Colin's interesting account of making staples from sheet metal is a very good
reminder that this was the staple [pun unavoidable] method of making staples
for historical reeds - they generally relied on the binding to keep them
airtight.
No reason why that shouldn't work perfectly well today,
Good result, Anthony!
This lovely item can be heard for the next 6 days at:
http://www.bbc.co.uk/programmes/b014fj7j
Emily and Alice's slot is at 1.09
Francis
On 13 Sep 2011, at 22:58, Anthony Robb wrote:
Some might be interested to know I sent a couple of tracks
recorded recently
On 16 Sep 2011, at 13:18, Richard Shuttleworth wrote:
Why did I get Rachmaninov?
Richard
(Puzzled in Quebec)
Because that is the first item on in the programme.
For Alice and Emily go to 1.09 (hours and minutes).
Good luck
Francis
To get on or off this list see list information at
Thanks, all, for the many interesting and informative responses!
Francis
On 13 Sep 2011, at 17:54, Francis Wood wrote:
The note accompanying the fine tune 'Farewell to Whisky' appearing in the Gow
5th collection states:
This tune alludes to prohibiting the making of Whisky in 1799
The note accompanying the fine tune 'Farewell to Whisky' appearing in the Gow
5th collection states:
This tune alludes to prohibiting the making of Whisky in 1799.
It is expressive of a Highlander's sorrow on
being deprived of his favourite beverage.
Also in the 5th collection is the remedy to
Is there an obvious repertoire of tunes for this useful variant?
Francis
On 8 Sep 2011, at 10:40, Richard York wrote:
I wonder when someone will develop the double action bellows - one to inflate
the pipes, another to fit a vacuum cleaner attachment, which if you think
about it could look
You really have to see this. A great demonstration of playing pressure, from
full glory to Pipers' Droop. Especially the ending:
http://youtu.be/fPedwnc5e_s
Francis
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
A familiar figure appears on the Home Page of the British Library.
See under Latest news:
http://www.bl.uk/
Francis
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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
as a 'successful essay', what on
earth would an unsuccessful essay be like?
I look forward to hearing Dave Shaw's recomposition of the piece. We can then
compare it with Askew's own.
Francis
On 17 Jul 2011, at 13:47, Dave Shaw wrote:
Francis Wood said;
I must say, I greatly prefer Gilbert Askew's re
On 17 Jul 2011, at 14:10, Francis Wood quoted John Gibbons:
If the NPS offered a trophy of a silver cup full of beer for anyone playing
W on the W verbatim from memory . . . .,
Just as an afterthought, John, . . . were you suggesting that the cup full of
beer be awarded before, or after
On 17 Jul 2011, at 13:47, Dave Shaw wrote:
The question must therefore be why did Askew choose to re-write the tune or
could he not see what should have been staring him in the face either.
Perhaps there are two distinct questions here. So here's an attempt at two
answers:
- The
, at 23:11, Dave Shaw wrote:
Francis Wood wrote;
I'm not convinced that this is anything else other than nonsense. It starts
familiarly but then goes completely mad ( a brief allusion to 'Il est né, le
Divin Enfant' creeps in) and goes all over the place. I agree, though . . .
a very
On 15 Jul 2011, at 09:48, Matt Seattle wrote:
I am fascinated by the 'soup' that accompanies traditional tunes, the
lore which has its own reality but is different from 'facts'. It is not
inconceivable that Shield composed the Morpeth Rant; I have seen no
evidence that convinces me he
On 15 Jul 2011, at 10:41, Francis Wood wrote:
Few people would now play Miss Forbes' Farewell to Banff at the speed Isaac
Cooper intended it, as a slow song.
I think history and evolution have been fairly kind to Isaac Cooper. A lively
'Miss Forbes' Farewell' is a cracking tune!
Other
On 15 Jul 2011, at 10:41, Francis Wood wrote:
Finally, there is an odd, tenuous and completely inconsequential connection
between Shield and Morpeth.
. . . .and another odd, inconsequential and irrelevant fact in the present
discussion. Shield is buried under the same stone as Salomon who
scene agree?
Francis
On 15 Jul 2011, at 11:55, barr...@nspipes.co.uk wrote:
Quoting Francis Wood oatenp...@googlemail.com:
Another 'traditional' tune, J.L Dunk's Whin Shields on the Wall was
unplayable nonsense when given to the NPS in a literate-looking but
impossible manuscript
On 15 Jul 2011, at 14:48, Dave S wrote:
The Arethusa is from a musical farce called Lock and Key and in the British
Minstrelsy the melody is assigned to Shield.
