to shorten the reed by half millimetre cuts(or less) until the intervals are correct. I use a cut throat type razor for this, on an endgrain hardwood block ( boxwood). A heavy craft knife would do on some firm surface, but you have to be careful as you can give yourself a nasty cut if the slightest slip occurs. Tuning the chanter to proper pitch is a whole different ballgame! Cheers, Dave Dave Shaw, Northumbrian and Scottish Smallpipes, Irish Pipes and SHAW Whistles www.daveshaw.co.uk - Original Message - From: "Kevin" <[1]tilb...@yahoo.com> To: "Dartmouth nsp list N.P.S. site" <[2]nsp@cs.dartmouth.edu> Sent: Sunday, November 13, 2011 8:20 PM Subject: [NSP] flat chanter in the middle > Hi to All, > Can anyone advice me on the tuning of my chanter to the drones. The top > G and the bottom G are in tune with the drones but the middle notes > especially the D is a fraction out of tune, a little flat. is this > rectified by moving the reed, if so which way? or opening the reed or > closing it? > the chanter has been in tune in the past but since changing the reed i > find these problems, it is either the top/bottom notes are out or the > middle notes are outany advice? > thanks > kevin > > -- > > > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:tilb...@yahoo.com 2. mailto:nsp@cs.dartmouth.edu 3. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[NSP] flat chanter in the middle
Hi to All, Can anyone advice me on the tuning of my chanter to the drones. The top G and the bottom G are in tune with the drones but the middle notes especially the D is a fraction out of tune, a little flat. is this rectified by moving the reed, if so which way? or opening the reed or closing it? the chanter has been in tune in the past but since changing the reed i find these problems, it is either the top/bottom notes are out or the middle notes are outany advice? thanks kevin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: on keilder side
Many thanks to all who replied, it is great, i have passed the info on to my Swedish friend, and also it was interesting for me as i had visited the Shetlands before, so it was nice to identify the tune with that Island. many thanks kevin --- On Fri, 15/7/11, Kevin wrote: > From: Kevin > Subject: [NSP] on keilder side > To: nsp@cs.dartmouth.edu > Date: Friday, 15 July, 2011, 21:43 > Hello to All, > i have just had a question from my Swedish friend who is > asking the meaning of a tune: > "On one of Kathryn Tickells earliest recordings "on kielder > side" theres a happy tune called "da slockit light" do > you know the tune? > which i can only guess means the turned of light?. > What does it really mean? And what is on kielder side? Is > it a river perhaps. Thanks. Mikael. " > > can anyone enlighten him on the title of the tune? > kevin > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[NSP] on keilder side
Hello to All, i have just had a question from my Swedish friend who is asking the meaning of a tune: "On one of Kathryn Tickells earliest recordings "on kielder side" theres a happy tune called "da slockit light" do you know the tune? which i can only guess means the turned of light?. What does it really mean? And what is on kielder side? Is it a river perhaps. Thanks. Mikael. " can anyone enlighten him on the title of the tune? kevin To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Brazilian Piper
Hi to All, A Brazilian piper is asking to buy a set of northumbrian small pipes in D. i said i would find some makers for him. i am no longer in the NS Society so i do not have access to any of the makers addresses, professional / non-professional. so is there any advice i could send him about obtaining a set in D? perhaps someone has a set to sell? or perhaps there is a maker in south america, or USA or somehwere near to brazil than the UK? could a list of UK makers be set via the NSP web site? any advice, many thanks kevin To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] For Sale: Sloan NSP D set, fully mounted
Greetings list, For sale is an impeccable set of Ray Sloan NSP in D, fully mounted. This set was custom made for me last year by Ray, but I find myself needing to move to a full set of UP and need to fund them somehow. It physically hurts to let these go, but we all have to make tough decisions for the good of new toys! This set has been well maintained and is practically as new. 11 key chanter, fully mounted w/ black horn and two bellow pads. Please email me off list for details if interested. Thanks, Kevin To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
