Ah yes, I remember it well - even in the same city, whack!
C
I was the one who sang interminable unaccompanied ballads. My sister was the
other one.
I also almost got murdered by Barry Halpin for singing "with God on our side"
at his club.
Ah, madcap youth!
c
>-Original Message-
>From:
Thank you, Barry.
I approached this message with trepidation fearing it might be a disclosure of
the "awful truth" about one of people I most admire on this planet.
Instead it was a long-overdue tribute to Kathryn's genius written by a person
qualifed to judge.
At last.
Thank you again.
chirs
>A bad player puts people off the instrument and also teaches
>you the "wrong" was to play.
I'd agree with the second part of this statement but not with the first as I
can remember that many years ago when my technique started to improve a certain
professional folk singer, who was my brother-
>
> [1]http://www.youtube.com/watch?v=O7paLft9_ms
>
> Enjoy!
Luverly. Let it bleed!!!
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< Maybe your violin teacher was teaching you classical style along
with the good basic violin technique, and the classical style was
impeding your traditional style.
I don't think so, but there's no way of knowing. I've never claimed to
be a "good" player of anything (I would de
>"The learner should note that the staccato style of playing
>should not be
>overdone.
>Excessive cutting of the notes though at times lending a meretricious
>brilliance to a performance,
>is not in accordance with good small-pipe style"
>
>It is interesting that this was le
>James Galway playing tin whistle used to be alarming,
>though the Chieftains taught him a better, more fluid, style
>subsequently.
Only heard him doing so once and this was back in the early Cretaceous or
thereabouts.
Your description of the "better" style as "more fluid" suggests that he fel
>That passage describing and naming ornaments was clearly
>lifted from 'classical' tutors for other instruments.
>It does not discuss how these ornaments might be fingered, for example.
>Have you - has anyone - had Fenwick - ever heard a turned
>shake on the NSP?
>The description of staccato is r
Praps some would prefer oil of vitriol.
Just kidding.
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood
>Sent: Tuesday, May 26, 2009 7:50 AM
>To: pipers list
>Subject: [NSP] What oil to use?
>
>Can anybody suggest a sui
Dear all,
Very interesting, and thanks for the link.
A choyte at 00.02 and again at 00.09, a slurred, or near as dammit, low f#
grace note at 00.07 (and similar things near the beginning of the Keel Row -
e.g. the very first two notes and the F# to G at 01:37).
JA's accompaniment to BI is down
closed-end chanters and keys like that upstart Peacock ;-)
>It was keys that came in in his time.
Praps I should have put a comma after "closed-end chanters" to preclude
any misreading.
I think my point about the tradition is clearer than my punctuation
tho
czirz
--
>popularised by the media. As is KT.
Maybe, but not in my case. I haven't lived in Britain for decade and
she has not to my knowledge ever once been mentioned in the local media
where I live (and I can't be bothered reading newspapers). I just got
to know her through her CDs (after
Tee hee!!!
>-Original Message-
>From: Francis Wood [mailto:muse...@tiscali.co.uk]
>Sent: Thursday, May 28, 2009 10:57 AM
>To: BIRCH Christopher (DGT)
>Cc: Dartmouth NPS
>Subject: Re: [NSP] Re: smallpipes
>
>
>On 28 May 2009, at 09:26,
> > wrote:
>
>> I also think Bach, Berg and the Bea
Is this as dangerous as it looks?
Tho in the present context it's probably safer than admitting to liking KT ;-)
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Dave Shaw
>Sent: Wednesday, May 27, 2009 7:42 PM
>To: nsp@cs.dartmouth
How imaginative! And how many instances of the same joke? I lost count.
Is Boy George also guilty of choyting, or was his crime of a minor nature?
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Rick Damon
>Sent: Thursday, May 28,
Hello again Francis,
Here's scan of the Burney I mentioned.
I can see his arguments, mutatitis mutandis, as those of the hardline NSP
traditionalists turned on their head.
