On Tuesday 10 July 2001 13:54, you wrote:
> Wendy Galovich wrote:
> This is obvious if you're going to break the tempered scale down to that
> degree.
>
> Comment:
> 1. What is obvious?
..U.. the statements you made in the paragraph to which I was responding:
that in a literal sense it is im
Just a small point ...
I was looking through my old digests for a couple of references and noticed that
every digest since 29 March has been numbered "V1 #420". Has anyone else found
this? If so, Toby are you aware of this?
David South,
Geelong, Victoria, Australia.
Posted to Scots-L - The
Wendy Galovich wrote:
This is obvious if you're going to break the tempered scale down to that
degree.
Comment:
1. What is obvious?
2. I didn't break anything down. The ratio 1.059 is by definition the
interval of a semitone in the equal tempered scale. More about this
later.
Anselm Lingnau wrot
Message text written by INTERNET:[EMAIL PROTECTED]
>I hope that he did list them somewhere because I'd hate to think the
"dozen more" are lost or forgotten. Here's ten:
The Marchioness of Huntly
Aboyne Castle
The Countess of Crawford
James O Forbes Esq., of Corse
John McNeill's Reel
The
>> Mom left nothing but trash, mostly, but this one book crawled out from under
>> a pile of magazines and papers and caught my eye. It is not dated. Called
>> "Scotland Calling in 50 Scottish Songs", it has both staff notation and
>> sol-fa. For someone who has only a vague knowledge of sol-fa, t
[EMAIL PROTECTED] wrote:
>
> Speaking of old books, I found one in my mother's house. (She died recently,
> quite tragically, in an auto accident, so if you think my book is a
> pointless, useless piece of garbage, please don't tell me.)
>
> Mom left nothing but trash, mostly, but this one book
Anselm Lingnau wrote:
>
>
> As a pianist, I don't know what to make of all this varied-interval
> business. On the one hand, I'm half glad that I don't have to worry
> about it; on the other hand it seems that I can't really play Scottish
> music, which I think is a pity :^(
>
The use of crush
Wendy Galovich wrote:
>
>
> There is a recording floating around, of Mary MacDonald playing MacLean's
> Farewell to Oban, where she is hitting the C's and G's *exactly* between the
> sharp and natural position (I tried playing along with this a few times
> because I wanted to be sure I understo
On Tuesday 10 July 2001 00:26, you wrote:
>
> My comment:
> It does turn up in other fiddle traditions.
> The Connecticut and Massachusetts fiddlers cannot be playing,as you say,
> in the tempered scale because that is impossible on the fiddle. That
> would require each ascending note in the chrom
[EMAIL PROTECTED] (SUZANNE MACDONALD) writes:
> That is why a piano tuner has to achieve
> this objective by listening to the interplay between repeated fifths
> and fourths. Even employing this method and with infinitely more time
> than a fiddler has to play a single note, it has been demonstr
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