Hi Dave,
That's interesting!
More here:
http://www.contemplator.com/sea/arethusa.html
Francis
To get on or off this list
On 15 Jul 2011, at 16:59, Gibbons, John wrote:
But it's so free-form that it sounds like he was drunk when he wrote it.
H . . . Dunk and disorderly.
Francis
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On 15 Jul 2011, at 12:29, Francis Wood wrote:
. . .and another odd, inconsequential and irrelevant fact in the present
discussion. Shield is buried under the same stone as Salomon who 'brought
Haydn to England' as the inscription states:
. . . Even more oddly, inconsequentially
On 11 Jul 2011, at 13:05, Gibbons, John wrote:
Are there any essential stylistic features that this attempt at a description
misses?
Wiktionary helpfully gives:
From Dutch ranten, randen (“talk nonsense, rave”).
Can anybody help to clarify the difference between a Rant and a Rave?
Or at
there be two forums? Are they both open to the general
public?
Many thanks,
John
On Fri, Jul 1, 2011 at 2:03 PM, smallpi...@machineconcepts.co.uk wrote:
And an even better case for posting it on the NPS forum (its open to non
members)
Quoting Francis Wood oatenp...@googlemail.com
On 4 Jul 2011, at 08:10, Edric Ellis wrote:
Here's my somewhat plodding effort.
I really like this. Very neat, very musical. Actually, I prefer the tune
un-ranted, though I've enjoyed the other versions.
I recorded this mostly so I could listen back for my own education,
As Robert Burns
Wot, no comments? This certainly deserves some appreciation!
Nice account, John. Very toe-tapping.
I particularly admire your very economical finger movements. A very good basis
for effective closed-fingering and it certainly shows up well in the playing
here.
Congratulations!
Francis
That would work very efficiently . . . in fact, probably too efficiently.
Wouldn't it be better to leave it to the individual writer to decide whether
they want their addition to the forum announced on Dartmouth?
And isn't there a facility for the individual reader to opt in to an email
alert
Thanks Julia. A really helpful response.
I'm in favour of your suggestions.
Francis
On 4 Jul 2011, at 14:23, Julia Say wrote:
On 4 Jul 2011, Francis Wood wrote:
The Dartmouth list is for anyone interested in Northmbrian Small-pipes.
It is administered and monitored entirely from
Dear Anthony,
I should probably keep out of this. However . . .
So I've just re-read this from a few days ago:
I am the vile editor of the NPS Journal who changed the title of Anthony's
article without his consent and I have apologized to him privately and will
publish a full apology in
On 1 Jul 2011, at 20:39, david...@pt.lu wrote:
How about posting the article here? There are lots of people who are
interested but are not NPS members
Hi Dave,
I think you've made quite a good case here for joining the NPS.
Francis
To get on or off this list see list information at
On 1 Jul 2011, at 21:44, barr...@nspipes.co.uk wrote:
However, how long does video persist on Utube?
Easy for the account holder to remove videos from YouTube videos , as the help
pages indicate.
Will our hesitant attempts at playing still be floating in the ethernet in
2525.
On 30 Jun 2011, at 08:15, John Dally wrote:
Here are a couple of youtube items that already fit the bill for July.
[1]http://www.youtube.com/watch?v=iHBO8CGAIeQfeature=related
[2]http://www.youtube.com/watch?v=VKC0ZoVqfzUNR=1
What's your take on the tune?
Hi John,
Two very
On 30 Jun 2011, at 09:22, smallpi...@machineconcepts.co.uk wrote:
I agree with francis. Another mangalisation this time using the Uillean
pipes as the weapon of choice.
http://www.youtube.com/user/disinpass#p/a/u/0/dkK4_tcPaG8
And, guessing from the size of those arms, he's using the UP
, at 11:50, Anthony Robb wrote:
-- On Thu, 30/6/11, Francis Wood oatenp...@googlemail.com wrote:
It's a lot easier to play Roxborough Castle in dotted rhythm, as is
done here. I prefer it played absolutely straight, which is really very
challenging. A commonly played tune which
On 29 Jun 2011, at 18:06, Julia Say wrote:
I see the copy digitised was donated to NLS by Dorothea Ruggles-Brise - she
of
pulling Dixon out of the flames fame.
Not famous enough for me to have heard of her . . . so what's the rest of this
interesting story?
