[NSP] F and D sets for sale
I have a couple of very nice sets for sale: D 14 key set by Herriot and Allen F+ 16 key set by Evans. Fully mounted and silver plated with artificial ivory drone ends. Keys B to b without top A#. Plug in chanter stock. If you're interested, contact me and I'll send pictures. Simon Knight Direct 610 590 2201 Mobile 610 836 1367 Email si...@setanta-inc.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Trivia
The crooked Greyfriars Bawbee -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood Sent: 06 August 2011 20:55 To: Dartmouth NPS Subject: [NSP] Trivia Since it's August . . . . What tunes does your dog prefer? Francis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Deaf/dead
I assume all this food based music will be played on a crumpet or a cornetto --Original Message-- From: Gibbons, John Sender: lute-...@cs.dartmouth.edu To: 'Francis Wood' To: Richard York Cc: NSP group Subject: [NSP] Re: Deaf/dead Sent: Jun 21, 2011 4:36 PM Or poppaDOMpompompom POPpadom? -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood Sent: 21 June 2011 16:29 To: Richard York Cc: NSP group Subject: [NSP] Re: Deaf/dead P On 21 Jun 2011, at 15:51, Richard York wrote: > Then there's the Beethoven version- poppopaDOM Or this, anyone? Poppadom, Poppadom, Poppadom-pom ? Francis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Deaf/dead
I assume all this food based music will be played on a crumpet or a cornetto --Original Message-- From: Gibbons, John Sender: lute-...@cs.dartmouth.edu To: 'Francis Wood' To: Richard York Cc: NSP group Subject: [NSP] Re: Deaf/dead Sent: Jun 21, 2011 4:36 PM Or poppaDOMpompompom POPpadom? -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood Sent: 21 June 2011 16:29 To: Richard York Cc: NSP group Subject: [NSP] Re: Deaf/dead P On 21 Jun 2011, at 15:51, Richard York wrote: > Then there's the Beethoven version- poppopaDOM Or this, anyone? Poppadom, Poppadom, Poppadom-pom ? Francis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Deaf/dead
I assume all this food based music will be played on a crumpet or a cornetto --Original Message-- From: Gibbons, John Sender: lute-...@cs.dartmouth.edu To: 'Francis Wood' To: Richard York Cc: NSP group Subject: [NSP] Re: Deaf/dead Sent: Jun 21, 2011 4:36 PM Or poppaDOMpompompom POPpadom? -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood Sent: 21 June 2011 16:29 To: Richard York Cc: NSP group Subject: [NSP] Re: Deaf/dead P On 21 Jun 2011, at 15:51, Richard York wrote: > Then there's the Beethoven version- poppopaDOM Or this, anyone? Poppadom, Poppadom, Poppadom-pom ? Francis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Cocks & Bryan Book for sale
Were these wiki leeks! My apologies in advance. Simon -Original Message- From: "Julia Say" Sender: lute-...@cs.dartmouth.edu Date: Wed, 18 May 2011 09:05:19 To: Vernon Levy; Reply-to: julia@nspipes.co.uk Subject: [NSP] Re: Cocks & Bryan Book for sale On 17 May 2011, Vernon Levy wrote: > Leek growing was another area of > expertise where tempers ran high when secrets were shared and custom and > practice > challenged. I witnessed many vehement arguments regarding the growing of > exhibition > leeks and wondered how grown men could allow themselves to be dominated by the > obsession with secrecy and the preservation of the status quo. In the time I have lived here (9 years), allotments have been destroyed, greenhouses burnt, and family feuds are alive and well. Mostly over leeks..they're an argumentative lot, locally. (I can hear a few of you say "noreally?"). Barry & I were lightly postulating earlier today that it was due to residual Viking genes which descended to the reivers (an equally argumentative bunch). Not surprising then that pipemakers, some of them of reiver descent, also have difficulty agreeing. Back on topic, Jim Bryan told me that he was told off for publishing the secrets of pipemaking. There was also a " lively discussion" with another person at the time as to whether it was adequate. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Skinny-piping
Oh go on then. Lamb Skinny Four Bare Legs under the Coverlet Cock o the North --Original Message-- From: Francis Wood Sender: lute-...@cs.dartmouth.edu To: Richard York Cc: NSP group Subject: [NSP] Skinny-piping Sent: Aug 16, 2010 3:52 PM On 12 Aug 2010, at 09:55, Richard York wrote: > a possible need for a new sub-group within the NPS, the naturist section Since August is still with us, should we compile a suitable repertoire? Francis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Noises from keys
Hi Neil Francis is very clear. I know that leaky pads have caused mine to squeak in the past. I also found that if they were new pads it took a couple of oilings and 24 hours before the chanter was ok Simon -Original Message- From: Francis Wood Date: Thu, 18 Mar 2010 08:25:53 To: Cc: Subject: [NSP] Re: Noises from keys Hi Neil, Some good suggestions have appeared already. I'd just add: - Prioritize the keys you intend to master rather than exercising all three randomly. Perhaps begin with the F# followed by the D, then the E. - Operate these with a gentle tap, 'smartly' as Colin has advised. - These faults are never 'random' . . . there is always a cause. Attempt to identify that by seeing if you can produce the malfunction deliberately. - Ensure that the fingered holes are satisfactorily closed before operating any key. This is a surprisingly common difficulty. - Finally, it's worth noting that squeaks are more often heard in cold weather when skin is drier and less likely to seal a tone hole reliably. Perhaps the coming of Spring will help! Francis On 18 Mar 2010, at 00:03, neihutch...@yahoo.com wrote: >I am just starting to try and use the keys on my 7-key chanter. I'm > having a bit of a random issue with the lower 3 keys, when i open them > i sometimes get a high pitched "squeak" rather than the appropriate > note. Does anyone have any idea why this might be? > Cheers - Neil > > -- > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: pipe cases
If you are looking for soft bags this might be of interest, http://www.sax.co.uk/ I will be passing one of their branches and will have a look. Simon To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: pipe cases
I would certainly interested in this discussion, have kept mine in a sax gig bag for years now with the chanter and drones inside plastic tubes (wrapped in old scarves) this has been the most portable and enduring bag, however after 13 years or so it is beginning to disintegrate. However I would like to find a gig bag type construction that is perhaps a more regular shape. s -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Philip Gruar Sent: 16 February 2010 15:35 To: Dartmouth NPS Subject: [NSP] pipe cases Not a controversial discussion point, or anything interesting about the music, just a question to pipers and other pipe-makers - where do you get your cases, and what sort of case do you prefer? Before the set I've just finished I'd not a made a full set for some time, having mainly done just chanters, and before that I'd had several cases in stock, and now I find that the people I used to get cases from don't seem to be in business any more. Graham Spencer of "Savage and Hoy" used to do them for me, and I believe a couple of other pipe-makers. However, although he still has a webpage up, there's no reply to emails and the telephone numbers I have don't work. Does anyone have any information and/or opinions and help in sourcing good cases for NSP? Preferably within UK of course. Philip To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: kipper box