I wonder if you perceive the parallels too?
I can bore you at great length on them should you wish ;-)
Csírz
Btw, thanks a
Maybe Dartmouth filtered the attachment.
c
>-Original Message-
>From: Philip Gruar [mailto:phi...@gruar.clara.net]
>Sent: Friday, May 29, 2009 10:59 AM
>To: BIRCH Christopher (DGT)
>Subject: Re: [NSP] No kind of knowledge of the expressive power
>
>Chris, Please don't tempt us with
It certainly did this time!
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of
>christopher.bi...@ec.europa.eu
>Sent: Friday, May 29, 2009 11:06 AM
>To: phi...@gruar.clara.net
>Cc: nsp@cs.dartmouth.edu
>Subject: [NSP] Re: No kind of k
Here's the text with a few OCR error:
About the beginning of the seventeenth century madrigals which were almost the
only compositions, in parts, for the Chamber, then cultivated, seem to have
been suddenly supplanted in the favour of byers of Music by a passion for
FANTASIAS of three, four, fi
I've heard the story - probably apocryphal - that Billy wrote it when
sheltering from the rain in a shed/barn with a leaky roof and that as the rain
got heavier the drips got faster. There again, Billy always tended to get
faster
FWIW
C
>-Original Message-
>From: lute-...@cs.dartmou
>
>I got quite a surprise last time I recorded myself playing -
>it was far
>too fast for my liking
Related anecdote:
Once while setting up for a gig, music playing in the background included a
very fast and flashy version of Orange Blossom Special (not on the pipes!).
When I asked who was pla
Interestingly (to me at least) classical musicians and critics tend to use
"preserving the dance character" (of, say, Bach's partitas for solo violin) to
mean "not playing too slowly". My experience of playing for dancing (morris,
scottish, rocknroll) tells me it should mean "not playing too fas
regret, and I think this is due to too much music reading.
>
Sorry, but I think it's just advancing age. It gets us all ;-(
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>The "flatness" and mechanical playing problems which many
>people perceive
>with "playing from dots" is only inevitable for people who
>struggle with the
>reading, and those who think that the dots represent *exactly*
>how music
>should be played.
I would endorse this (and the rest).
c
O
>when I've had more practice I'll be able to
>read whole bars at a time.
The ability to read (and hear in your mind's ear and feel in your fingers) in
increasingly large chunks just comes with practice - providing you go about it
in the right way to begin with.
The extreme case is that of the
I was dissuaded by my maker from getting a top Bflat. Good sense, I never would
have used it.
I got a top C instead, which I've never used. No criticism of the maker implied
here.
So we're immediately down to 16.
Strangely enough, I never use the low Csharp
As for low Dsharp, I might use it m
>don't let anyone talk you out of getting low C#.
But if you do get one, I would recommend getting it on the opposite side of the
chanter from the B and the D - it's hard to do a run over three consecutive
keys!
I know this is contrary to the normal practice of some highly respected makers
(wh
I reckon you'd be better of writing it out by hand. This is what Mozart or Tom
Clough would have done.
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of The Red Goblin
>Sent: Friday, July 31, 2009 8:43 PM
>To: nsp@cs.dartmouth.edu
>or at least what I
>thought was the
>easy option and eventually came round full circle and did them (and
>still do them) in long hand.
Thank you, Michael, for this info. I've always got the impression that all this
Midi, Abc, Sibelius stuff is probably more laborious than long hand.
You've s
> Yes. Just read it down one note without writing it out.
>You'll soon get
> used to it and acquire a valuable skill.
>
Best suggestion yet!
c
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Ah yes, taking the plunge in the first place.
Though, Michael Dillon said he has sucked them and seen.
Maybe it's a personal temperament/aesthetic thing. Like fact that we're playing
pipes and fiddles rather than synthesisers or riding choppers rather than
Goldwings.