Francis
To get on or off
On 24 Jun 2011, at 12:24, cwhill wrote:
Imagine some guy sitting watching his goats playing a shawm, getting out of
breath (and they do take a lot of puff) and thinking I have a cunning plan.
Hi Colin and all,
Goats are pretty clever creatures and apparently have been playing bagpipes
On 26 Jun 2011, at 13:23, cwhill wrote:
I wonder what the bag is made from then - a shepherd perhaps?
Interesting idea! Perhaps make shepherds pie from the other bits?
Francis
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Hello Barry and others,
Well this is certainly interesting.
Firstly can anyone (i.e you, Julia!) throw any light on Fenwick his
background?
Was Mr. Fenwick right?
I think he was, in the 1885 context of the aims of that tutor and the
unfamiliarity of the instrument.
I would suggest a
On 23 Jun 2011, at 11:20, Julia Say wrote:
The most important thing in a tune is the spaces between the notes, not the
notes
themselves.
This is also consistent with the musical principles of the composer Bruno Heinz
Jaja, demonstrated by the musicologists Dr Klauss Domgraf-Fassbaender
On 23 Jun 2011, at 12:01, barr...@nspipes.co.uk wrote:
Fassbender offers some grudging compliment to Schoenberg
So he does!
The essential difference between Schoenberg and Proper Piping is that in his
case it was a 12 tone row, whereas in the recent discussion (Proper Peacock
Piping) it
On 22 Jun 2011, at 09:31, christopher.bi...@ec.europa.eu
christopher.bi...@ec.europa.eu wrote:
Word's spellchequer used to suggest fellated for filleted.
Further light has thus been thrown on the term 'codpiece'
Francis
To get on or off this list see list information at
On 22 Jun 2011, at 09:39, christopher.bi...@ec.europa.eu wrote:
What would you say was the opposite of legato.
Ooooh, I'm not going there!!
Saying that something is _not_ the opposite of another is only one assertion.
Saying what _is_ an opposite requires a number of bold and foolhardy
On 21 Jun 2011, at 10:38, christopher.bi...@ec.europa.eu wrote:
now that I'm emerging from the doldrums
Doldra, surely?
Francis
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Hello Julia and others,
I like this reply very much. This has been a good thread and a great
endorsement of the varied interests which emerge from and return to the
discussion of our favourite instrument.
It's also a good demonstration of both the value and the disadvantages of this
list
On 21 Jun 2011, at 14:54, Tim Rolls wrote:
Popapoms would be the Australian version then?
Well, which country is this? :
Poppadom, Poppadom Pom Pom Pom . . .
Francis
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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
On 21 Jun 2011, at 23:13, barr...@nspipes.co.uk wrote:
PS my spellchecker offered as alternatives to 'stratocaster': 'toastmaster'
or castrated. Ah! the wonders of a digital age.
Don't know about 'toastmaster', but 'castrated' is a proper musical term.
In Italian, that is.
More seriously,
On 20 Jun 2011, at 09:34, christopher.bi...@ec.europa.eu wrote:
However, I think we differ over the harpsichord's ability to
play 'long-sustained'.
I was having this discussion with my wife the other day (she plays keyboards
rather better than I can), so I went to the harpsichord
On 17 Jun 2011, at 09:24, christopher.bi...@ec.europa.eu wrote:
I reckon being dead is an even greater impediment to hearing them played now.
Well, if he hadn't been the late Beethoven, how could he have composed the Late
Quartets?
Francis
To get on or off this list see list information
On 17 Jun 2011, at 12:39, cwhill wrote:
I'm thinking here of the closed fingering techniques, one finger off at a
time, no choyting etc.
Hi Colin and others,
The closed-fingering technique derives much more from the nature of the
instrument rather than any opinions about style.
Since the
Hello Richard,
I think we pretty much agree.
Who, for example, would want to play Rothbury Hills in a staccato manner?
(Who, indeed would want to play RH in any manner whatsoever, some might
interject.)
However it was composed by a significant piper who happened to be the official
piper to
On 17 Jun 2011, at 14:14, ch...@harris405.plus.com wrote:
The Uilleann pipe chanter can be, and often is, played closed, by resting
the chanter on the knee.
It's possible, but more difficult, to get just as clean, detatched playing
as with nsp.
However this isn't seen as a fundamental
On 17 Jun 2011, at 21:44, barr...@nspipes.co.uk wrote:
The sound of skeletons copulating on a corrugated tin roof.
Rattling the parrot's cage with a toasting fork is another.
