Sorry to butt in folks, especially since I'm not sure what the exact
context is! As the subject matter is the First 30 tunes the relevance
of Victorian / Medieval masonry escapes me. I do get the impression,
Richard, that you might be regarding these tunes as treasures from an
earl
On 11 Mar 2009 at 19:39, Chris Ormston wrote:
>Other volume differences between notes on recordings may merely be due
>to the fact that the sound comes out of various points on the chanter,
>holes are different sizes (but I don't want to go there!!!) and it is
>difficult to posit
Hello Colin
What I am trying to get across is precisely the fact that the tunes
themselves were played as rants at musical gatherings with no
suggestion of dance involved. Yes, there are similarities to the polka
rhythm but Rant tunes tend to be crotchet rich and have, to my ears,
On 11 Mar 2009 at 18:39, Robert Greef wrote:
> So some aural illusions at work, it would seem. Anyone for psychoacoustics?
>
> Robert
>
I think so.
When we hear a sound and it stops, our brains retain a memory of the sound so
that when we hear a subsequent sound we can compare the two and he
In a way, that's the least important part of the story :)
It struck me at the time what a parallel it was with our treatment of
music which comes to us from before our time, or at least before deadly
accurate sound recording, whether it's medieval or anything else.
But to answer your quest
OOPS! The dog leapt up and hit reply before I could type my response,
so please ignore my last post, or insert "This is my German Pointer
writing this" as you see fit!
I'd meant to comment on Barry's magazine article at the time of
publication, but avoided it as I didn't have agogi
My Morpethian friend plays "The Hesleyside Reel" as a reel, up tempo,
with a bump-ditty, 2/2 rhythm. It's quite easy to play flat fingered
on the Border pipes at that tempo. Call me a slacker, but I doubt I
will ever have the technique to play the tune on the NSP at his tempo,
whic
Hi Richard,
Don't leave us hanging what did he choose to do?
Tim
- Original Message -
From: "Richard York"
To: "NSP group"
Sent: Wednesday, March 11, 2009 6:10 PM
Subject: [NSP] Re: First 30 tunes
Some years ago I met a man who was responsible for some work on the
E
-Original Message-
From: Robert Greef [mailto:rob...@greef.fsnet.co.uk]
Sent: 11 March 2009 18:39
To: nsp@cs.dartmouth.edu
Subject: [NSP] Midi, rhythm, popping, agogics, psycho
With all the talk about languages, I noted some adverse comments about
midi. I use midi to convert tunes i
With all the talk about languages, I noted some adverse comments about
midi. I use midi to convert tunes in dots form to get an idea how they sound
at different speeds. This is particularly useful for trying out duets and
trios or any accompaniments in eg the Hobbs books. The tunes do not soun
Some years ago I met a man who was responsible for some work on the
musicians carvings in Beverley Minster, most famous of course being the
pipers.
His quandary was whether to simply clean them up as they were, or to
restore them to what the Victorians had imposed on them, mistakes and
all,
On 11 Mar 2009, Gibbons, John wrote:
> The other approach, less apparently prescriptive, is getting different
> pipers to record a few tunes each - and stylistic variations in
> rhythm, gracing etc will be there - new pipers can choose who they
> want to try to sound like.
Which is precisely wha
The other approach, less apparently prescriptive, is getting different pipers
to record a few tunes each - and stylistic variations in rhythm, gracing etc
will be there - new pipers can choose who they want to try to sound like.
John
-Original Message-
From: nsp-request+j.gibbons=ic.ac.
Dear Anthony,
Since you are now on the List I feel I can respond to your fascination
with gobstoppers and tomato soup. I was going to comment on what you
were saying about playing Rants and how deeply disappointed you were
that none of the tunes in the 30 tunes collection were called RANTS. I
Dear Colin, John et al.
I think we should be distinguishing between Regional and personal
styles here.
Reels in the most of the British Isles (and elsewhere) have a pulse
which can be interpreted as:
Gob-stopper, gob-stopper, gob-stopper, gob-stopper.
In Northumberland many
'susceptible smallest environmental
Change, whether atmospheric'
Going from one room to another at Halsway was enough to unfettle mine very
seriously.
Going out in the drizzle with them cured it for a while.
Happily, so did bringing them home.
The warm welcoming atmosphere there has its dr
On 11 Mar 2009, at 12:25, rosspi...@aol.com wrote:
Just to mention that Mike Nelson used my hole spacings on his
chanters which he graciously acknowledged on a diagram of chanter
hole spacings he produced in the early days.
Well, Colin, it was gracious of you to share the design in the fir
Dear John,
No, it would not do at all for me to play the tunes as I would be
imprinting my own style, whatever that is, on the tunes with all the
bad habits of gracing I have picked up over the years. This would also
apply to other pipers who have learnt from 'the old guys' and have
developed
The reason for measuring from the top of the chanter I already have
explained but the statement that 'historically' reed seatings were
parallel is not strictly accurate. Forster Charlton had a parallel reed
seating so he could adjust his reed to play in tune with his duet
partner Colin Caisley
Just to mention that Mike nelson used my hole spacings on his chanters
which he graciously acknowledged on a diagram of chanter hole spacings
he produced in the early days.
Colin R
-Original Message-
From: Anthony Robb
To: Dartmouth NPS
Sent: Wed, 11 Mar 2009 8:14
Subject: [NSP]
Hello John, Tim & All
The hunting monkeys idea is intriguing but the thing is deciding which
monkeys we want to hunt. As I've said on numerous occasions now the way
the old guys played had a special dialect and bounce. To take the tune
mentioned by John, "The Hesleyside Reel"; when
On 3/11/09, Anthony Robb wrote:
> ... a cavalier disregard for accuracy.
> I wonder if we can look forward to a correction soon?
In the scheme of things, this is a small matter. The NPS, like any
human construct, is imperfect. But as a body and as individuals I find
much more readiness in t
Hi John and all,
I like the monkey hunting analogy.
If you're hunting monkeys (ies?) by yourself, then hunt them in whatever way
catches most monkeys for you.
Naturally if you are hunting monkeys with a group of other monkey hunters,
you need some agreement as to how you are all going to hun
Surely the oral tradition is slagging off all the pipers who aren't in the
room at the time?
Tim
- Original Message -
From:
To:
Sent: Monday, March 09, 2009 10:36 PM
Subject: [NSP] Confused!
Hi All,
Do we mean "oral/orally" or "aural/aurally" ... or perhaps both?
Richard
Fan
Thanks for that Matt. I've often wondered! Why though is it taking so
long for the NPS to correct its error?
In the recent First 30 booklet I'm the only peron to give Jamie Allan
as the name and as my wife pointed out it looks as if I'm the one
getting it wrong!
After all, if I b
On 3/11/09, Anthony Robb wrote:
> Apart from NPS publications I can find no other written source for the
> Jimmy Allen version of his name.
I think that's about the size of it Anthony, a simple error which was
copied and became widespread.
Barry Say and others on this list recently expose
Can anyone please direct me to the source of renaming Jamie Allan as
Jimmy Allen?
I have seen these in print;
* Jamie Allan ( Northumbrian Minstrelsey 1882)
* Jamie Allen (Cut & Dry Dolly sleeve notes 1976)
* James Allan (various 18th century sources) and even Jemmy Allen
Hello Folks
Peter Ashby mentioned this forum at last night's Caedmon Piping class
and I thought I'd sign up.
I believe there has been recent discussion re hole spacings on chanters
with a request for pipers to submit the measurements of their own
instruments in order find an aver
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