>
>Errr.sorry, could yo
Indeed!
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Dave Shaw
>Sent: Friday, August 07, 2009 2:40 PM
>To: Dartmouth NPS; Anthony Robb
>Subject: [NSP] Re: GUTS?
>
>"Among traditional musicians nothing is so noticeable as
>the absen
Variation in
>interpretation is what
>music is all about so play the tune the way you want to and don't be
>brought down by the fundamentalists.
Hear hear!!!
CB
Anyone know what pijpen means in Dutch? (I do).
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Ian & Carol
>Bartlett (home account)
>Sent: Tuesday, October 20, 2009 12:33 PM
>To: nsp@cs.dartmouth.edu
>Subject: [NSP] Re: The Power
Let's just say it's not an Italian film director ;-)
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of
>christopher.bi...@ec.europa.eu
>Sent: Tuesday, October 20, 2009 12:38 PM
>To: i...@ihug.co.nz; nsp@cs.dartmouth.edu
>Subject: [NSP]
>
>Whilst we're there, I'm certain that any French speakers will advise
>against a careless translation of 'pipe-making'.
>
Same thing. I hadn't been aware of the French expression, but it's in Petit
Robert.
c
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Karen reckons that to play accordian well you listen to excellent
>playing on flute, fiddle, almost anything other than box, and try to
>incorporate their characteristic sounds into the accordian,
>rather than
>just trying to play good accordian.
I reckon proper pipers could learn a lot about
Is that THE Neil Smith?
Wa schon, schéi gréiss aus Lëtzebuerg!
csirz
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Neil Smith
>Sent: Wednesday, October 28, 2009 1:14 PM
>To: nsp@cs.dartmouth.edu
>Subject: [NSP] Old Guy
>
>
> Lovel
Modern
>(new research) concert instrumentalists, starting as children
>now learn
>their instrument by ear for the first few years, when they have learnt
>the instrument and some of its' possibilities, they are introduced to
>the dots and in so doing create a happy medium and a happy player.
Akcherly it's "gréiss", as in "Gréiss Darling".
c
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Sorry, this should be "shay grice" and indeed Dave should have used an acute
accent on the "e" in both words - schéi gréiss.
It's Luxembourgish for - literally - "beautiful greetings", corresponding to
the German "schöne Grüsse". Yes, the dots and strokes do matter for the correct
pronunciatio
Oops, deed mer leed nach eng kéier, it should have been "shay grace" not
"grice".
Grease is not the word.
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of
>christopher.bi...@ec.europa.eu
>Sent: Wednesday, November 04, 2009 12:57 PM
Hi Neil!
Just phoned my good Luxembourgish lady to check, and we indeed have it.
I'll send you a scan 2moro
Csírz
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of neil smith
>Sent: Wednesday, November 25, 2009 3:29 PM
>To: Dartmout
>
> I'd still appreciate it if Chris could send the scan,
>though, as I seem
> to recall that version had harmonies.
>
I no longer own the Christophory book (gave it away) but the version my good
lady has located so far was in a school book sans harmonies. But she thinks it
might have harmo
Speaking of keys, maybe you can retrofit a few more.
Csírz
Maat et gudd mais net ze dacks
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Well Ruggiero Ricci says that when he was 15 he played the Ernst concerto for
Heifetz, who was duly impressed but commented "but you need to be able to
sight-read it". I suppose one has to practise like hell to get the technique in
the first place and then just keep on playing whatever comes alo
Well said, Sheila!
Those who damn "classical musicians" are usually in fact damning their own
misconceptions of them.
There is a big difference between the people who have received some sort of
"classical" training but wouldn't be able to play anything without dots in
front of them, and then do
Hear hear!