Just picked this up. I imagine that this is music for the hard of herring. Scales perhaps sea or sea shark . To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Sliabh na m'bhan (was Gaelic Pronunciation)
Expect you all know this but http://www.concertina.net/tunes_convert.html will convert his to dots etc. regards simon -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Julia Say Sent: 06 February 2010 10:53 To: nsp Subject: [NSP] Re: Sliabh na m'bhan (was Gaelic Pronunciation) On 6 Feb 2010, Margaret Watchorn wrote: > Joe Hutton played this tune in the early 1980s, and that's where I learned > it - his version was basically the same as Gay McKeon's. When I asked him > where he got the tune, he couldn't remember. That's interesting, Margaret. I remember Joe's views on both Irish music in Northumberland, and on Billy Pigg and his playing, from conversations with him in the early 90s, at the Rothbury course, at Alnwick, and from playing bass with him and Will & Will in sessions. As a result I am mildly surprised that he played it. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: NSP oil for pipes and key pads
This topic has produced many exchanges so slightly hesitant to contribute, however here goes. Julia sums up my position with LP and I have been using it for some years. Before that I used Almond oil and before that Neatsfoot both of which worked well for me . I play my instrument regularly and that seems to help it all work better and oil the pads fairly regularly but use V little oil and a fine water colour brush. I do oil the bore and oil wood etc. Certainly never to the point that anything drips. For the pads I have leather and they stay supple and maintain their airtightness. Linseed and peanut oil are used in wet bore instruments and I understand are not suitable. -Original Message- From: amble skuse Date: Wed, 13 Jan 2010 10:46:19 To: Subject: [NSP] Re: NSP oil for pipes and key pads I was advised to use linseed oil on a flute, is this a big no-no for pipes? 2010/1/13 John Liestman <[1]j...@liestman.com> Well, since you asked, I personally use neatsfoot but liquid parafin (UK-speak for what US folks call mineral oil) is fine too. In my case, I only use it for the wood, since I use non-self-adhesive foam pads on my chanter keys (no oil on those). But I really like Anthony's notion that if you play frequently, you do not have a problem with stuck keys! Gibbons, John wrote: I can't see LP getting too sticky - I have never noticed that happen. There isn't much chemistry can take place, short of lighting it, and the volatile components should have been distilled off at the refinery. If heavier fractions did build up, the most obvious solvent for shifting it would be a fresh dose of LP. One for John Liestman perhaps? John -Original Message- From: [2]lute-...@cs.dartmouth.edu [mailto:[3]lute-...@cs.dartmouth.edu] On Behalf Of Hilary Paton Sent: 12 January 2010 23:56 To: Dartmouth NPS; Tom Childs Subject: [NSP] Re: NSP oil for pipes and key pads Hi ... Liquid parafin becomes sticky and I have had problems with sticking keys, which an excellent piper reported he also had a similar problem. Hilary To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- John Liestman -- References 1. mailto:j...@liestman.com 2. mailto:lute-...@cs.dartmouth.edu 3. mailto:lute-...@cs.dartmouth.edu 4. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[NSP] Re: Radio Mics and channel 69
To complain go to: https://www.ofcom.org.uk/consult/condocs/pmse_funding/howtorespond/form These UHF systems transmit from the mic to a local receiver. If you continue to use channel 69 after broadband takes it over, you will get interference on your signal. If you are using it in a building with thick walls or a lot or metal creating a Farady cage effect you might get away with it, but probably not if BT is blasting away on the frequency. Simon -Original Message- From: colin [mailto:cwh...@santa-fe.freeserve.co.uk] Sent: Wednesday, November 18, 2009 7:29 PM To: NSP group Subject: [NSP] Re: Radio Mics and channel 69 Don't radio mics used in small locations (e.g. church hall etc) just work on a local signal (i.e. mic to amp - like a baby minder thing)? Apart from interference issues, wouldn't they still work like the old local CB radios - my walkie talkies still work even though they are on the obsolete (and probably illegal now) frequency. Are the channel 69 mics transmitted from a central source? As you gather, I'm not that clued up about these things. Colin Hill - Original Message - From: "Richard York" To: "NSP group" Sent: Wednesday, November 18, 2009 9:17 PM Subject: [NSP] Radio Mics and channel 69 > > Not instantly an obvious smallpipes issue, I realise, but enough pipers > here are in bands or other organisations using radio mics to make this > worth passing on, I hope. > Monday's Radio 4 PM programme reported that the Gov't, in their Ofcom > hat, are selling off the radio frequencies used in the UK by all radio > mics, including loop systems, known as channel 69. >They're going to re-assign different frequencies for this use, but > existing equipment won't work on them, so will need replacing. > To be really helpful they aren't telling which frequencies they'll be > making available instead, or when they'll be doing it. > They are apparently generously offering to pay for the equipment thus > rendered useless, but only the value of the stuff at the time, not its > replacement value. .. anyone want to guess the market value of a dead > radio mic? >I know the mics aren't re-tunable, I don't know about the receivers - > we haven't got one yet. > There's an article I found earlier today online at > [1]web.http://www.guardian.co.uk/media/2009/nov/17/ofcom-channel-69-rad > io-frequencies > So bands, churches, concert halls, theatres, amateur dramatic groups, > schools, and anyone else using this equipment is going to be out of > pocket, and inconvenienced too. > Please complain! > Best wishes, > Richard. > -- > > References > > 1. > web.http://www.guardian.co.uk/media/2009/nov/17/ofcom-channel-69-radio-frequ encies > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
[NSP] Pipoding
I have found it very useful to load a number of tracks by different players or players of other instruments playing this music. I set the play back to random. This means that you get very different players and styles adjacent. It is thought provoking. Alternatively I have assembled playlists that have similar tunes or types of tune and that is interesting as well. I find that hearing a sequence that might involve 5 or 6 styles makes me more aware of technique, rhythm and ornamentation. Just a thought. Simon Leveaux To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Old Guy
