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bagpipe-digest        Tuesday, August 31 1999        Volume 01 : Number 033




----------------------------------------------------------------------

Date: 19 Aug 1999 05:30:36 GMT
From: [e-mail] (Bagpiip)
Subject: (bagpipe) Re: Smallpipes with ceilidh band - make/volume/key?

>Interesting to hear all of this. The problem we have is in getting the
>volume out of the PA. The pipes are so quiet

Quiet?????   That's a first!!! LOL
Contact the "antipyper" (formerly of) or someone from seven nations. They
were/are the best people to ask for advice on amplification, since they are the
best.
Les or Shawn can help you via private emails with your questions.




Bill
Mar a bha, mar a tha,
mar a bhitheas gu brath,
ri traghadh's ri lionadh.

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------------------------------

Date: 16 Aug 1999 03:59:20 GMT
From: [e-mail] (Zudupiper)
Subject: (bagpipe) Re: memorizing tunes

>The Rule: You must, as a separate activity, establish/identify a sufficient
>number of handles and decision points in every tune

Yes!

There comes a time (in learning a new tune) where I've got it probably 85-90%
right, but the other 10-15% wrong (usually because of different phrase
endings).

Everything else is in place, and I can feel the music, except for these 2 or 3
or 4 little places where notes or timing are different.

I constructed a little set of "hooks" by analyzing the music, writing it out,
using yellow highlighters and blue highlighters, different colors, etc to
indicate the trouble areas.  It works.

But there is ALWAYS this phase that I have to go though with any new tune.  The
"hooks" make the phase a little shorter.

Good posting, Rich!

Zu

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------------------------------

Date: Thu, 19 Aug 1999 14:24:12 -0500
From: Mike Talcott <[e-mail]>
Subject: (bagpipe) Re: Smallpipes with ceilidh band - make/volume/key?

Steve:

Here is the Article from Evertjan, as posted on the UP list, by his permission.

______________

Being on this list for some time now I've seen a lot of topics before...
This one is discussed two times allready.
So this is an old article I wrote in the fall 1997 issue of Iris na bPiobaire,
if put it
allready on the list a year ago but here is it again for those who missed it or
have recently
joined the list.
It's long be warned.

Plug in your Pipes
copyright 1999 Evertjan 't Hart

What if amplification is needed? Well, then you might really have a problem. The
problem is,
that the average soundman has no experience with the uilleann pipes at all, or
for that matter,
with acoustic instruments in general. Give them a rock band and they'll do a
great job, but
they have no clue at all how the pipes should sound. Most of them will see and
hear the
instrument for the first time, so they're not really to blame. Anyway, if you
would like the
audience to hear your instrument as it should sound, you'll have to take the
matter into your
own hands. It's not wise to argue with the soundman. You'll need him for the
duration of your
concert so you better keep it friendly. But don't let him tell you how your
instrument should
sound either!

One of the problems is, that what you hear on stage through the stage monitors,
is completely
different from what the audience will be hearing, so there's no reference here.
Often there are
two separate systems running. The PA for the audience, and the monitors for the
musicians on
the stage. If you're not performing solo, make sure a member of your band checks
the sound
off stage.

The P.A.

For those pipers among us with no knowledge about the subject I'll explain in
short the basics
and the jargon of a PA. PA stands for "public address" and is a sound system
very similar to
the hi-fi systems most people have at home. It's different because the
components are
separated; bigger and much more powerful. In the case of a basic set-up there's
a mixing
console,
effect units, power-amps, speaker cabinets, microphone's, stands and lots of
leads.

The mixing console is used to reduce all the different sourcesùchanter, reg's,
drones, fiddle,
guitar, etc., etc., to a stereo signal that is then sent to the amplifiers. It
is also used to
mix effects to the original signal. Effect units may vary, but there will be
equalizers,
crossover filters, compressor/limiters, delays, reverbs, etc.

Microphones Versus Transducers

To amplify the chanter there are two ways to go. The first, and best, is using a
good
microphone. The second is to use a transducer.

First the microphones. There are basically two type of mics, dynamic mics and
condenser mics.
If you have the choice take the condenser type. They are far better than the
dynamic ones. So
if you have to work with the available equipment on stage, you know what to
choose. Whatever
you do try to avoid using a Shure SM58 or similar mic because they are designed
for vocals
and to be used at very close range. They have a boost in the mid-range which is
great for
screaming hard rock singers, but a disaster for the rich harmonics of the
chanter. You will see
a lot of those mics because they're cheap and indestructibleùyou can drive a
nail into a piece
of African blackwood with it and it will still works! So, if you want "total"
control, the
best thing to do is to buy your own mic and always bring it with you.