What a good thing nobody would ever say anything so cruel about our magnificent
instrument. Positive remarks only,
Positive remarks only, about it's neatness of execution.
When I said it's, I hope it's obvious that its real meaning was its.
Francis
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Hello Dave and others,
I see things a little differently.
Two things have happened here, the first being a move to have opinions,
information and other resources made permanently available in the form of a
forum. This is currently happening in the NPS Forum and the Traditional NSP
Forum
Well the day the NPS starts dictating how I have to play my pipes will be the
day I pick up my chanter and drones and go home. I certainly don't want any
elders of that church telling me about being boiled eternally in hot oil (of
any variety) because of my fingering technique - (forgive me)
Without wishing to disadvantage any geese, might this be an opportunity to
resolve the recent discussion on Facebook concerning the use of goose quills as
drone reeds?
Francis
On 1 Jun 2011, at 09:23, Julia Say wrote:
Could anyone planning on coming to this (Sat 18 June)
a) let me know
On 29 May 2011, at 09:40, Anthony Robb wrote:
It's such a pity that this part of the tradition (which was in some
ways a truer and longer tradition than the Clough one) is not only
ignored but actively denied in some quarters.
Someone once said 'A language is a dialect with an army'.
On December 10, 1929, Stanley Kennedy North gave a talk to the Musical
association in London. With him was Tom Clough who played his own 17 key
chanter. Kennedy North had brought an unfinished 18 key chanter (additional G
key) which he was himself making. However on this occasion he played a 7
On 28 May 2011, at 00:13, Julia Say wrote:
They are also well aware that there is a playing tradition that we all strive
to
continue and develop, each in our different way.
I agree . . . a case of taking the Clough with the Smooth really.
Francis
To get on or off this list see list
Hi Richards (both of you good folk!)
I rather agree with Adrian that this kind of discussion is best held in a
dedicated area.
Some people are passionately interested in this aspect of piping, whilst others
will find it totally boring.
The problem with Dartmouth is that it is very difficult
On 24 May 2011, at 08:25, Anthony Robb wrote:
Are they rivalists as well as revivalists?
Oh, just taking a detached view . . .
For enquiring minds the best demonstration of true detached fingering technique
is Helen Fish's admirable video:
http://www.youtube.com/watch?v=O7paLft9_ms
Since I've never felt the urge to compete, perhaps I shouldn't really comment.
But from what I've observed, the competition element in the NSP world is
nothing like that in GHB piping.
It seems to me that NSP competition is far more about participation in
traditional events and receiving some
On 24 May 2011, at 11:04, Gibbons, John wrote:
Free-reed instruments in Europe are only a half-century or less younger than
keyed NSP, mind
Well OK . . a good point.
But concertinas were infants at a time when smallpipes had an ancient lineage!
Francis
To get on or off this list
On 24 May 2011, at 13:12, Richard York wrote:
Love and piece indeed... did you have any particular piece in mind this
month, Francis?
Well, as a matter of fact, yes!
The last 'piece' I played was 'Handel's Water Piece', a duet arrangement of
Handels 2nd Water Music Suite (the Ouverture),
On 24 May 2011, at 20:24, Matthew Boris wrote:
I'm sensing a Judean Peoples' Front vs. Peoples' Front of Judea
schism here...
Excellent!
What has the NPS ever done for us ?
Francis
To get on or off this list see list information at
On 23 May 2011, at 21:28, Mark Stayton wrote:
Is this different than the Proper Northumbrian Pipers group?
It's a slightly different chapel but we worship the same God.
Francis
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On 19 May 2011, at 22:28, Anthony Robb wrote:
Here she is playing with Emily Hoile at the Chantry Museum last night
Definitely the right kind of Hoile . . .
Lovely item, Anthony! Got any more?
Francis
To get on or off this list see list information at
Saves messing around with those fiddly reed things.
And you can probably play in E maj. No problem!
Francis
On 18 May 2011, at 09:33, Tim Rolls wrote:
Hi All,
Fed up with carrying around those heavy old Northumbrian smallpipes in their
bag? Learn to play the Scottish smallpipes instead.
On 18 May 2011, at 09:05, Julia Say wrote:
There was also a lively discussion with another person at the time
as to whether it was adequate.
I can imagine that it was lively!
But as to whether or not any pipe-making book can be adequate, that depends
entirely on what one expects.
A good
On 12 May 2011, at 16:00, cal...@aol.com wrote:
You'll note that flutes, shawms, sackbutts (gotta love that name) and other
instruments that are directly mouth-blown are far more prone to
cracking,
Flutes and shawms, yes. But sackbutts, definitely no!