You know that awful feeling when you look at an email and realise that what you said was not what you had in mind. My last email concluding my list of those who have helped and guided me Should have read I hate lists, but also need to thank also I have to thank the London Pipers and especially Francis. I shall now and go a bury my head in a large bucket of water --Original Message-- From: Francis Wood Sender: lute-...@cs.dartmouth.edu To: Anthony Robb Cc: Dartmouth NPS Subject: [NSP] Re: Old Guy Sent: Oct 24, 2009 11:35 AM Lovely, Anthony! Beautiful pace and nice gently elastic rhythm. That kind of playing contains a fine balance of movement and gravity, whether imagined or representing the actual motion of dancers. The playing of Joe Hutton. is another great example. I like the added variation to Miss Forbes. Francis On 24 Oct 2009, at 07:06, Anthony Robb wrote: > > Here's a wee snippet of Will Atkinson playing some of Madame > B.,Fiddler's Cramp and Mrs Forbes Farewell to Banff. I think we > can all > learn something from his clean controlled playing. What think you? > > [1]http://www.robbpipes.com/WillAtkinson > > > > -- > > References > > 1. http://www.robbpipes.com/WillAtkinson > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html N ¶è®ß¶¬+-±ç¥Ëbú+«b¢vÛiÿü0ÁË j»f¢ëayÛ¿Á·?ë^iÙ¢ø§uìa¶i
[NSP] Re: Old Guy
I hate lists also the London Pipers and especially Francis -Original Message- From: si...@leveau8.fsnet.co.uk Date: Sun, 25 Oct 2009 21:04:38 To: Francis Wood; ; Anthony Robb Cc: Dartmouth NPS Subject: [NSP] Re: Old Guy Anthony It is a great track. I have been lucky to hear Willy A and Willy T and Jo play and the wonderful rhythm and sheer joy for the music was infectious. I should add that Anthony and Richard Butler were the first tutors that I ever had. Ian Lawther with his enthusiasm and annoying habit of playing any instrument well!! first got me to competitions . But I have been made to feel so welcome by so many people it seems unreasonable to list more . However Colin R, Pauline, Andy, Chris, The Rothbury crew and David B. thank you in this public forum. I would also like the NPS and all those who have organised, and helped me. I have always felt privileged to have access to such generously given advice and guidance. Simon Leveaux --Original Message-- From: Francis Wood Sender: lute-...@cs.dartmouth.edu To: Anthony Robb Cc: Dartmouth NPS Subject: [NSP] Re: Old Guy Sent: Oct 24, 2009 11:35 AM Lovely, Anthony! Beautiful pace and nice gently elastic rhythm. That kind of playing contains a fine balance of movement and gravity, whether imagined or representing the actual motion of dancers. The playing of Joe Hutton. is another great example. I like the added variation to Miss Forbes. Francis On 24 Oct 2009, at 07:06, Anthony Robb wrote: > > Here's a wee snippet of Will Atkinson playing some of Madame > B.,Fiddler's Cramp and Mrs Forbes Farewell to Banff. I think we > can all > learn something from his clean controlled playing. What think you? > > [1]http://www.robbpipes.com/WillAtkinson > > > > -- > > References > > 1. http://www.robbpipes.com/WillAtkinson > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Nˆ ¶‰è®‡ß¶¬–+-±ç¥ŠËb�ú+™«b¢v†Ûiÿü0ÁË j»f¢ëayÛ¿Á·?–ë^iÙ¢Ÿø§uìa¶i
[NSP] Re: Old Guy
Anthony It is a great track. I have been lucky to hear Willy A and Willy T and Jo play and the wonderful rhythm and sheer joy for the music was infectious. I should add that Anthony and Richard Butler were the first tutors that I ever had. Ian Lawther with his enthusiasm and annoying habit of playing any instrument well!! first got me to competitions . But I have been made to feel so welcome by so many people it seems unreasonable to list more . However Colin R, Pauline, Andy, Chris, The Rothbury crew and David B. thank you in this public forum. I would also like the NPS and all those who have organised, and helped me. I have always felt privileged to have access to such generously given advice and guidance. Simon Leveaux --Original Message-- From: Francis Wood Sender: lute-...@cs.dartmouth.edu To: Anthony Robb Cc: Dartmouth NPS Subject: [NSP] Re: Old Guy Sent: Oct 24, 2009 11:35 AM Lovely, Anthony! Beautiful pace and nice gently elastic rhythm. That kind of playing contains a fine balance of movement and gravity, whether imagined or representing the actual motion of dancers. The playing of Joe Hutton. is another great example. I like the added variation to Miss Forbes. Francis On 24 Oct 2009, at 07:06, Anthony Robb wrote: > > Here's a wee snippet of Will Atkinson playing some of Madame > B.,Fiddler's Cramp and Mrs Forbes Farewell to Banff. I think we > can all > learn something from his clean controlled playing. What think you? > > [1]http://www.robbpipes.com/WillAtkinson > > > > -- > > References > > 1. http://www.robbpipes.com/WillAtkinson > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: The Power of Positive Thinking
*winces* Francis - I think your on the wrong discssion group if you're suggesting not setting up a working party... On Tue, Oct 20, 2009 at 10:59 AM, Francis Wood <[1]oatenp...@googlemail.com> wrote: Changing the course of language is a slow and uncertain path. Before anyone suggests that a working party be set up to make recommendations, let me say immediately that I do not think this would be a good idea. With apologies, Francis To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:oatenp...@googlemail.com 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[NSP] Re: The Power of Positive Thinking
Thankyou for opening up such a useful discussion Francis. I must admit that the term "chanter" has always concerned me - what are we if not individuals with our own individual styles...? Boreishly Simon On Tue, Oct 20, 2009 at 10:16 AM, Francis Wood <[1]oatenp...@googlemail.com> wrote: In these occasionally acrimonious times, I do feel there might be some value in searching critically for the sources of negative influence. As a start, we might do well to examine the language of piping terms. That lexicon is in sore need of some enlightened revision. The following points will, I hope, provide persuasive examples. To begin with the chanter. 'Bore' has pejorative connotations. I would not wish to be described in such terms. 'Narrow bore' provides no enhancement. 'Closed' takes us further down the path of negativity. And 'closed fingering' is distinctly creepy. Let us move to 'drones'. A joyless word suggesting tedium and monotony. In the apian world, the drones produce no honey. Human bores are said to 'drone on'. The word itself draws negativity into our playing experience in a way that 'harmony pipes' (to give an example) would not. As for 'stocks', that is clearly unfortunate. In historical times, people were locked up in 'stocks' as a punishment which also seemed to require the throwing of rotten eggs. The financial usage attracts further dismay. Are there examples of this word being used in any pleasant context? I think not. I am not at all sure that 'blowpipe' is a very proper word. I will leave that for others to discuss and move on rapidly to the question of 'bellows'. That word instantly invokes associations with anger, pain and frustration. Sentiments that are entirely foreign to the experience of learning and playing the pipes. Finally, I can suggest nothing at all in defence of the usage of 'bag' which occupies a prime position in the language of insult. Our choice of vocabulary is crucial in any collaborative experience. In the interests of harmonious piping, some critical thinking about the language we use may be helpful. Any scrutiny of the terms above would surely suggest that we need alternatives entirely devoid of distressing connotations. I invite your comments. Francis Wood To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:oatenp...@googlemail.com 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[NSP] Re: Tune title spelling