The mic I use is an AKG C3000, a large membrane condenser mic. A large membrane
mic gives a
much "warmer" sound then a mike with a smaller membrane. I use an AKG because
it's the cheapest
large membrane I know of, but any brand will do. You can generate even more
control if you add
a preamp and a reverb-unit to your setup. In a mic situation I use the AKG C3000
as a mike
for the chanter, a Behringer "Super gain" (a two channel high-quality preamp)
and a Alesis
reverb. The use of your own reverb unit gives you the opportunity to make two
reverb presets.
One for the "slow stuff" and one for the "fast stuff. "

Using this type of setup you can feed the mixing console with a high quality,
balanced signal
already colored with reverb so you can bypass the EQ of the mixing console. It's
best that you
do this, for you don't need the EQ due to the high quality of your setup. Make
sure that the
soundman presses the defeat button for your channel on the console. If you
don't, he will
probably boost the treble because he is more or less deaf in those frequencies
thanks to years
of working with high sound levels.

Placement

Place the mic in a position so it can pickup the back D. About 20 cm from the
chanter.
Experiment until you get all the notes more or less equal in volume. The mics
for regulators
and drones are off less importance; any good mic will do. It's a good idea to
cut the treble
for the drones so that you'd get a nice bass sound.

And now for the transducers. This can be very scary for the "purists" among us,
so be warned!
If the sound levels on stage are getting too high the use of a mic will result
in feedback. You
know that high pitched screaming howl! It's caused by a sound loop. The sound
from the monitors
is picked up by the mic, amplified and fed back to the monitors, picked up by
the mic,
fed back...etc., etc., resulting in the feedback. (Whatever you do, don't try to
cover the mic
with you're hand. It only makes it worse.) The sound level wig only get that
high if you're
playing with very loud instruments like drums or electric guitars. If you're in
a situation
like that and you would like to hear what you're doing, then the use of a
transducer might be
the thing for you. Transducers are commonly used among stringed instruments.
They are little
piezio (crystal) pickups and are glued on the instrument in order to amplify it.
Piezio
transducers have a very low output signal so they must be placed where the sound
is produced.
In our case that's on the chanter reed. You can glue it on the staple or on the
reed head
depending
on the type of reed and the type of transducer you use.
 Many types are suitable, but I use a Barcus Berry so I wig refer to this brand.
If you would
like to glue the transducer to the staple use the Barcus Berry clarinet/sax
model 1375. Before
you rush to your dealer be aware of the fact that you'd have to do some
modification to your
chanter. You'll have to route or file a groove for the lead in the piece of the
chanter (the
reed Seat) that fits into the chanter headstock. (This is done at your own
risk!!) Fortunately
the lead is only 2 mm thick so it's not that bad. Remove the hemp and make a
groove deep enough
to fit the lead. (fig. 1) Replace the reed and measure how long the lead must
extend below the
reed seat to reach the place where you want to attach it. Remove the reed and
add new
hemp enclosing the lead. You can attach the transducer to the staple with the
adhesive that
comes with the transducer or you can use waxed hemp or waxed dental floss. (fig.
2) After you
replace the reed and the headstock make sure the lead with the connector at its
end is not too
long. It must be long enough to bend back in a loose loop to be attached with
electricians
tape to the headstock.

Remember, when you are using a transducer it is not quality you're going for,
but loudness.
There is no way you can use a transducer without some device to correct the
outcoming signal.
Piezio-transducers have the tendency to emphasize the high frequencies, so you
need an
equalizer to correct this. Because of the low signal output you need a preamp as
web. I use the
same
Berhinger "Supergain" I mentioned before, to boost the signal.

So the basic setup for transducer use can be as follows: a Barcus Berry model
1375, or
something like it, a preamp, as good as you can afford, and an equalizer reverb
unit, or some
other multi-effect unit. If you encounter hum or strange noises when you touch
the lead then a
metal connector against the metal chanter headstock will cure this. This makes
the headstock a
component of the "shield."

