On Thu, 14 Mar 2002, Derek Hoy wrote:
Bob said:
When I was in high school, we lived at Fort Riley, Kansas, an infantry
post.
They played bugle calls several (15?) times a day. Of course they played
retreat to take down the flag, which was preceeded by firing the howitzer.
Every
This is from a note to a CD by the Household Division (they do the
Changing
of the Guard stuff I think):
-
The beating or sounding of Retreat has its origins in the sixteenth
century
When I was in high school, we lived at Fort Riley, Kansas, an infantry post.
They played bugle calls
Stuart wrote:
The retreat march is not, as Stan suggests, necessarily a march time tune
which would be marched to - as often as not it was played as part of the
evening ritual in the military camp as day duties gave way to night ones.
It
was not linked to the military manoeuvre of
Jack Campin wrote:
I guess these are mostly Amercan tunes, but how do you feel about
rattlers--which are sometimes noted as retreats? Morgan's Rattler
also seems to be kind of speedy, but maybe i'm playing it wrong.
Morgan Rattler is from the 1780s, well before the retreat march was
I guess these are mostly Amercan tunes, but how do you feel about
rattlers--which are sometimes noted as retreats? Morgan's Rattler
also seems to be kind of speedy, but maybe i'm playing it wrong.
Morgan Rattler is from the 1780s, well before the retreat march was
invented. I had no idea it
I find your observations interesting, especially in that a march
usually listed as a retreat like Battle of the Somme seems to
want-- at least for me-- to move along a bit. I guess these are
mostly Amercan tunes, but how do you feel about rattlers--which are
sometimes noted as retreats? Morgan's
Re Stuart Eydmann's recent e-mail on the subject:
I am very interested in the work you refer to which was done by Dr.
Peter Cooke... to explain the internal rhythmic variation in
traditional players which gives the music its particular lift, lit and
drive. Is it available?
Re the issue
Re Stuart Eydmann's recent e-mail on the subject:
I am very interested in the work you refer to which was done by Dr.
Peter Cooke... to explain the internal rhythmic variation in
traditional players which gives the music its particular lift, lit and
drive. Is it available?
Alexander, we
All this stuff about Tempi is sort of interesting. What is right, is not
for me as interesting as WHY certain tempi work. Human Physiology dosn't
vary that much (Dinner plates are the same size all over the world).
Understanding tempi is also about understanding its function.
Marches should be
Several people have commented on the subject of tempi so I thought I'd
also get my two cents worth in. I have been metronoming Cape Breton
fiddlers periodically for more that 40 years. My interest was initially
in attempting to learn why it was that among the best fiddlers, there
were some who
Steve Wyrick [EMAIL PROTECTED] writes:
how does a devisor decide if a dance
should be a jig or a reel? Are there figures that work better for one or
the other or is it just a matter of personal preference? I suppose this is
really a question for the strathspey list!
I suppose so (and feel
On Wednesday 06 February 2002 06:06, Nigel Gatherer wrote:
STRATHSPEYS
Jeffrey Friedman says they dance Strathspeys at 60. I'm not a dancer,
but musically that seems VERY slow to me [3]. JMM states the limits as
between 160 and 188. That upper limit seems fast to me, but nothing
compared to
David Francis wrote:
...Jimmy Shand was renowned for his ability to hit the right tempo
and keep it ticking along...Beware the early Shand recordings though.
They go at an unbelievable lick. One theory is that this was to
accommodate the limited recording space available on the old shellac
Wendy Galovich wrote:
Nigel - Jeff was referring to Scottish Country Dance strathspeys, not
Cape Breton. For SCD aren't the strathspeys supposed to be counted
two to the bar, rather than four to the bar as in Cape Breton?
That's what I'm guessing, Wendy. Jeffrey specifically said quarter
Hi Wendy, Nigel,
On Wednesday 06 February 2002 06:06, Nigel Gatherer wrote:
STRATHSPEYS
Jeffrey Friedman says they dance Strathspeys at 60. I'm not a dancer,
but musically that seems VERY slow to me [3]. JMM states the limits as
between 160 and 188. That upper limit seems fast to me,
Nigel Gatherer wrote:
| David Francis wrote:
| ...Jimmy Shand was renowned for his ability to hit the right tempo
| and keep it ticking along...Beware the early Shand recordings though.
| They go at an unbelievable lick. One theory is that this was to
| accommodate the limited recording
On Wed, 6 Feb 2002, Nigel Gatherer wrote:
As for dancers not knowing the difference between a reel and a jig: why
on earth should they? I can't see that it's very relevant to how they
dance. One plays 2 or 4 notes to the beat, the other 3, but the beat
remains the same, doesn't it?