My version ( from a P Cato personal recording from Ushaw College 01) says that there's a little o over the second a ( sorry my mac don't do Swedish..) Simon On Tue, Aug 18, 2009 at 9:11 PM, Julia Say <[1]julia@nspipes.co.uk> wrote: Can anyone tell me where the letters with dots over and suchlike should go in the tune title "APPELBOLATEN" (it's Swedish). I have it handwritten, twice and differently, from various sources, and I don't trust either rendition. Thanks Julia To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:julia@nspipes.co.uk 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Northumbria Pipe Course 11-16 October - Places available
From Wikipedia: Flaming is a [1]hostile and [2]insulting [3]interaction between [4]Internet users. Flaming usually occurs in the social context of a [5]discussion board, [6]Internet Relay Chat (IRC) or even through [7]e-mail. An Internet user typically generates a flame response to other posts or users posting on a site, and such a response is usually not constructive, does not clarify a discussion, and does not persuade others. Sometimes, flamers attempt to assert their authority, or establish a position of superiority over other users. Other times, a flamer is simply an individual who believes he or she carries the only valid opinion. This leads him or her to [8]personally attack those who disagree. In some cases, flamers wish to upset and offend other members of the forum, in which case they can be called "[9]trolls". Most often however, flames are angry or insulting messages transmitted by people who have strong feelings about a subject. On Wed, Aug 12, 2009 at 1:23 PM, Di Jevons <[10...@picklewood.info> wrote: What about some 'give and take' here? What of the business I imagine inevitably generated over the years via the NPS for a professional pipemaker through holding the positions of Chairman of and Technical Adviser to, the Society? Di Jevons - Original Message - From: <[11]rosspi...@aol.com> To: <[12]...@cs.dartmouth.edu> Sent: Wednesday, August 12, 2009 12:41 PM Subject: [NSP] Re: Northumbria Pipe Course 11-16 October - Places available I wonder if this advert for a privately run course is allowed on this list. This is a course that is not run by the NPS but for the benefit of the person who is running it who although taking the risk and time to organise it is also taking any profit that may arise. CR -Original Message- From: [13]suzefis...@aol.com To: [14]...@cs.dartmouth.edu Sent: Mon, 10 Aug 2009 15:24 Subject: [NSP] Northumbria Pipe Course 11-16 October - Places available There are still a few places left on this course, if anyone is interested in attending or would like some more information please contact me offlist. Thanks Susan. 2nd NORTHUMBRIA PIPING WEEK Sunday 11th Friday 16th October 2009 A residential piping course suitable for all playing levels (except absolute beginners) based in a licensed hotel in Whitley Bay. Tutors for the week include Andy May, Chris Ormston, Chris Evans. Plus other guest tutors and performers. Limited accommodation for non-playing partners. Some non-residential playing places will be available. Costs: Tuition (over 5 days), events, outings etc. Includes lunch, tea and coffee -L-230 per player (individual lessons may be available at extra cost) Accommodation B&B -L-140 - -L-245 for 7 nights (depending on level of facilities chosen) Evening meals at participants expense Part-week bookings will be considered. For further details and an application form contact: Susan Craven 166 Plessey Road, BLYTH, Nland NE24 3JA 07764 483595 [15]suzefis...@aol.com ___ _ 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. To get on or off this list see list information at [16]http://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. No virus found in this incoming message. Checked by AVG - [17]www.avg.com Version: 8.5.392 / Virus Database: 270.13.51/2297 - Release Date: 08/11/09 18:27:00 -- References 1. http://en.wikipedia.org/wiki/Hostile 2. http://en.wikipedia.org/wiki/Insulting 3. http://en.wikipedia.org/wiki/Interaction 4. http://en.wikipedia.org/wiki/Internet 5. http://en.wikipedia.org/wiki/Discussion_board 6. http://en.wikipedia.org/wiki/Internet_Relay_Chat 7. http://en.wikipedia.org/wiki/E-mail 8. http://en.wikipedia.org/wiki/Personal_attacks 9. http://en.wikipedia.org/wiki/Troll_(Internet) 10. mailto:d...@picklewood.info 11. mailto:rosspi...@aol.com 12. mailto:nsp@cs.dartmouth.edu 13. mailto:suzefis...@aol.com 14. mailto:nsp@cs.dartmouth.edu 15. mailto:suzefis...@aol.com 16. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 17. http://www.avg.com/
[NSP] Re: Northumbria Pipe Course 11-16 October - Places available
The Halsway Course has regularly been advertised here Colin with many of the same tutors ( including yourself) - what's the difference? On Wed, Aug 12, 2009 at 12:41 PM, <[1]rosspi...@aol.com> wrote: I wonder if this advert for a privately run course is allowed on this list. This is a course that is not run by the NPS but for the benefit of the person who is running it who although taking the risk and time to organise it is also taking any profit that may arise. CR -Original Message- From: [2]suzefis...@aol.com To: [3]...@cs.dartmouth.edu Sent: Mon, 10 Aug 2009 15:24 Subject: [NSP] Northumbria Pipe Course 11-16 October - Places available There are still a few places left on this course, if anyone is interested in attending or would like some more information please contact me offlist. Thanks Susan. 2nd NORTHUMBRIA PIPING WEEK Sunday 11th Friday 16th October 2009 A residential piping course suitable for all playing levels (except absolute beginners) based in a licensed hotel in Whitley Bay. Tutors for the week include Andy May, Chris Ormston, Chris Evans. Plus other guest tutors and performers. Limited accommodation for non-playing partners. Some non-residential playing places will be available. Costs: Tuition (over 5 days), events, outings etc. Includes lunch, tea and coffee -L-230 per player (individual lessons may be available at extra cost) Accommodation B&B -L-140 - -L-245 for 7 nights (depending on level of facilities chosen) Evening meals at participants expense Part-week bookings will be considered. For further details and an application form contact: Susan Craven 166 Plessey Road, BLYTH, Nland NE24 3JA 07764 483595 [4]suzefis...@aol.com ___ _ 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. To get on or off this list see list information at [5]http://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. -- References 1. mailto:rosspi...@aol.com 2. mailto:suzefis...@aol.com 3. mailto:nsp@cs.dartmouth.edu 4. mailto:suzefis...@aol.com 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Colin Ross