With the right equipment it will sound very good. At the last Dranouter Folk
Festival in
Belgium, Davy Spillane and his band played on Saturday evening. His pipes
sounded great
considering the circumstances. His band played very loudùdrums, bass, elec.
guitar, synth. Davy
had built a fortress of equipment around himselfùeffects, pre-amp, monitors,
etc. A pity
because you
could only see him from the waist up. He did not use a mic for his pipes so I
was wondering how
he was able to get this sound with just a transducer. I met Davy the next day,
coincidentally,
and asked him about his setup. He told me that he used an ordinary Barcus Berry
(the
Clarinet/Sax model 1375) and that the secret lies in a very good pre-amp. The
pre-amp he is
using,
from TC Electronics, is one of studio-quality and very expensive. (The price of
a nickel
silver/blackwood full set.) He said that the placement of the transducer is a
matter of
experimentation,ùsometimes on the staple, sometimes on the head of the reed.
This type of
amplification is for him just a way to handle the volumes involved in playing
with a rock band
backup. "If
the volume lets you, use a good mic. "

I agree. Use a mic if the music is too loud for acoustic playing. Use a
transducer if there is
no other way around it. If a transducer can't give you the volume you need to
hear yourself
play, then don't play at all!

Have fun, and if you have any additional questions don't hesitate to contact me.



All the best,

Evertjan 't Hart

__________________________________________________________
Uilleann Pipes Reed Making Guide
http://home.wxs.nl/~HartDD/Reed/reed.html
__________________________________________________________
Fling Homepage
http://home.wxs.nl/~HartDD/fling.html
__________________________________________________________






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------------------------------

Date: 17 Aug 1999 12:30:03 -0500
From: "Matt Buckley" <[e-mail]>
Subject: (bagpipe) Re: bagpipes at Weddings

Matt Buckley <[e-mail]> wrote in article
<01bee8cc$c80202e0$cb025bd1@default>...
>
>
> Mike Phillips <[e-mail]> wrote in article
> <Xafu3.67$[e-mail]>...
> > > Does anyone know of a good article about piping at weddings.
> >
> > Try: http://www.bagpiper.com/information/weddings.html
>
> The bagiper.com article is woefully inadequate.  At the risk of repeating
> comments made in a thread started last fall, but in furtherance of
> addressing my piping pet peeve, I offer the following:
>
> 1.  Weddings are serious business ....

P.S.  Yea, I know.  Most of my points are common sense.
My experience, however, is that many pipers seem to suspend
common sense where weddings are concerned.


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------------------------------

Date: Sun, 15 Aug 1999 11:34:38 -0400
From: madman <[e-mail]>
Subject: (bagpipe) Re: Drone cords: Silk or polyester?

Iain Sherwood wrote:
>
> as a bagpipe dealer, I KNOW that the cords are ALL made in Pakistan; some
> are silk, and some are rayon...as far as quality is concerned, remember that
> ALL pipe banners and regimental colours for the British Army are made in
> Pakistan, where they do the finest gold and silver bullion embroidery in the
> world - using child labour,


Here is is again,,
Nottingahm Braid Company,Derby,England.
Would you like the phone number?
Thats just fine if you want to tell all your customers that bull,
but some of us actually KNOW that ALL cords do not come from Pakistan.
IT would be more accurate for you to say"I KNOW that ALL of my add-ons,
come from Pakistan".

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------------------------------

Date: Sat, 21 Aug 1999 03:01:46 -0500
From: Tad Myers <[e-mail]>
Subject: (bagpipe) Re: bagpipes at Weddings

Chris Hamilton wrote:

> On Wed, 18 Aug 1999 00:51:08 -0400 (EDT), [e-mail] wrote:
>
> >Im assuming that STB is Scotland the Brave....Thats what My entire
> >wedding party including myself and my parents  walked down the isle
> >to...My teacher/pm played it...Slowed it down a little....It was
> >great...Amazing grace would be a bad tune to play...
>
> My wedding next year ...
>
> Highland Cathedral (request of the lovely bride herself)
> When the Pipers Play (ditto)
> Top Deck In Perth (request of the lovely groom)
>
> At my very first wedding gig (my sister, 1974) I think I played Morag
> of Dunvegan.  Probably unrecognizable, and certainly on a hideous
> choking and untuned bagpipe ...
>
> Chris
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> Chris Hamilton -- [e-mail]
> City of Washington Pipe Band
> http://www.serve.com/cowpb/chamilton.html

Had a friend play the Jolly Beggerman at my wedding 10 odd years ago...i
didn't know at the time that tune would foretell the future  :o) Stay
away from "Collins Cattle" also, its not something you want to think
about.
Cheers
Tad


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------------------------------

Date: Tue, 31 Aug 1999 01:58:51 -0600
From: [e-mail]
Subject: [none]



------------------------------

Date: Fri, 06 Aug 1999 19:09:12 GMT
From: [e-mail]
Subject: (bagpipe) Re: Top 10 Hints for Improving

  [e-mail] wrote:
> EVERYONE should listen or read Baz Luhrmann's SUNSCREEN!!

