[NSP] Re: Fool, fearing to tread, aka Peacock marks
Richard, We don't really know what Peacock meant by the trill marks. It's even been suggested that Mr Wright, the publisher, was wholly responsible for the transcriptions, and, not being a piper, gave it his best shot. We don't know for certain that Peacock was musically literate (correct me if I'm wrong). I've found through playing the Peacock repertoire that I tend to use vibrato where a trill is marked - perhaps that's what was intended, who knows??? The pieces certainly work fine without the trills. Clough's comments on the Fenwick tutor would suggest that the classical definitions of some of these embellishments were quite alien to the piping tradition. Don't let it put you off persevering with the Peacock collection - it's really not as difficult as it may seem at first glance. There are common note patterns and sequences, and if you can master one Peacock variation set you're well on the way to conquering them all! For those of you who'd like something slightly more accessible, Clough's variations on Oh Dear What Can The Matter Be follow the Peacock pattern, albeit with some keyed variations thrown in for good measure. Chris -Original Message- From: Richard York [mailto:[EMAIL PROTECTED] Sent: 22 September 2008 10:17 To: NSP group Subject: [NSP] Fool, fearing to tread, aka Peacock marks After all the recent fireworks I hesitate to ask this but here goes anyway; not to be provocative, just wanting to know. In Peacock's facsimile (I don't know what happens in the re-edition) there are a number of tunes where he gives tr marks. For example, no 10, My Ain Kind Dearie has these, and also quite specific small grace-notes, written in elsewhere in the tune. While these tr marks are most frequently over longer notes, such as the dotted one of a pair of beamed notes, some of the markings (bar 14) are over semiquavers. OK, it's not a breakneck speed tune, but these are still going to be fairly short notes in the first place. I don't suggest he's suggesting more than a quick twiddle, rather than a full scale finished trill, but there are going to be at least 3 notes involved here. I'd be interested to know whether these are to be interpreted as separately fingered, whether you think the middle note would be above or below, or whether a dreaded quick lift of the finger above is even implied. Or whether, given that he puts these over pairs of semiquavers which are also slur marked, he's simply nicked a fiddler's version, and isn't thinking smallpipes at all; though.to be honest, one could do the [c-word] and slur onto the next note which was then lifted short before starting the next pair, on the nsp's. Well, someone with more technique than I have could, anyway :-) . With thanks, Richard. 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: More choyting!
Sounds more like Billy Smart than Billy Pigg. The possibilities are endless - pipers could arrive at performances in a car where the doors fall off! Is there any chance the NPS could manufacture Society badges that squirt water in people's faces, and should the audience at competitions throw custard pies to create a general sense of hilarity? :) Chris -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 26 August 2008 14:30 To: Ormston, Chris Cc: nsp@cs.dartmouth.edu Subject: [NSP] Re: More choyting! What about the Three Tenors doing doing all that warbling at the end of O Sole Mio. It was done in fun and because they could do it and it went down a storm. Why can't we do the same thing on our pipes if we want to for fun and mischief to get laughter and response from our listeners?which is probably the main thing we are trying to do in playing in public (you could do it in a forest as well even if no one is listening). Something like jazz compared to classical playing. Cromwell would have been proud of this strict puritanical rule of no more than one finger off at a time that Clough is supposed to have advocated. Colin -Original Message- From: Ormston, Chris lt;[EMAIL PROTECTED]gt; To: colin lt;[EMAIL PROTECTED]gt;; nsp@cs.dartmouth.edu Sent: Tue, 26 Aug 2008 14:03 Subject: [NSP] Re: More choyting! Colin said:I often wonder why the style of playing causes so much attention and why the odd choyte causes so much concern..Imagine if Pavarotti had thrown in the odd yodel in Nessun Dorma, and you'll get the idea! lt;gringt;ChrisThe 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.To get on or off this list see list information at htt! p://www.cs.dartmouth.edu/~wbc/lute-admin/index.html AOL Email goes Mobile! You can now read your AOL Emails whilst on the move. Sign up for a free AOL Email account with unlimited storage today. -- 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. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: jhf
-Original Message- From: Adrian [mailto:[EMAIL PROTECTED] Sent: 22 August 2008 00:37 To: nsp Subject: [NSP] jhf I would like a straight version of Forsters 'Jim Halls Fancy' Well you'll not find it on Canal Street! p.s. can I choyt at the Bellingham Show? You can - but don't expect a prize! Tom Clough's Bellingham adjudication speech from the 1930s still applies!! Chris -- 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: jhf
Thanks - I hope my fingering is more accurate than my memory for dates! Chris Tough on choyting, tough on the causers of choyting -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 22 August 2008 10:11 To: nsp Subject: [NSP] Re: jhf On 22 Aug 2008, Ormston, Chris wrote: Bellingham Show? Tom Clough's Bellingham adjudication speech from the 1930s still applies!! October 1923: The chief aim of any player is to produce good music. Now this can only be attained by the proper use of his musical instrument. There are two fundamental principles of good piping, namely winding, and execution on the chanter. The chanter, unlike any other form of pipe is close fingered - it emits no sound when the finger-holes are closed, hence its distinctness. In the hands of an expert the music can be produced with surprising distinctness. The principles mentioned, combined with the proper musical ideas of the performer, makes good piping and tasteful music. Thanks for the warning, Chris! Julia 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: jhf