I don't often comment these days, but, like a lot of NPS Members, I'm still lurking... I'd support this Simon On Thu, May 21, 2009 at 9:40 AM, Helen Capes <[1]helen.ca...@paradise.net.nz> wrote: I agree with Anthony. I think Colin has to be one of the most deserving people in decades. Surely this is a great opportunity to appoint a president in recognition of a huge contribution to our instrument. Helen - Original Message - From: "Anthony Robb" <[2]anth...@robbpipes.com> To: "Dartmouth NPS" <[3]...@cs.dartmouth.edu> Sent: Wednesday, May 20, 2009 11:55 PM Subject: [NSP] Colin Ross Dear All What a shame Colin Ross has stood down from the chairmanship of the society in these circumstances. Colin & I do not always see eye to eye about some things, but the fact remains that his devotion to, and knowledge of piping, and pipes-making remain unsurpassed. After over 40 years of absolute commitment to our cause I would have thought he'd have been an obvious contender for the Presidency of the Society. Is this me being totally naive? I feel an opportunity to recognise the contribution of one of the giants of the Northumbrian piping world has been missed. As aye Anthony -- To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:helen.ca...@paradise.net.nz 2. mailto:anth...@robbpipes.com 3. mailto:nsp@cs.dartmouth.edu 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: J Allen (and Rants)
And the celebrated Hill tune the Allen Quay -Original Message- From: Barry Say [mailto:barr...@nspipes.co.uk] Sent: 13 March 2009 11:20 To: Dartmouth NSP Subject: [NSP] Re: J Allen (and Rants) Dont Forget Jimmy's younger brother - Woody B On 13 Mar 2009 at 9:59, Helen Fish wrote: > Jimmy Allen was the husband of Babs, of course. Doh, don't you guys > know anything? > > Helen To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Copyright issues
The owner of such a copyright would have a tough time making a claim against someone performing or even recording the tune and incorporating a minor tweak to the tune - it would be hard to prove that the variation to the tune didn't already exist in the public domain, especially in a folk genre. The major protection the copyright affords is against someone reprinting that exact typesetting or duplicating the entire or a substantial proportion of the collection because those represent significant works. -Original Message- From: Gibbons, John [mailto:j.gibb...@imperial.ac.uk] Sent: Friday, January 16, 2009 11:08 AM To: NSP group Subject: [NSP] Re: Copyright issues This explains why a lot of tune books in print have slightly tweaked versions of standard tunes - If these are reproduced, which would be unlikely to be accidental or on grounds of taste in many cases, there is then a potential claim for breach of copyright. John -Original Message- From: Simon Knight [mailto:si...@setanta-inc.com] Sent: 16 January 2009 14:30 To: 'NSP group' Subject: [NSP] Re: Copyright issues Publishing or recording a traditional tune or any tune in the public domain does not confer that person with any rights to the original tune itself. They do however have rights to their newly created intellectual property, i.e. the actual musical score or recording. Anyone can continue to perform the original tune, but you could not copy and sell their work. An arrangement of a public domain work can be copyrighted, but here it gets blurry. You would have to prove that there was significant new IP to successfully defend your claim, and you still gain no rights over the original work. -Original Message- From: colin [mailto:cwh...@santa-fe.freeserve.co.uk] Sent: Friday, January 16, 2009 9:12 AM To: NSP group Subject: [NSP] Re: Copyright issues The more I read on this, the more confusing it sounds. It seems more linked to the PRS and stuff. May it be that actually publishing traditional stuff confers a copyright on it? So, a traditional tune collected or published by,say, the EFDSS, then becomes their property? Reading some sites brought up the old argument of the collectors collecting songs from old singers, recording them and thus obtaining the copyright over them and another story of the EFDSS : >From http://www.thesession.org/discussions/display/12382/comments "The big argument re the EFDSS was that the year that "English Country Gardens" topped the hit parade ( a morris tune ), they accepted from the PRS a £200 cheque for ALL traditional music paid in Britain that year. There was then a drive ( I don't remember that it was A.L.Lloyd leading this ) to get all the bands musicians and singers to register all their music, even saying it was their arrangement if it was traditional, and by filling in all the PRS returns at every venue the EFDSS would get some more money, and each band and performer would get some too. In 30 years of playing in bands I think I've seen two of these forms." As said, if the composer isn't registered then the money goes to Michael Jackson or Paul McCartney. Must have been nice when the likes of Mr Allen just swapped and played tunes :) Colin Hill - Original Message - From: "Richard York" To: "NSP group" Sent: Friday, January 16, 2009 1:23 PM Subject: [NSP] Re: Copyright issues > > ... and let's not even lift small corner of the lid over the hell which > is the Public Entertainment Licence :-( > Richard > [1]julia@nspipes.co.uk wrote: > > On 16 Jan 2009, [2]malcra...@aol.com wrote: > > > How does copyright effect performance.? > Especaillay if an enterance charge is made, > > For all "performances", paid or otherwise, and this includes sessions > in pubs, someone is supposed to sit there writing down everything that > is played. This list is then submitted to PRS along with 5% of the > takings at a paid event, and the royalties are distributed to any > registered copyright holders with the residue going to CC. And a non- > paying event gets charged for any copyright tunes. Some folk festivals > and sessions have already been clobbered by this. > > In practice, well. you can imagine the reaction of the average > session musician - it doesn't take many fingers! At best, all tunes > suddenly become "trad." > > > or For example at a funeral? > > I am uncertain of the position in regards to "church" and / or > "private" events - which your example could be classified as. I think > there may be a dispensation. And then there's when does a private > party become a house session, or house concert. > > Please, just don't go there!! > > Julia > > > > 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:julia@nspipes.co.uk > 2. mailto:malcra...@aol.com > 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >
[NSP] Re: Copyright issues