Rubbish!!!!  I took the advice for what it was worth. Most
of it was practical, and it didn't cost me any money.

As for the part about not worrying about tuning my pipes,
how the hell can I tune something if I don't know what I'm
listening for. Right now I'm satisfied with letting my
instructor setting the reeds and adjusting my chanter.

I'm sure when I'm ready, I'll ask how it's done.
I'm sure when I ask, I'll be given the answers.

Dougie Stewart
Fergus, Ont.



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------------------------------

Date: Mon, 23 Aug 1999 13:56:33 -0400
From: Chris Thomas <[e-mail]>
Subject: (bagpipe) Re: questions about smallpipes

What about Anna Murray's (Mhoireach) two CD's (out of hte blud/into indigo). Since
I've nothing to compare them to (as far as smallpipes go) I was wondering what your
thoughts were. (they're two of my favorite cd's).

Iain Cameron wrote:

>
>
> You should listen to Hamish Moore's two vinyl recordings on Dunkeld
> records: -
>         Cauld Wind Pipes  DUN 003
>         Open Ended          DUN005
>
> or the following CDs: -
>
>         Gordon Mooney - O'er the Border - Temple COMD 2031
>         Rab Wallace    - Breakout            - Lismor LCOM 5253
>         Hamish Moore  - Stepping on the Bridge - Greentrax CDTRAX 073
>
> Iain Cameron


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------------------------------

Date: Wed, 18 Aug 1999 19:40:53 +0100
From: "lsrapm" <[e-mail]>
Subject: (bagpipe) Re: Proper kilt height.

dnimmo <[e-mail]> wrote in message
news:[e-mail]...
> Close to fisticuffs in band re differences of opinion on "proper" height
of
> kilt, ie., how much of knee should be showing.  I know there are many
> personal opinions, mine included, but looking for possible sources  that
can
> be presented as some sort of "authority" on or off the internet addressing
> this question. Posts from military type pipe band members quoting their
> dress manuals would be much appreciated.  Similarly, height of hose
> directives would be of interest.
>
> Thanks in advance
>
> David
> Tired of kilt bottoms being lower than hose tops!
>

(Taken from Liverpool Scottish Army Dress Regulations 1968)

The bottom of the kilt should be on a line with the centre of the knee cap,
(ie. just touching the floor when kneeling) and not drooping at the back.

Hose tops: seam at the centre of the back of the calf. With the turnover in
place, the top of the hose should be three fingers' width below the fibia
ball on the outside of the leg. (If using black and red diced hose), there
should be one red square showing in the centre front of the hose turnover
and three red squares showing below, above the spats.

Chris Eyre
Liverpool Scottish Regimental Associaion Pipe Band




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------------------------------

Date: 13 Aug 1999 23:36:28 -0500
From: "Maeve" <[e-mail]>
Subject: (bagpipe) Revised @pin up now.

Just a quick note to let you all know that a new, revised edition picture
is up on my web site. It is by no means finished but closer. And I want to
take a moment to thank the couple of kind gentlemen who are giving me a
hand with this. I don't know if they want acknowledgment for this but I
feel it necessary to tell them myself how much I appreciate them! THANKS!
Life is good and you are making it easier for me! Now if we can just get
The Boss to make up his mind . .. . :) :) The new pin can be seen at:

http://people.delphi.com/terralyn/pin2.jpg
- --
Love and Light be with you,
Maeve
http://people.delphi.com/terralyn
[e-mail]

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------------------------------

Date: Thu, 12 Aug 1999 02:18:41 GMT
From: [e-mail] (Royce Lerwick)
Subject: (bagpipe) Re: HEMP

On Wed, 11 Aug 1999 10:33:39 -0400, madman <[e-mail]> wrote:

>> So the idea has been tested... had its adherents and proponents... and, on net, has
>> been rejected...
>I personally blame Royce!