Just this morning I couldn't hear the pit hooter for all those pesky curlews and sheep! Chris -Original Message- From: Gibbons, John [mailto:[EMAIL PROTECTED] Sent: 22 August 2008 11:16 To: [EMAIL PROTECTED]; nsp@cs.dartmouth.edu Subject: [NSP] Re: jhf Adrian gives an excellent description of the top a to g note gracing as sounding like a seagull in pain if not executed properly, which is one prominent example of open gracing very commonly heard. Not executed properly? But isn't it meant to sound like that? The cry of the curlew, bleating of sheep etc John -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 22 August 2008 11:10 To: nsp; Ormston, Chris Subject: [NSP] Re: jhf On 22 Aug 2008, Ormston, Chris wrote: , I've just had an off-list request for an explanation of choyting. Clough described it as To grace a note in the manner of a Highland piper i.e. to play a grace note, then a melody note without silence between the two. and (in reference to the 1895 Fenwick tutor): Regarding the shake: In many instances it is understood and played by pipers in the following manner: They lift the principal note, and successively strike the note above while the principal note is kept running. A grievous error in smallpipe playing. Clough had been asked for his opinion on an update of the tutor to be published in 1931, and I added a note to the above paragraph: Clough was adamant that this, a technical description of a trill and an inverted mordent, should be omitted - it was not, but a note was added to the effect that lifting several fingers at once was not good technique. For me, the skill of Northumbrian piping is to play without resorting to open gracings. I interpret that as obeying the one finger off at a time rule at all times, (when possible - it isn't if you're going to use finger vibrato) but I get my ear bent that I'm ower rigorous in my interpretation. And doubtless will again after this post! Adrian gives an excellent description of the top a to g note gracing as sounding like a seagull in pain if not executed properly, which is one prominent example of open gracing very commonly heard. HTH Julia 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: jhf
While we're fortunate to have some written evidence of Clough's thoughts on all this, it's important to recognise other examples of clean, closed fingering from recent history - it's not just a Clough thing. Joe Hutton's playing clearly demonstrated detached fingering and contained few open gracings, and I'd urge readers to listen to his earlier recordings - those made when he was a well man and before his focus drifted from Northumbrian to strict tempo Scottish Country dance repertoire. George Atkinson's name appears again and again on the competition cups, and his contributions on the Wild Hills of Wannies LP shows why - some of the most clear, musical interpretations of hornpipes you could wish for! Chris -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 22 August 2008 11:10 To: nsp; Ormston, Chris Subject: [NSP] Re: jhf On 22 Aug 2008, Ormston, Chris wrote: , I've just had an off-list request for an explanation of choyting. Clough described it as To grace a note in the manner of a Highland piper i.e. to play a grace note, then a melody note without silence between the two. and (in reference to the 1895 Fenwick tutor): Regarding the shake: In many instances it is understood and played by pipers in the following manner: They lift the principal note, and successively strike the note above while the principal note is kept running. A grievous error in smallpipe playing. Clough had been asked for his opinion on an update of the tutor to be published in 1931, and I added a note to the above paragraph: Clough was adamant that this, a technical description of a trill and an inverted mordent, should be omitted - it was not, but a note was added to the effect that lifting several fingers at once was not good technique. For me, the skill of Northumbrian piping is to play without resorting to open gracings. I interpret that as obeying the one finger off at a time rule at all times, (when possible - it isn't if you're going to use finger vibrato) but I get my ear bent that I'm ower rigorous in my interpretation. And doubtless will again after this post! Adrian gives an excellent description of the top a to g note gracing as sounding like a seagull in pain if not executed properly, which is one prominent example of open gracing very commonly heard. HTH Julia 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 great choyte debate redux
Where would music be today if tritones had continued to be proscribed and thirds widely disapproved of as in the middle ages? It might have saved us from that Maxwell-Davis stuff grin 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 great choyte debate redux
I'm afraid I glaze over once we get into classical music theory - my own formal training was limited to being forced to learn 3rd clarinet in the junior wind band as an 11 year old - enough to put any young musician off for life. As a piper I've relied on me fingers and lugs! Seriously, though, you make an important point about use of ornaments BY CHOICE. Without this we'd never have had the raw expression of Billy Pigg (He was a wild piper, but a lovely bloke - Tom Clough IV) or the edgy earthiness of the first Cut Dry LP. It's my personal belief that pipers should first ground themselves in the closed style before going off to try other things, like Billy Pigg did as a pupil of Clough. As Barry alluded to earlier, it's easier not to learn bad habits in the first place rather than to try to undo them later. In fact I'd advocate that new learners should start on a simple set, not just to develop skills in the basic octave, but also to preserve the older tunes, but that's probably a bit too radical for most on this list, as is my opinion that the supply