Francis
To get on or off this
On 10 May 2011, at 14:08, Rob Say wrote:
My thought is that there aren't enough long chanters and extended range
players to form a solid judgement at the moment.
I agree totally, Rob. And would add only this: that there are even
fewer'extended range players' than there are 'long chanters'.
On 4 May 2011, at 09:52, Matt Seattle wrote:
Also, I wonder whether the keywork added by Dunn was 'chromatic' at
this stage, but others will know more about this than I do.
Hi Matt,
I think the problem with this text is that it allows some ambiguity. It's true
that Dunn was the first to
Paul, if you mean acoustic effects . . . probably nothing audibly detectable
resulting from minor warping.
If the warping has resulted in a mismatch between the tenon and socket,
permitting a small leak, that's another matter.
It would probably be true to say that all wooden artefacts warp, as
indications are that it is excellent!
Bob
- Original Message - From: Francis Wood oatenp...@googlemail.com
To: julia@nspipes.co.uk
Cc: Dartmouth NPS nsp@cs.dartmouth.edu
Sent: Thursday, February 10, 2011 2:38 PM
Subject: [NSP] Re: Tuning/pitch
On 10 Feb 2011, at 13:43
Interesting speculation there, Julia.
One notable thought is the difference between modern and earlier-centuries
perception of this matter of the work marks in the bore. They are very common
in Reid instruments which all show an extraordinary degree of craftsmanship.
I've just had a look
On 10 Feb 2011, at 13:43, Julia Say wrote:
a small depression could surely catch a sound
wave at a funny angle and cause it to behave in a less than theoretically
perfect
manner
It's really much more like the effect caused by a tiny irregularity in a tooth.
It seems massively more
On 9 Feb 2011, at 07:20, Paul Gretton wrote:
So in fact the variety of pitches for the NSP is extremely traditional! Two
hundred years ago it wouldn't have been thought in any way remarkable.
Hello Paul and others,
I must say, I disagree here.
It's often forgotten that the the NSP of two
On 9 Feb 2011, at 15:11, Paul Gretton wrote:
I would assume that the Reids worked to a chosen pitch standard in the same
way as did Silbermann or - more relevant here - the Hotteterre gang.
And at least the Hotteterre gang had the sense to pitch their instruments a
whole tone below modern
On 9 Feb 2011, at 16:02, Anthony Robb wrote:
Hello Francis, John and others with the stamina to keep reading this,
The puzzling thing is that we have had two reports in recent postings
of Reid sets happy to play up near F# (for example Billy Pigg) and yet
Andrew Davison's Reid set
(for anyone puzzled by this discussion, one cent is 1/00 th of a semitone. So
20 cents is 1/10th of a whole tone, or 1/10th of the difference between C and
D.That's not a subtle difference, of course!)
On 7 Feb 2011, at 17:26, Julia Say wrote:
Shortly after Andrew Davison took over the 17 key
On 7 Feb 2011, at 13:03, Gibbons, John wrote:
Reid pipes were generally made sharper than the current F+;
close to modern F# in many cases, so Francis and Graham tell me.
Yes, that's right. Or to be more precise, Reid pipes play most happily at F#
using (and insert italics here) the most
On 17 Jan 2011, at 13:00, Margaret Watchorn wrote:
I suspect both these tunes are based on the old north Northumbrian air 'The
Throttlin' of the Reeds/Reids'
Margaret, I think you're probably right.
The problem with Rotting of The Cotton Threads is the question: why would
anyone want to do
,
Richard.
On 15/01/2011 00:07, Francis Wood wrote:
A Strathspey, surely?
Francis
On 14 Jan 2011, at 23:57, gibbonssoi...@aol.com wrote:
Is 'The rotting of the cotton threads' the title of a tune I haven't
learned yet?
To get on or off this list see list information at
http
Paul, this largely depends on what the pipe-maker has used in the first place.
Shellac would be an appropriate material for antique pipes, fulfilling two
functions, both as an adhesive and a gap-filler. In this case the material
would be solid shellac rather than in solution which will
On 15 Jan 2011, at 14:44, Paul Scott wrote:
It is a set made in the 70's by my godfather who followed Colin ross's
designs and advice. I used a hot hair dryer and pliers to pull off the
ferrule and I think there is shellac underneath. So if I applied the solution
and then allowed it to
On 14 Jan 2011, at 11:31, Julia Say replied:
( a while ago i remember there was some discussion of oils. . .)