Only because when it fails you have to send the works out to a pro to
do it "right" and you're the only pro who can do a set of pipes right,
because the conventional service centers for woodwinds haven't a clue
and one tenon is the same as another to them, and a tuning slide is
the same as a tenon. And the top base joint doesn't need to move at
all so that one's different yet.

Royce

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------------------------------

Date: Mon, 23 Aug 1999 20:23:44 -0700
From: "Iain Sherwood" <[e-mail]>
Subject: (bagpipe) Re: Wearing the Cross-Belt

It's for a sword. It's supposed to reach to the bottom of the inverness skirt (if worn on the doublet) or the bottom of the stitching on the kilt.
  Todd Bircher <[e-mail]> wrote in message news:[e-mail]...
  What I think I know in wearing the cross-belt w/plaid:
  It's worn beneath the right shoulder's epilet crossing down to the left hip.  The piper's plaid and the waste belt are worn over the cross-belt.
  My question is:
  What is the additional measure of leather (which has a V-shaped open end) that rests on the left hip for?  Is it supposed to reach down to the top of the thigh?

  Any help will be greatly appreciated.  Thanks





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------------------------------

Date: Thu, 12 Aug 1999 18:37:43 GMT
From: [e-mail]
Subject: (bagpipe) Re: HEMP

In article <[e-mail]>,
  "Blair Piper" <[e-mail]> wrote:
> What are you doing with it? (No joke or nasty insinuation implied).
>
> ....Blair

I use it on O-rings and the rubber parts when overhauling the
regulator.  It's even good to rub it into the hoses to prevent dry-
rotting from UV radiation and salt-water.

On pipes, I use it liberally at the hemp joints.  It doesn't allow the
joint to swell because of moisture.  It also won't chemically react
with any constituent in the blackwood.

Mark


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Date: 17 Aug 1999 21:36:13 GMT
From: "Jeremy Main" <[e-mail]>
Subject: (bagpipe) Re: Top 5 Hints

Rojo2G wrote in message <[e-mail]>...
>>You folks could do with getting your hands on "The Inner Game of >Music".
>You mean theres more to than always starting on the wrong foot?
>



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Date: 27 Aug 1999 23:40:48 GMT
From: [e-mail] (Zudupiper)
Subject: (bagpipe) Re: Highland Cathedral Accompaniment

>Although I've played Highland Cathedral at weddings, I have yet to find a
>good organ accompaniment for it.  Does anyone know where I might find it?

I have an organ setting, but I don't know how good it is.

Zu

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Date: 27 Aug 1999 23:40:48 GMT
From: [e-mail] (Zudupiper)
Subject: (bagpipe) Re: Highland Cathedral Accompaniment

>Although I've played Highland Cathedral at weddings, I have yet to find a
>good organ accompaniment for it.  Does anyone know where I might find it?

I have an organ setting, but I don't know how good it is.

Zu

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Date: Thu, 26 Aug 1999 16:53:28 GMT
From: [e-mail] (Chris Hamilton)
Subject: (bagpipe) Re: US military tartans?

On Thu, 26 Aug 1999 12:11:03 -0000, "Jean Gould"
<[e-mail]> wrote:

>Does anyone know what tartan the US Air Force pipe band used to wear as
>their dress uniform?   Also does anyone know if the US Army ever had any
>pipers and if they had a tartan that was an official uniform?

(a) I'm not 100% sure, but I think the USAF band wore the Mitchell
tartan, in honor of Gen. Billy Mitchell, the bomber pioneer.

(b) I think the 7th Cavalry Regiment had a pipe band in the 1970s ...

Chris
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Chris Hamilton -- [e-mail]
City of Washington Pipe Band
http://www.serve.com/cowpb/chamilton.html

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------------------------------

Date: Mon, 30 Aug 1999 18:27:15 -0300
From: "dnimmo" <[e-mail]>
Subject: (bagpipe) Re: Flag Protocol

.  If I'm in full band uniform
>> (including headgear) what's the proper procedure??  A: Hand over heart,
>> headgear on head.  B: Headgear in right hand, over heart.  C: Stand at
>> attention only.  D: Stand at attention and salute the flag military
style.
>E:
>> None of the above.
>
>B) is correct.  Unless you are active duty military, in which case you keep
>your headgear on, stand at attention and present arms.  Obviously, if
>you're wearing full Scots Guards with the feather headgear, this would be
>a bit inconvenient, so the hand on the heart would suffice.
>
>If you're in formation, stay at attention.
>
>I'm no longer active duty, but I still salute rather than put my hand over
>my heart......not technically correct, but, well, my heart still wears a
>uniform, even if my body no longer does.