of extended chanters should be subject to a Freudian psychological analysis of the purchaser ;-) Chris -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 22 August 2008 11:38 To: nsp@cs.dartmouth.edu Subject: [NSP] The great choyte debate redux An analogy FWIW: I remember reading somewhere (possibly in Boyden's book on the history of violin playing, inter alia) that harpsichordist do out of choice (for expressive reasons) what string players do out of necessity - in other words arpeggiate chords. Lutenists do the same thing so as not to leave the instrument empty, as frescobaldi put it. Could we not make a similar case for the judicious use of choyting out of choice for expressive reasons? Doing out of choice what other pipers (not only highland) do out of necessity. OK, Tom Clough and others may not (have) approve(d) but the odd choyte along with other forms of ornamental surely extends rather than restricts the expressive capacity of the instrument - doesn't it? Where would music be today if tritones had continued to be proscribed and thirds widely disapproved of as in the middle ages? Don't all shoot at once ;-) Chirs 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: Articulation
Paul wrote: I don't think Clough meant that everything should be played staccatissimo. That's not how he played himself, to judge by the recordings. Quite the opposite - Clough's suggestion was that the notes should be given their full length, and the skill was to make the silences in between as short as possible. Chris -- 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. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Seeking The Galloway
Seeking the Galloway is also on Gordon Mooney's O'er the Border CD, and may well be in one of his tune collections Chris -Original Message- From: Richard Evans [mailto:[EMAIL PROTECTED] Sent: 23 July 2008 11:44 To: nsp@cs.dartmouth.edu Subject: [NSP] Seeking The Galloway 'Folk Songs From The North' contains Seeking The Galloway, Silver Street Lasses and The Swaggering Lads O' Percy Main. It's by Gwen and Mary Polwarth, pub. Frank Graham 1970 Richard -- Richard Evans 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: Rusty Gulley
I'd agree, Matt, about the subtle distinction. On NSP, highly-developed chanter skills are required to make evident any differences in emphasis - we can't use dynamics and ought not to be choyting, so instead we rely on subtle adjustments to note length. However. on first hearing All the Night With Jockey years ago (albeit with the wrong drone tuning) it struck me that the underlying straight rhythm can be heard in different ways and one can perceive a difference in emphasis according to how one chooses to listen to the tune. Sometimes it's best to play the piece 'straight' and let the inherent syncopations speak for themselves (I never thought I'd believe all that bunkum from the modern jazz people about learning to listen differently grin) A more-recent example is the variation on Jim Hall's Fancy (I think it's the last one, that was er..., borrowed from Clough's Nae Guid Luck variations), where the minuet-style rhythm momentarily gives way to jig time, no matter where one tries to put the emphasis!! Chris -Original Message- From: Matt Seattle [mailto:[EMAIL PROTECTED] Sent: 21 July 2008 10:32 To: Gibbons, John Cc: [EMAIL PROTECTED]; nsp@cs.dartmouth.edu Subject: [NSP] Re: Rusty Gulley Good examples, John. Everything you mention here I would consider as syncopation rather than change of metre, or in the case of Risty Gulley, alternating metre. Maybe this is a too-subtle distinction, but it's one that I experience. I use syncopation a lot in my own playing, and for me it works precisely because the underlying 'straight' rhythm is there as a context for the sophisticated syncopations snaking sinuously out of my chanter. AFAIK no other sources notate RG in alternating metre. Why would they? It's simply wrong. Not to put too fine a point on it, Vickers was 'sort-of' musically literate - he knew what he meant, but didn't write it 'correctly'. When *played in G*, does Jack Lattin have one sharp, as everyone else plays it, or three sharps, as Vickers writes? Numerous other examples can be cited. One thing I learnt in the 21-year gap between my editions of Vickers was context. There is a huge contextual literature around many of these tunes; when the only person saying something different from *everyone else* is not known for his accuracy he is not necessarily the genius who is the only one to discern the truth, even if some of us find his quirks appealing. 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: [NSP] Främling Composers ..
That's why I tend to favour Clough repertoire, where the only concern is to differentiate between some Tom, Dick or Harry ;-) Chris www.chrisormston.com -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 July 2008 09:45 To: nsp@cs.dartmouth.edu Subject: [NSP] Främling Composers .. Whilst at Newcastleton at the weekend I was playing 'Happy Hours' and got into a nerdy discussion about composers .. and I got it mixed up :) So in an attempt to clear it up and given that lots of people who were there are on this list .. Emile Vacher who composed Happy Hours was in fact a French accordionist whose heyday was in the 1920's and 30's ( I think). The Glaswegian fiddler who allegedly changed his name to sound more exotic/authentic/continental was in fact Parazotti (composer of The Bank's). His grandfather was Italian and had moved to Glasgow much earlier. So it might have been a resurrected family name as well.. Rob 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: Flowers...OT
Vickers at weddings?? I think you meant Vicars ;-) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 April 2008 10:49 To: nsp@cs.dartmouth.edu Subject: [NSP] Re: Flowers...OT On 6 Apr 2008, Richard York wrote: inappropriate tunes for weddings? Ooh, good, I need a giggle: The Bride's No a Maid (topical -its in Vickers!) The Clumsy Lover (good tune...erno further comment) Julia 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.