I'm not a lawyer, but my work involves intellectual property issues. The law should be clear but in practice it isn't. In the US it as follows: The copyright law of the United States provides for copyright protection in musical works, including any accompanying words, that are fixed in some tangible medium of expression. 17 U.S.C. § 102(a)(2). Musical works include both original compositions and original arrangements or other new versions of earlier compositions to which new copyrightable authorship has been added. The owner of copyright in a work has the exclusive right to make copies, to prepare derivative works, to sell or distribute copies, and to perform the work publicly. Anyone else wishing to use the work in these ways must have the permission of the author or someone who has derived rights through the author. note: Copyright in a musical work includes the right to make and distribute the first sound recording. Although others are permitted to make subsequent sound recordings, they must compensate the copyright owner of the musical work under the compulsory licensing provision of the law. The key issue is that the copyrighted work must be fixed in some medium of expression. You can claim copyright on your arrangement, and if it is sufficiently original (and that's tough to tie down) you'll be able to defend it. You can claim a right to your collection, i.e. the printed work but not the actual tunes, and you have rights to a recorded performance. You may **claim** right to the underlying work, but you don't legally have any and you'll have a tough time defending it. To Barry's point, even a though a claim is questionable, money will often win out in the courts. -Original Message- From: Barry Say [mailto:barr...@nspipes.co.uk] Sent: Friday, January 16, 2009 10:42 AM To: nSP LIST Subject: [NSP] Re: Copyright issues Richard isnt wrong about recording giving copyright, I wasn't sufficiently clear. What I meant was that when, for instance, the Carter Family learned a song from and old-timer and and then performed it in a recording studio for commercial release, they could claim the copyright on the original song. If I may quote from an essay in the 'Old-time String Band Song Book by John Cohen, 1964. (Oak publications USA) - probably infringing copyright as I do so. --- In the past few years, while folk music has become a national fad and an industry, some scholarship has been used and abused for other purposes. Academic folklorists have often found it necessary, or feasible to copyright songs they have collected. Many recent songwriters have rearranged the old songs and carefully researched them to establish them in the public domain. Once they have shown that, they can claim the compositions as there own with little fear of counter-claims. This is the saddest part of the situation: it has reached the point where everyone feels obliged to copyright something before someone else does it, even though though the claim may be questionable in the first place. Fear begets fear money, begets only money and the question of morality is left behind. -- He is the referring mainly to song and the law may have changed since then of course, but I always bear this in mind when discussing copyright. Barry On 16 Jan 2009 at 9:36, Richard York wrote: > Hi, > Correct me if I'm wrong, but I'm sure simply recording it does confer > > copyright, or at least has in the past, justly or not. > When various people collected folk singers earlier in the C20th, I > believe it's still an issue which rankles that by doing so they did > exactly that. > I was told that there's one huge collection of traditional material > which apparently at least recently had exactly this issue, & probably > still does; sorry, I can't remember for sure which so won't name any. > Old ladies & gents innocently sang their songs into the nice > gentleman's microphone, only to find that he now owned their songs. > > I think Barry, that it goes on for 75 yrs after the owner's death - > certainly does in the case of composers. > > The EFDSS library would supply more details. > Best wishes, > Richard. > > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Copyright issues
Publishing or recording a traditional tune or any tune in the public domain does not confer that person with any rights to the original tune itself. They do however have rights to their newly created intellectual property, i.e. the actual musical score or recording. Anyone can continue to perform the original tune, but you could not copy and sell their work. An arrangement of a public domain work can be copyrighted, but here it gets blurry. You would have to prove that there was significant new IP to successfully defend your claim, and you still gain no rights over the original work. -Original Message- From: colin [mailto:cwh...@santa-fe.freeserve.co.uk] Sent: Friday, January 16, 2009 9:12 AM To: NSP group Subject: [NSP] Re: Copyright issues The more I read on this, the more confusing it sounds. It seems more linked to the PRS and stuff. May it be that actually publishing traditional stuff confers a copyright on it? So, a traditional tune collected or published by,say, the EFDSS, then becomes their property? Reading some sites brought up the old argument of the collectors collecting songs from old singers, recording them and thus obtaining the copyright over them and another story of the EFDSS : >From http://www.thesession.org/discussions/display/12382/comments "The big argument re the EFDSS was that the year that "English Country Gardens" topped the hit parade ( a morris tune ), they accepted from the PRS a £200 cheque for ALL traditional music paid in Britain that year. There was then a drive ( I don't remember that it was A.L.Lloyd leading this ) to get all the bands musicians and singers to register all their music, even saying it was their arrangement if it was traditional, and by filling in all the PRS returns at every venue the EFDSS would get some more money, and each band and performer would get some too. In 30 years of playing in bands I think I've seen two of these forms." As said, if the composer isn't registered then the money goes to Michael Jackson or Paul McCartney. Must have been nice when the likes of Mr Allen just swapped and played tunes :) Colin Hill - Original Message - From: "Richard York" To: "NSP group" Sent: Friday, January 16, 2009 1:23 PM Subject: [NSP] Re: Copyright issues > > ... and let's not even lift small corner of the lid over the hell which > is the Public Entertainment Licence :-( > Richard > [1]julia@nspipes.co.uk wrote: > > On 16 Jan 2009, [2]malcra...@aol.com wrote: > > > How does copyright effect performance.? > Especaillay if an enterance charge is made, > > For all "performances", paid or otherwise, and this includes sessions > in pubs, someone is supposed to sit there writing down everything that > is played. This list is then submitted to PRS along with 5% of the > takings at a paid event, and the royalties are distributed to any > registered copyright holders with the residue going to CC. And a non- > paying event gets charged for any copyright tunes. Some folk festivals > and sessions have already been clobbered by this. > > In practice, well. you can imagine the reaction of the average > session musician - it doesn't take many fingers! At best, all tunes > suddenly become "trad." > > > or For example at a funeral? > > I am uncertain of the position in regards to "church" and / or > "private" events - which your example could be classified as. I think > there may be a dispensation. And then there's when does a private > party become a house session, or house concert. > > Please, just don't go there!! > > Julia > > > > 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:julia@nspipes.co.uk > 2. mailto:malcra...@aol.com > 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >
[NSP] Re: nice set on ebay?