Key word may be, " you are in UNIFORM", albeit a band uniform as opposed to
military uniform(but unlike a marching brass band type uniform, you are
emulating a military uniform in a pipe band), and headgear normally isn't
removed out of doors while in "uniform".  National flags, or flags of
nations being honoured at the moment, could be saluted at attention as they
pass without bringing criticism, I would think.
IMHO

David



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------------------------------

Date: Wed, 18 Aug 1999 08:27:11 -0400
From: "jfmc" <[e-mail]>
Subject: (bagpipe) Re: question Re: Military band Horsehair sporrans?...

After you straighten it out - store it hanging but what I also did was I
took an brown paper bag- the kind you get from the food store- and wrapped
it around the sporran just tight enough so that the hair is slightly
compressed - then I used scotch tape to keep this wrap in place  and then I
used a piece of scotch tape from the back of the "paper tube" to the back of
the sporran to keep it from falling off when I hang it.  I have found that
when you hang it up with this "wrap" the hairs stay straight and the sporran
looks great. I got my sporran new 20 years ago and it still looks almost
new!
If you have some time you might want to try this to straighten it out- it
works but it takes probably a week or so depending on how "wavy it is"
Zudupiper <[e-mail]> wrote in message
news:[e-mail]...
> >How do I straighten out the hair so it is as it should be?
>
> You could brush it out and hang it, rather than laying it flat, which is
how it
> got bent in the first place.
>
> I shampooed mine (carefully!) but I still lost a lot of hair.
>
> Always hang hair sporrans, don't lay them flat.
>
> Zu



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------------------------------

Date: Sun, 29 Aug 1999 20:22:54 -0400
From: Alan C <[e-mail]>
Subject: (bagpipe) Re: AC/DC Tune

Don't know about that specific occasion, but the only AC/DC tune in
which I've heard pipes is "It's a Long Way to the Top (If you Wanna Rock
and Roll)" from the album High Voltage.

Peace,
Alan C.

FrankL wrote:

> can anyone tell me the name of the AC/DC tune Gordon Duncan
> played at the Queen's Hall concert in Dunoon?
>
> thanks in advance
>
> frank


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------------------------------

Date: 12 Aug 1999 17:29:06 GMT
From: [e-mail] (Bagpiip)
Subject: (bagpipe) Re: HEMP

> being that if his corked-pipes are lasting at least 5 years,
>then most others will last a lot longer.

OK, how much?
Bill
Mar a bha, mar a tha,
mar a bhitheas gu brath,
ri traghadh's ri lionadh.

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------------------------------

Date: 15 Aug 1999 19:37:49 GMT
From: [e-mail] (Bagpiip)
Subject: (bagpipe) Re: And yet another . . . pin3

>I tried to use a consensus of opinions to create this one.

I like it!
Bill
Mar a bha, mar a tha,
mar a bhitheas gu brath,
ri traghadh's ri lionadh.

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------------------------------

Date: Thu, 19 Aug 1999 12:22:36 -0500
From: Mike Talcott <[e-mail]>
Subject: (bagpipe) Re: Smallpipes with ceilidh band - make/volume/key?

Mike Talcott wrote:

An amazing amount of garbage, but I forgot one point: get a sound guy that listens
to (and likes) what you guys play. Nothing like trying to set up a Celtic band to
sound like AC/DC.


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------------------------------

Date: Wed, 11 Aug 1999 19:57:43 -0800
From: Michael New & Diane Rossmiller <[e-mail]>
Subject: (bagpipe) Re: Top 5 Hints

Royce Lerwick wrote:

> And I've never seen the neighbor's dog crap in my yard, but I know he
> does because it's his crap and there it is.
>
> Royce

So...how do you know it's his crap?  Do you...ehm...smell it, or...no, I don't
really want to know.

Dubiously,

Michael  (Good thing you didn't step in it...)





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------------------------------

Date: Tue, 17 Aug 1999 15:21:50 +0100
From: "AndrΘ Mittun" <[e-mail]>
Subject: (bagpipe) Re: Pin4.jpg . . . sorry!

COOL.......GREAT......