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Victor Eskenazi
>Sent: Tuesday, December 01, 2009 11:16 PM
>To: Anthony Robb
>Cc: cwh...@santa-fe.freeserve.co.uk; nsp@cs.dartmouth.edu;
>gibbonssoi...@aol.com
>Subject: [NSP
Stephen:
>
>The lack of 'improvisation' runs inline with the omnipotence of the
>composer and bigger orchestras in Romantic period. Hard to improvise
>in this context!
True.
>
>But is this really decline, or the 'rot set(ting) in'???
>
Well it was the loss of a skill. Whether it was the "ro
John:
>I haven't damned 'classical musicians' at all.
I wasn't accusing you personally of damning classical musicians. Sorry if it
came over that way.
Some people, including some who should no better, do damn classical musicians,
however, and even take a pride in their own inability to read th
I actually agree with all this, but I for one have received the reply
"no, we're trying to get away from that" when I asked a well-know Irish
musician if he could read music.
I have also heard a well-known singer dismissing classical players with
the phrase "the buggers couldn't do
starts at 2.58
-Original Message-
From: lute-...@cs.dartmouth.edu on behalf of Steve Bliven
Sent: Fri 1/1/2010 7:40 PM
To: Marianne Hall; oatenp...@googlemail.com; List - NSP
Subject: [NSP] Re: NSP item on BBC Radio 4
Nope, still there. Have to wait through some other
>If you are playing in a church I'd suggest Northumbrian small
>pipes (alternatively 'smallpipes' or 'small-pipes' . . . there
I'd agree with this suggestion (and the spelling smallpipes, coz they're not
just any old pipes that happen to be small).
I also think it's more conventional to writ
Reminds me of a limerick a friend of mine composed in response to an expensive
lot of hot air from a rip-off outfit called Time Manager International that I
and my colleagues were obliged to attend many years back.
A time manager from L.A. (or something that rhymes with day anyway)
Was planning
[1]http://www.youtube.com/watch?v=jedd2FiZTqM
--
References
1. http://www.youtube.com/watch?v=jedd2FiZTqM
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I have it on good authority from several Irish persons that the name of
the Irish language in English is "Irish".
In Irish it's "gaeilge". "Gaelic" is normally reserved for the language
of Scotland "Gaeilge na hAlban" (or Gh`aidhlig in Scossgallic)
Csirz
>-Original Message-
sic transit gloria mundi
an alternative is: we had a rough weekend crossing but the next day was
fine.
c
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at least you know your brass from your oboe!
-Original Message-
From: lute-...@cs.dartmouth.edu on behalf of Anita Evans
Sent: Fri 2/5/2010 7:57 PM
To: Dartmouth nsp list N.P.S. site
Subject: [NSP] Re: Gaelic Pronunciation - pedantry warning
Matt Seattle wrote:
>
>fidola (which I
>think - is a fiddle tuned like a viola, i.e. a
>fifth lower).
Given that the size of the viola has not been standardised (unlike that of the
violin - body length tends to be around 360 mm, with extremes at 354 and 362) ,
why not just call it a small viola?
c
To get on or
Thanks for the explanation. I think a similar arrangement has been used
on other instruments in the past.
It is strange that I can't find any reference to such a beast on the
Internet, but I did find this:
[1]http://kaczmarek.org/pages/biopage_folder/bio_1.html
Wiki is no
Stringing of "baroque" violins is another can of worms since tension varied
widely according to local conventions and personal preferences. There is also
the question of equal tension versus progressive tension and whether wound
strings should be used for the G and/or D. It is, or at least used
>Would someone care to admit to a close enough acquaintance
>with a female baroque
>violinist to safely enquire about her knicker elastic?
I'm working on it ;-)
c
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Never tried Infeld. I'm not too keen on the medium dominants but the heavies
work well for this purpose.
Heavy Evah Pirazzi or Obbligato might do a good job too. I use the mediums on
my normal fiddles.
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmout
>> This is interesting to me as I have an unreconstructed
>baroque violin from about 1820
>
>Sorry Tim, but it ain't baroque . .
