[NSP] Mallorca
There were two pipers called William Ross. The first was piper to Queen Victoria from 1854-1891; Edward VIII, as he became, was born three years later. The other Willie Ross was a top player from before WW1 to after WW2, and was for many years the chief instructor at the school of piping. But he was never a piper to royalty. Edward VIII was taught the pipes by Henry Forsyth, the sovereign's piper from 1910â1941. If anyone helped the prince polish Majorca, PM Forsyth is surely the prime suspect Ross To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Peacock
I've scanned Peacock and put it online at http://www.piob.info. I worked from Francis Wood's copy, for the loan of which I'm very grateful. I'm sure Google Books would have got round to it eventually and I hope that the Society will eventually reprint it in the traditional size so it'll fit conveniently in my pipe case. But here at least is a version to be going on with. Enjoy! Ross Anderson To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Irish tunes in the Northumbrian tradition
John This is a fascinating business, with successive waves of musical exchange in the 18th, 19th and 20th centuries. I've collected a number of the old manuscripts on www.piob.info. These include not just the Rook manuscript, which Richard and Anita Evans scanned, but a recent addition in the form of the Millar manuscript. The first part of this consists of tunes for the Northumbrian pipes while the rest of it is mostly for the union pipes (Robert Millar was given a Robert Reid set of union pipes when he retired as an army piper at the age of 40). It's often possible to track tunes moving back and forth across the Irish sea. For example, 'Jacky Latin' was composed near Dublin in the early 1700s, turned up in the 1733 Dixon manuscript, then again in O'Farrell in Dublin in 1804. It emergesd in its modern Northumbrian form thanks (if memory serves) to the Cloughs, and has since got back int the Irish repertoire again thanks to Jimmy O'Brien-Moran. Ross To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Choyting
Adrian
Choyting in open fingering in conjunction with a note, open fingered to
the note higher and then back to the note. Eg:
D E D
There are at least two other types of gracenote that we commonly hear
both in recordings and in performance.
The first is called by Scots pipers a 'half doubling' and consists of
a higher note played just after the inception of a melody note. In abc
notation you'd have, for an e half doubling on d,
{de}d
The second is where the introductory gracenote is played low, as in
(d)e
You can hear both of these, for example, in the first line of Kathryn
Tickell's Keel Row in Back to the Hills.
Do you also object to these two ornaments?
Did Tom Clough you have any derogatory names for them?
Ross
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: G sets
Someone who played in our ceilidh band had a wind synth, which will do what you want. Think of it as an electric clarinet, with thumb switches to select octave, change key, and make individual notes sharp or flat. The processor has switches that let you select flute, clarinet, bassoon, highland pipes and a bunch of other stuff that never went near arundo donax :-) It should be no great deal to develop an NSP voice for this, but the instrument's real strength lies in doing novel stuff - such as accompanying a flautist first time through as a sax, the second time through as an electric bassoon, and finishing off with a 5-octave arpeggio. (You listening, Santa? :-) Ross Anderson www.piob.info To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
