the special quality of the smallpipes is that they can be played in tune
But unfortunately often aren't, even by respected players! If the cap fits...
csirz
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what
Northumbrian pipes can do better than any other; that precise
delivery of detached notes with duration and silences perfectly timed.
But unfortunately the obsession with detaching the notes sometimes lead to the
durations and silences being somewhat random - thus destroying the rhythmic
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
Hello inky-adrian,
This is interesting and thought provoking, but I would like to have your
insight on where, and how, the precision can be found and appreciated.
At my level of fumbling I need all the help I can get to begin to feel
the phrases the composer unconsciously put together to make
There is no more expression in those who can play the detached method with
feeling.
This seems an odd statement from one such as Adrian. Is there a word missing?
E.g. than ... (... in those who can play the detached method with feeling)?
Or shouldn't the word no be there?
c
To get on or
Talking about expression outwith the context of tone, technique and rhythm is
like talking about tone as detached from tuning. The most moving performances
are always a combination of all three. One may play the greatest expression in
the world, but if it is on an instrument the is not well
We've been at risk of straying onto the which instrument is best?
territory here, methinks, but Jim's points are right, to my mind.
And they bring me a few more thoughts which I hope are useful and not
merely pompous!
Some instruments are easier to make an acceptable sound on than
Richard York wrote a very thoughtful posting ending:
And yes, a really good player can make a poorer [insert instrument name
here] sound better, and a music-less player is never going to make
anything sound wonderful, but I do feel there are too many
instruments
of
Na - keep it up! Far better than a boring silence and complacency :)
All this reminds me of a sermon we once heard preached at a massed
Morris event, by Father Kenneth Loveless, the concertina (previously
owned by Wm Kimber) playing Rector.
The essence of it was that Spirit was the most
: 20 December 2010 07:21
To: inky-adrian
Cc: Dartmouth NPS
Subject: [NSP] Re: Doubleday
On 6 Dec 2010, at 01:14, inky-adrian wrote:
Expression is emphasised in precision.
Well, I think that says it perfectly, really.
There are many things the pipes can't do. No dynamics. A relatively limited
(I've missed a day on this, while I was daft enough to honour a gig in
Hampstead: 1 hr 40 there, 7 hours 20 back. The joys of the soft south!)
You're absolutely right, John.
It is, to adapt an earlier comment, pointless comparing apples and potatoes.
But since we've mentioned it
I was
On Sun, Dec 19, 2010 at 12:55 PM, Richard York
[1]rich...@lizards.force9.co.uk wrote:
for me hearing Billy Pigg (interesting how often his name crops up
in this) playing the Wild Hills of Wannie just Did It ... a seed
was set
Yes
--
References
1.
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
group nsp@cs.dartmouth.edu
Sent: Sunday, December 19, 2010 2:55 PM
Subject: [NSP] Re: Doubleday et al
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 and teaching that I
ordered a set right away.
Sheila
-Original Message-
From: Richard York rich...@lizards.force9.co.uk
To: John Dally dir...@gmail.com; NSP group nsp@cs.dartmouth.edu
Sent: Sun, Dec 19, 2010 7:55 am
Subject: [NSP] Re: Doubleday et al
(I've missed a day
The pipes are a brilliant but not capable of the highest level of
expressiveness.
Anthony, go wash your mouth out with soap!!
Helen
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Hello all
this instrument does not lack ability, it lacks players who can't play in
the correct method; not many can do that. Expression is emphasised in
precision. I'm not here to delineate. There is no more expression in those
who can play the detached method with feeling.
To get on or
One thing I like about NSP is the way vibrato alters the colour, rather
than the volume of a note.
You can emphasise higher harmonics this way, and Billy Pigg seemed to
use this a lot in The Lark in the Clear Air, for example.
As for apples and potatoes - in Cologne they have
, gibbonssoi...@aol.com gibbonssoi...@aol.com
wrote:
From: gibbonssoi...@aol.com gibbonssoi...@aol.com
Subject: [NSP] Re: Doubleday
To: cwh...@santa-fe.freeserve.co.uk, nsp@cs.dartmouth.edu
Date: Saturday, 18 December, 2010, 12:35
One thing I like about NSP is the way vibrato
; gibbonssoi...@aol.com
Subject: [NSP] Re: Doubleday
John, I know what you mean. I also think that fiddle and pipes in duet
are a Northumbrian version of 'Himmel un Aed'.
If I may rewind the discussion and with particular reference to the
Chris Ormston's Blackbird, I have to say it is a far
I'll think more on what he meant when I have more time!
For expression - I quite agree with you on fiddle tunes.
On the other hand, there are expressive tunes written primarily for
pipes, surely, where they sound superbly best on pipes?
And it is truly hard for anyone to make them work with
: [NSP] Re: Doubleday
I'll think more on what he meant when I have more time!
For expression - I quite agree with you on fiddle tunes.
On the other hand, there are expressive tunes written primarily for pipes,
surely, where they sound superbly best on pipes?
And it is truly hard for anyone
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