True, this is very late to be referred to as baroque, but if it's
unreconstructed it's probably closer to the baroque setup than a real "modern"
violin. Maybe it w
I have a smallish fiddle with a neck very similar to what is seen on "baroque"
instruments. I have been told by a luthier friend, however, that it probably
doesn't even predate 1900.
I don't think makers and players have ever been all that conscientious about
fitting in with the history books ;-
as a musical instrument!
That's debat(e)able! ;-)
c
Your Meaning May Vary then?
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Julia Say
>Sent: Tuesday, April 06, 2010 10:23 AM
>To: NSP group; Richard York
>Subject: [NSP] Re: Jack Dodd, OT: acronyms
>
>On 6 Apr 2010, Richard York w
>todays' world.
How many todays is that? Or is this what passes for punctuation in today's
world? ;-)
The text ain't that bad. An obvious typo, wrong tense, superfluous spaces and a
bit of wordiness.
I'd suggest the following revision.
>*
>The Bagpipe Museum has been housed in Morpeth's m
mis-tuned drones with the Saymulator.
You can hear it on some recordings of real pipers too! Not to mention the
chanter out of tune with the drones.
If the cap fits ...
c
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>Curiously enough, the last sentence of the original is correct, the
>organisation is called the Society of Antiquaries of Newcastle
>upon Tyne.
Oops, I hadn't been aware of that. Thx.
c
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notorious for his ' dripping tap" gacing style, which
>we eventually learned was called choyting.
I'd always understood the "dripping tap" style to be choyte-free piping with
the notes dutifully spat out one after another.
csírz
To get on or off this list see list information at
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- we should perhaps
>think of a (dissonant) e resolving down on to the d of a G
>major tonic chord,
Very well put!
c
John Gibbons wrote:
>
>>the reprint edition has a typo in the
>> penultimate strain, the 1st bar beginning
>>
>> g/f/|egB egB...
>>
>> instead of
>>
>> g/f/|egd
BTW, does anyone know whether the omission of the dot after the first quaver
in, for example, the last bar of the first strain was a convention of the time
(given that there was not much music around in 11/16 time) or just an error?
c
To get on or off this list see list information at
http:/
John Gibbons wrote:
>the reprint edition has a typo in the
> penultimate strain, the 1st bar beginning
>
> g/f/|egB egB...
>
> instead of
>
> g/f/|egd egB ...
>
> as in Peacock itself - see FARNE or the facsimile.
>
> The typo gives an e minor flavour which doesn't belong, I fe
Bit over the top isn't it? And anyway the monkeys and their trypewriters (sic)
are a fallacy. You'd long have exhausted the number of particles in the
universe before you got close to having an infinite number of anything.
Infinity is, er, big.
c
>-Original Message-
>From: lute-...@cs
The link from the rant to Gaughan's main page doesn't work. Somebody being
clueless, I assume.
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Richard York
>Sent: Wednesday, November 17, 2010 10:41 AM
>To: NSP group
>Subject: [NSP]
It says Helen Fish at the end, so I assume it's Paul Rhodes ;-)
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Julia Say
>Sent: Wednesday, November 24, 2010 10:05 AM
>To: NSP group; Richard Evans
>Subject: [NSP] Re: How to play North
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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
flow.
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> two best instruments in the world.
You forgot the viols!
>I have always been moved by music and it affects me often at a
> physical level. Not just bringing me to tears when it is
>beautiful but
> also hurting when it's not right.
I can sympathise with this. Personally, I find bad tuni
>
>The first tune I ever did this with was Crooked Bawbee, as
>suggested by Bill
>Hume. It worked well for me, I didn't get bored with it.
>Helen
Yup, great tune and one that like even the way I play it myself.
It's a healthy exercise on the tightrope between beauty and
sentimentality/kitsch
When I first started David Burleigh kindly pointed me in the direction of the
first four tunes in Derek Hobbs' Folk in Harmony, Book 1:
Morag of Dunvegan
Leaving Lismore
Queen Mary
Believe Me
Highly recommended for beginners.