And then another one, and then another one. Its one of the
recurrent topics.
It's one of those things that has no definitive answer. Almost every option has
a
On 14 Jan 2011, at 20:07, barr...@nspipes.co.uk wrote:
If we are going to discuss possible effects of mineral oil (liquid paraffin)
on thread
Yes, there's been a lot of interesting discussion about that but why on earth
would anyone want to use liquid lubricant on thread or anywhere else
A Strathspey, surely?
Francis
On 14 Jan 2011, at 23:57, gibbonssoi...@aol.com wrote:
Is 'The rotting of the cotton threads' the title of a tune I haven't
learned yet?
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
, Francis Wood wrote:
Colin, are you using composite drone reeds or all-cane ones? Adjustment
techniques will, of course differ.
Whatever you're using, I'd check the drone itself as a priority, checking
that everything is sealing correctly (tuning beads are often suspect), that
the bore is clean
Colin, are you using composite drone reeds or all-cane ones? Adjustment
techniques will, of course differ.
Whatever you're using, I'd check the drone itself as a priority, checking that
everything is sealing correctly (tuning beads are often suspect), that the bore
is clean and smooth, and
On 7 Jan 2011, at 23:56, Gibbons, John wrote:
I will be going back to the site for a 2nd helping once the headache's gone
away.
This is what happens.
After the initial shock you go back. In my case, quite a lot.
It's best heard on Spotify, though all the tracks can be downloaded here:
On 8 Jan 2011, at 10:11, Julia Say wrote:
N'brian music with pizzazz. Or as it is known in my immediate circle, with
b*ks. Music with Rocks in... (Pratchett!)
Well said!
And passion. So sadly lacking in some places I can far too easily think of.
Whoever it is has a huge enthusiasm
On 8 Jan 2011, at 14:37, Alan Corkett wrote:
Adults with amusia
Now then.
Does this describe an absence of any sense of humour?
'The Ill -Tempered Piper' perhaps?
As for drones, can't someone develop the Hard Anger pipes.
Same as NSP's mostly. Except that the drones are in tune
Francis
Colin, the thing you recall is Rob Say's Northumbrian Smallpipes Simulator:
http://www.milecastle27.co.uk/simulator/
I'm sure that Rob might reply himself, omitting to say how absolutely brilliant
it is.
So I shall do so instead.
Francis
On 7 Jan 2011, at 18:53, Colin wrote:
This talk of
Two hornpipes as you've never heard them before -
The Wordsfail Hornpipe followed by Loudrocks.
http://stash.alonetone.com/mp3/13649/Redesdale_Proudlocks_Hesleyside-WyrDGeneS.mp3
I must say, I really like this.
To find out more, Google 'Wyrdgenes'
Francis
To get on or off this list see
I think the discussion was really about the best that can be heard in
Northumbrian piping.
Random timing and poor intonation can be heard in abundance whatever the
instrument and has nothing to do with NSPs in particular.
Rather than dwelling any further on mediocre musicality, I'd rather
On 19 Dec 2010, at 12:55, Richard York wrote:
It would be interesting to know how many people, either within the North
Eastern fold or out of it, were first inspired by hearing Mr Pigg's playing,
though.
Well, me for a start.
Knowing almost nothing about traditional music, and never
On 19 Dec 2010, at 15:47, Gibbons, John wrote:
Good luck to any intrepid souls attempting the yomp on Boxing Day!
It might be a chilly one!
Yes, it will depend on the conditions.
Title for a new march there . . .
'Yomp and Circumstance March' perhaps?
Francis
with apologies
To get on
On 17 Dec 2010, at 16:44, Tim Rolls wrote:
Discuss!
One of the most remarkable qualities of this paper is Doubleday's extraordinary
talent for using a colossal number of words to say absolutely nothing of any
importance.
A very narrow bore, in my view.
Perhaps I'm being too unkind to him.
On 15 Dec 2010, at 12:05, Gibbons, John wrote:
But Rob illustrates a simple feather duster - the 17 keyed ones are musically
far more versatile...
Is that a Peacock feather duster?
Francis
To get on or off this list see list information at
BBC Radio 7 is broadcasting 'The Secret History of Bagpipes' at 14.30 today
Described as 'Tom Morton investigates Pipes and Politics', this item may be of
interest to NSP players.
Francis
To get on or off this list see list information at
1 - 100 of 227 matches
Mail list logo