I have one of John's 11 key sets and have been very happy with it. The chanter reed and the drones are stable and the tuning is good. John is also very helpful and I'm sure would support the set really well. Simon -Original Message- From: Adam Westerly [mailto:[EMAIL PROTECTED] Sent: Thursday, November 15, 2007 5:47 AM To: nsp@cs.dartmouth.edu Subject: [NSP] nice set on ebay? I am wanting to upgrade from a set that does not work well. On Ebay there is a set by Liestman at this link: http://cgi.ebay.com/Northumbrian-Smallpipes-NEW-from-maker-Liestman_W0QQitem Z320180810777QQihZ011QQcategoryZ16226QQssPageNameZWDVWQQrdZ1QQcmdZViewItem (I have his book) that is honduras rosewood and has an 11 key chanter. Any thoughts on this set or maker? I have a 7 key currently. Thanks. Adam To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Traditional & Classical etc.
I think there is a problem with using the pipes in a classical setting - they are so easily overpowered as demonstrated by Ketteltoft Inn. That doesn't mean a composer can't work with them but it will take a great deal of knowledge of the instrument and sensitivity. Modern orchestral wind instruments have been developed in the past 50 years to have so much more power. The final air works well for me although even just the cor anglais is too much for the pipes at times. I once performed in a piece written for 3 soprano saxophones and a harp. We just couldn't play quietly enough not to drown the harp. I think the composer could have seen that coming. On the subject of jazz I think the problem is with the instrument. Jazz requires facility in all keys with changes as often as 4 times a bar. The keys on NSPs aren't up to that, plus the tuning flexibility isn't there. Jazz also requires a more aggressive sound and articulation. I'm sure Chris could do it as well as anyone but it begs the question why? Jazz would I think only reveal the weaknesses of the instrument and fail to do justice to the music. The strength of the pipes for me (NSP and Uilleann) is that the repertoire has been grown with the instrument so that the whole is greater than the sum of the parts. -Original Message- From: Matt Seattle [mailto:[EMAIL PROTECTED] Sent: Thursday, November 02, 2006 8:31 PM To: nsp@cs.dartmouth.edu Subject: [NSP] Re: Traditional & Classical etc. A few points in the ongoing debate- 1/ I don't think there's any inherent problem using the pipes in a classical setting, it depends completely on how it's done. I didn't hear the Maxwell-Davies piece (sorry, I don't know him well enough to call him Max) so I cannot say anything about it. I've heard things by him that I did and didn't like. 2/ I do think there's an inherent problem in using the pipes in a jazz setting. There is simply no-one alive who can improvise convincingly on the pipes in a manner approachng even an average jazz musician. A bit of wailing is fun, but it ain't Coltrane. Not even Robbie Coltrane. 3/ The strength of the core tradition is not appreciated by the majority of players. How many classical composers can wite a sustained melody as good as All the Night I Lay With Jockey? Most good tunes in classical music are only a few bars long - there's loads of texture and inversion and orchestration, but usually you have to wait ages for the really good bits. There are of course exceptions, but the good trad tunes are good all the way through. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Piping Modernism
My sound card has a mixer program so I can route the output from Real Player into my recording software. Reading the terms of use of the BBC site, I can make a recording for my own personal use (as I could with the live FM radio broadcast) but I can't distribute it. -Original Message- From: Richard Shuttleworth [mailto:[EMAIL PROTECTED] Sent: Saturday, October 28, 2006 3:09 PM To: nsp@cs.dartmouth.edu; Simon Knight Subject: Re: [NSP] Re: Piping Modernism Hi Simon, Your comments are very interesting. How did you record this piece? I only managed to listen to it the once, maybe it would grow in me if I heard it several times on a decent sound system (like you mentioned, my computer speakers were not up to the challenge). Richard Simon Knight wrote: > > My reaction on first hearing was negative. After I recorded the stream, > enhanced the sound and played it on a decent hi-fi the pipes were much > more > audible. They're quiet but well recorded and separated in the mix on the > far > right. If you listen on headphones or computer speakers they're lost. > > The same musical doubts remain though - there's little of the Northumbrian > tradition and harmonically the piece is foreign to the sound of the pipes. > I > think Chris hit the right issue - there must be some tuning and harmonics > challenges with a just G scale and the other instruments, especially with > the 'modern' scales and harmonies. But there are some melodic sections I > like and the blend with cor anglais works at times. > > Instruments out of their métier seldom seem to satisfy ( I play the > bassoon > and wonder why people try to play jazz on them), but after a few hearings > the piece is beginning to grow on me. > > Simon > > -Original Message- > From: Stephen Douglass [mailto:[EMAIL PROTECTED] > Sent: Saturday, October 28, 2006 9:02 AM > To: nsp@cs.dartmouth.edu > Subject: [NSP] Piping Modernism > > Maxwell Davies comes from the musical influences of modernism, and > pieces like Schoenberg's Pierrot Lunaire.. > > (some might switch that piece off after 30 seconds) > > The piping in the composition was unlikely to be expected, resolving > or traditionally presented. > > It still managed to make it to Radio 3 though (and the "play again" > button) . no publicity is bad publicity...eh? > > Steve Douglass > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
[NSP] Re: Piping Modernism
My reaction on first hearing was negative. After I recorded the stream, enhanced the sound and played it on a decent hi-fi the pipes were much more audible. They're quiet but well recorded and separated in the mix on the far right. If you listen on headphones or computer speakers they're lost. The same musical doubts remain though - there's little of the Northumbrian tradition and harmonically the piece is foreign to the sound of the pipes. I think Chris hit the right issue - there must be some tuning and harmonics challenges with a just G scale and the other instruments, especially with the 'modern' scales and harmonies. But there are some melodic sections I like and the blend with cor anglais works at times. Instruments out of their métier seldom seem to satisfy ( I play the bassoon and wonder why people try to play jazz on them), but after a few hearings the piece is beginning to grow on me. Simon -Original Message- From: Stephen Douglass [mailto:[EMAIL PROTECTED] Sent: Saturday, October 28, 2006 9:02 AM To: nsp@cs.dartmouth.edu Subject: [NSP] Piping Modernism Maxwell Davies comes from the musical influences of modernism, and pieces like Schoenberg's Pierrot Lunaire.. (some might switch that piece off after 30 seconds) The piping in the composition was unlikely to be expected, resolving or traditionally presented. It still managed to make it to Radio 3 though (and the "play again" button) . no publicity is bad publicity...eh? Steve Douglass To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tradition ????????