Nigel Gatherer [EMAIL PROTECTED] writes:
I think as you said we need Anselm or David South to come in with their
thoughts now.
SCD strathspeys are at 116 »ticks« per minute or so if you let your
metronome tick four times per bar. (I'm desperately trying to avoid the
issue of »beats« to the
Anselm Lingnau wrote:
(Nigel, I think, wrote)
As for dancers not knowing the difference between a reel and a jig: why
on earth should they? I can't see that it's very relevant to how they
dance. One plays 2 or 4 notes to the beat, the other 3, but the beat
remains the same, doesn't it?
to a live band, rather than recordings,
and provide us with a real bounty of homemade breads and cookies.
Just my own limited experience.
Jeff
- Original Message -
From: Nigel Gatherer [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Monday, February 04, 2002 4:04 AM
Subject: Re: [scots-l
Steve Wyrick wrote:
...I remember a discussion on the STRATHSPEY mailing list in the last
couple years to the effect that even within recent memory the tempo
of the Strathspey has slowed downSome people said they recalled
that in the mid-1900s the strathspey tempo was more like what we
Hi Nigel, et al,
I'm writing an article about the speed of Scottish tunes using my own
research based on recordings of dance bands, although I've just noticed
that I didn't note any Strathspeys. I've always been under the
impression that a Strathspey would be played slower than a reel,
Ian Brockbank wrote:
| On the terminology side, SCDers do not make many distinctions at all.
| The average SCDer is hard put to distinguish between a reel (simple time)
| and a jig (6/8) - subtleties such as hornpipes are beyond them. In slow
| time, it's just strathspeys, even when they are
John Chambers wrote:
OTOH, some of them understand the differences very well, including
the march/reel/hornpipe distinction and how airs differ from
strathspeys. I know a few dance leaders who are clear when they want
hornpipe tunes rather than reels, mostly because it's
Toby wrote:
| John Chambers wrote:
| OTOH, some of them understand the differences very well, including
| the march/reel/hornpipe distinction and how airs differ from
| strathspeys. I know a few dance leaders who are clear when they want
| hornpipe tunes rather than reels, mostly
John Chambers wrote:
Toby wrote:
| John Chambers wrote:
| OTOH, some of them understand the differences very well, including
| the march/reel/hornpipe distinction and how airs differ from
| strathspeys. I know a few dance leaders who are clear when they want
| hornpipe
John Chambers [EMAIL PROTECTED] writes:
(And the tune for The Yellow Haired Laddie
is actually labelled minuet rather than waltz, though I'd predict
that the Renaissance Dance crowd would object that the tune isn't a
minuet at all. ;-)
It's not a waltz, either. When that tune was new the
Anselm writes:
| John Chambers [EMAIL PROTECTED] writes:
| (And the tune for The Yellow Haired Laddie
| is actually labelled minuet rather than waltz, though I'd predict
| that the Renaissance Dance crowd would object that the tune isn't a
| minuet at all. ;-)
|
| It's not a waltz, either.
-Original Message-
From: Ian Brockbank [EMAIL PROTECTED]
Date: Mon, 4 Feb 2002 14:53:26 -
To: [EMAIL PROTECTED]
Subject: RE: [scots-l] Tempi
Hi Nigel, et al,
On the terminology side, SCDers do not make many distinctions at all.
The average SCDer is hard put to distinguish
Nigel Gatherer wrote:
I'm writing an article about the speed of Scottish tunes using my own
research based on recordings of dance bands, although I've just noticed
that I didn't note any Strathspeys. I've always been under the
impression that a Strathspey would be played slower than a reel,
Steve Wyrick wrote:
Some people said they recalled that in the
mid-1900s the strathspey tempo was more like what we now do Glasgow
Highlanders at, ie around 60-66 BPM.
Oops, I meant 66-68 -Steve
--
Steve Wyrick [EMAIL PROTECTED] -- Concord, California
Posted to Scots-L - The Traditional
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