C
>-Original Message-
>From: lute-...@cs.dartmouth.edu
Nice one John!
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Gibbons, John
>Sent: Thursday, January 06, 2011 9:50 PM
>To: Anthony Robb; nsp@cs.dartmouth.edu; rob@milecastle27.co.uk
>Subject: [NSP] Re: Concertina Tuning
>
>"Oth
> out of tune drones (and this
> unfortunately is the norm it seems to me) do little to enhance the
> music. This is true even in the most surprising quarters i.e. modern
> recordings where retakes could be done fairly easily to
>correct this.
I was starting to wonder whether I was the o
'Your pipes are more suitable for solo playing' perhaps?
nice!
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More than a third of a tone in old money.
er, semitone?
c
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> Adults with amusia
Now then.
>Does this describe an absence of any sense of humour?
I would have thought rather an irrepressible sense of humour!
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oops, sorry, of course. overhasty is my middle name ;-(
c
__
From: gibbonssoi...@aol.com [mailto:gibbonssoi...@aol.com]
Sent: Sunday, January 09, 2011 2:12 PM
To: BIRCH Christopher (DGT); a...@bcorkett.freeserve.c
I'm afraid I can't help here, but I have a related query.
Can anyone explain the significance, if any, of the shapes?
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Philip Gruar
>Sent: Monday, January 10, 2011 2:37 PM
>To: Dartmout
>If your question is why those
>particular
>shapes - I have no idea.
No, it was why shapes at all? because if you remove them you are left
with conventional notation. (I have perused a copy, but unfortunately
don't own one).
As you say:
"people who didn't read music much
>There's still though the question 'why?'. I'd have thought if a person
>has the ability to learn the sol fa and the shapes, it would be easier
>to learn the ordinary notes.
Exactly!
C
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>easier than straining the eye to see if that little black
>circle is an A or a C and how do I then find that pitch on the
>spot.
Fair enough, but for someone whose vision is as bad as mine, it's easier to see
where a blob is (on which line or between which lines?) than to discern the
precise
>I think in France they have a "fixed do" system, where mib
>=Meeflat = Eb
This is correct. At the Conservatoires they teach people to sing the note
names, which I personally find a pointless exercise for various reasons,
including the fact that they miss out the words "bémol, dièse and bécart"
Yup, I can sympathise with all this (especially the bit about unintentionally
rude or nonsensical - I was once warning a class of Germans learning English to
avoid the word "backside" when they mean "back" or "verso" and managed to make
precisely the same mistake myself in German while doing so
Now this is really off-topic but might amuse some. If likely to disapprove,
please delete now.
I was once taking a sectional rehearsal for the viola in the student orchestra
at the Luxembourg conservatoire (where they use the French system) when I found
myself "translating" the rehearsal marks
thanks, John, though I confess I still don't see it. I haven't got anything
like absolute pitch but I have got very good relative pitch and I find the
intervals are perfectly clear from conventional notation - which is what you
are left with if you take the shapes away.
I suppose it's just a mat
I actually rather like the 2nd viennese school version, especially with the
15/16 bars at the end of strains!
c
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Gibbons, John
>Sent: Monday, January 17, 2011 4:12 PM
>To: 'NSP group'
>S
Ouch!!!
>-Original Message-
>From: lute-...@cs.dartmouth.edu
>[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Ian Lawther
>Sent: Tuesday, February 01, 2011 5:09 AM
>To: nsp@cs.dartmouth.edu
>Subject: [NSP] Bewicks "German Spa"
>
>I've just noticed a tune called "German Spa" in Bewick and
> I put this down to my pipes being tuned with G as their
>home key, as it
> were,
This is probably it, as you probably (I hope) have your pipes tuned in
more like just intonation than equal temperament. So your nominal B,
for example, will be very flat as the second degree o
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