I'm a fairly experienced musician but as a newcomer to the piping world, I'm just beginning to learn the technical and musical aspects of NSP and Uilleann pipes. There is a similar, parallel discussion taking place on the Chiff and Fipple forum regarding regional and social influences in Uilleann piping styles and the evolution of closed vs. legato styles. Part of the issue would appear to be fact that these are aural traditions, not always with recorded examples and impossible to accurately and definitively notate. Because of that, it would seem that is important to preserve and pass on the 'traditional' styles to ensure their survival. Similarly not embracing more informal branches of the repertoire as Steve describes also loses something. On the other hand, extending the repertoire, tackling more contemporary styles and arrangements can keep the instrument alive. So perhaps there has to be a balance. My main caveat is that neither instrument is technically ideal in the sense that other woodwind instrument are entirely new or have evolved and been redesigned over the last 200 years to a greater extent to improve their playability and flexibility. To me the fascination of the pipes is that their style and repertoire are so inherently linked to the unique design, limitations, and strengths of the instrument. Move to far away from the traditional and you may as well be playing a synthesizer or a sax. And music has become so globalized with styles intermingled that it can become homogenized pulp. Again, it seems very important to preserve the local musical idioms without adulteration. Having said all that, I enjoy a number of KT tunes. Also has anyone tried playing another Penguin Café Orchestra tune, Music for a Found Harmonium. It fits well although the bit where it changes key is tough. -Original Message- From: Stephen Douglass [mailto:[EMAIL PROTECTED] Sent: Monday, May 15, 2006 5:08 AM To: nsp@cs.dartmouth.edu Subject: [NSP] Tradition Is the tradition of the NPS tied up only in the virtuoso solo playing of a very limited number of recorded pieces or is it also in the evolution of the musical repetoire and the individual interpretation of that music Id be very interested to hear from anyone who could definatively outline the tradition for me The "traditional" playing of Tom Clough.could be considered "showy" in some respects, and the timing of Billy Pigg in his solo recordings might not lend it self to a village dance, where the music has evolved and would be considered part of the tradition,though I'm sure he could, or probably did play at "one or two". These two performers would be considered, without doubt, examples of the piping tradition, along with Joe Hutton and others...but is it traditional...or is it the style they developed from learning the instrument and aquiring knowledge from teachers and their fellow musicians over the years. Something I would suggest that occurs today.Maybes that is the tradition ? Past and Present' .. but getting back to my first pointif we rely on just the virtuoso performances as a bench mark for tradition then we are missing out on alot. . The vocal tradition of the music from the north east was passed along to a large extent at informal get togethers , as my brothers and I witnessed as youngsters, during the weekly family gatherings, featuring a game of "Newmarket" and a singalong on a Sunday afternoon. Certainly not virtuoso aria by any standards but traditional local music I would say. A discerning ear may have heard vocal gracing which may be a valid framework for applying gracing to NSP I'm not suggesting it would have been appropriatebut who knows Its great that we have excellent past & contemporary players to use as examples and learn from but lets not set them up as the only exponents of correct traditional style... Steve Douglass To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Current debate
The more we have in common, the more we believe something to be important, the more we have reasons to disagree. I am reminded of an Emo Phillip's joke: I was walking across a bridge one day, and I saw a man standing on the edge, about to jump off. So I ran over and said "Stop! don't do it!" "Why shouldn't I?" he said. I said, "Well, there's so much to live for!" He said, "Like what?" I said, "Well...are you religious or atheist?" He said, "Religious." I said, "Me too! Are you Christian or Buddhist?" He said, "Christian." I said, "Me too! Are you catholic or protestant?" He said, "Protestant." I said, "Me too! Are you Episcopalian or Baptist?" He said, "Baptist!" I said, "Wow! Me too! Are you Baptist church of god or Baptist church of the lord?" He said, "Baptist church of god!" I said, "Me too! Are you original Baptist church of god, or are you reformed Baptist church of god?" He said, "Reformed Baptist church of god!" I said, "Me too! Are you reformed Baptist church of god, reformation of 1879, or reformed Baptist church of god, reformation of 1915?" He said, "Reformed Baptist church of god, reformation of 1915!" I said, "Die, heretic scum", and pushed him off. -- Emo Phillips To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tradition etc
Hmmm... "Traditionally" the word is "realise"... Simon -Original Message- From: Jim Stewart [mailto:[EMAIL PROTECTED] Sent: 15 May 2006 16:35 To: Ian Lawther Cc: nsp@cs.dartmouth.edu Subject: [NSP] Re: Tradition etc Ian Lawther wrote: > Lets not forget that the greatest piping tradition of all is arguing over > style > > Sorry that should be > Lets not forget that the greatest piping > tradition of all is arguingover style > ! ! ! !( I prefer a more staccato style) > > Ian > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > Well spoken Ian. However, traditionalists would argue that the word "lets" should be graced with a simple right hand key stroke so it becomes "let's." I realize it all depends on which school of spelling you subscribe to, but the way I was taught is the only "proper" way. Cheers, Jim
[NSP] Re: Travelling
May be someone should come up with an appropriately named tune for demonstration to customs. s - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Monday, November 28, 2005 9:37 AM Subject: [NSP] Travelling > On 28 Nov 2005, Simon Leveaux wrote: > >> I have only had to unpack it once to show >> what it is. but I think that was a slow day in french customs! > > For extra space put the bellows in your hold luggage. On the other > hand, > if you're then asked to demonstrate how they work / that they're not > stuffed full of something undesirable, you need the bellows. > > I've been asked twice what they are as they go through the X ray - > both times at Newcastle Airport! > > v. heavy sigh. > Julia > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
[NSP] Re: Travelling
I have used this system for a number of years and it works well. Just make sure you wrap the chanter and drones in a soft cloth to stop them rattling around. If you like me keep your maintenance kit in the case remove scalpel, needles etc before travelling. I have only had to unpack it once to show what it is. but I think that was a slow day in french customs! Simon Leveaux - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Sunday, November 27, 2005 9:44 PM Subject: [NSP] Travelling > Hi All, > > The soft Sax bags are great but they bend whereas pipes don't. I tend to > cover my drones and chanter with plastic plumbing pipe that you can get in > the > appropriate diameters for about two pounds for three meters from B&Q DIY > stores. > Cut it down to size with a hack saw and place one bit over the chanter and > another over the drones. > > Just an idea. > > David Ward > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