This one is realy awesome, I like it a lot. LOL

AndrΘ

***************************************************
AndrΘ Mittun, [e-mail]
The Heather Pipes & Drums of Copenhagen
http://www.heather.dk



Maeve wrote in message
<01bee8af$f9cdfda0$[e-mail]>...
>You asked for it and I just couldn't help myself! I apologize ahead of
>time.
>
>http://people.delphi.com/terralyn/pin4.jpg
>--
>Love and Light be with you,
>Maeve . .. with too much time on her hands
>http://people.delphi.com/terralyn
>[e-mail]



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------------------------------

Date: Sun, 22 Aug 1999 17:11:46 +0100
From: "lsrapm" <[e-mail]>
Subject: (bagpipe) Re: Proper kilt height.

NREYN wrote
> >(Taken from Liverpool Scottish Army Dress Regulations 1968)
> >
> >The bottom of the kilt should be on a line with the centre of the knee
cap,
> >(ie. just touching the floor when kneeling) and not drooping at the back.
>
> Guess that pretty well answers the question.  However, I have never seen
nor
> heard this question addressed...  Where does one align the top of the
kilt?  At
> the navel?  At the "normal" beltline?  Within one inch of either?

Most of the army issue kilts I have had to deal with
were designed to be worn with braces under a tunic and were intended to be
worn right up to the first rib. They actually taper in up the waist and then
widen out again for the last 2/3 inches. But we have two uniforms ("No.1"
full regimental dress for regimental occasions and certain big parades, and
"No.2" dress (Black Argyll jackets, white hose, etc.) for competitions and
other occasions. You can't wear a kilt like this with an Argyll jacket, so
the first thing we do with them is cut off the top 2/3 inches to bring the
top of the kilt down to waist level.

The navel is the best guide line. Properly positioned, the belt should cover
the navel, and the kilt behind it should reach to the top of the belt.

Chris Eyre





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------------------------------

Date: Fri, 13 Aug 1999 20:51:40 GMT
From: [e-mail] (Royce Lerwick)
Subject: (bagpipe) Re: HEMP

On 13 Aug 1999 15:59:01 GMT, [e-mail] (Jginmd) wrote:


>FO stands for friendly opinion I hope?
>JGS

Figureit Out.

Royce

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------------------------------

Date: Wed, 18 Aug 1999 02:02:48 +0100
From: "Steve White" <[e-mail]>
Subject: (bagpipe) Re: Smallpipes with ceilidh band - make/volume/key?

Interesting to hear all of this. The problem we have is in getting the
volume out of the PA. The pipes are so quiet that even with a powerful PA we
can't get as much volume as we'd like without feedback. We are using a Sure
SM58 through a 8 track mixer, with 3 band EQ, into 2 x 400 watt RMS amp and
through 2 Peavy HiSys speakers (about 800 watts each I think.)

The band is comprised - small pipes, acoustic guitar, electric bass,
electric fiddle, acoustic mandolin (also a problem!), and bohran - all of
which go through the PA.

Anyone got any suggestions on techniques for micing / EQing / cutting
feedback. They would be very much appreciated.
Cheers,
Steve White




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------------------------------

Date: Mon, 16 Aug 1999 11:59:13 -0500
From: Richard Mao <[e-mail]>
Subject: (bagpipe) Re: memorizing tunes

- --------------8992658E5A97320D141A1536
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Ccc31807 wrote:

> This is a critique of Richard Mao's post on memorization.

<snipped>

> >Your subconscious mind plays the tune.... drives the car, manipulates your
> >fingers.... Your conscious mind is like the navigator... reminding the
> >subconscious mind what comes next, when a turn is coming up... whether you
>
> I have to disagree with him, not so much on the practical tips, which are good,
> but on his theory.  There is no "right" way, and each person must find out
> which works for him.  This may not be true for anyone else but me, but this is
> the way I see it.
>
> Learning a tune and playing a tune both must be done by the conscious mind.
> The subconscious mind should have no involvement at all.  If it does, you
> haven't learned the tune.
>
> When you learn the tune, you should do it as an act of your conscious will.
> When the composer wrote the tune, he wrote it as an act of conscious will, and
> the tune has an inner framework or structure, which is unique to that
> particular tune, and makes sense in that particular tune.  If you learn (not
> memorize) the structure, the tune will be truly yours.  Analyze the tune, note
> by note, phrase by phrase, rhythmic pattern by rhythmic pattern, harmonic
> pattern by harmonic pattern, part by part, until you know the tune, and you
> know what it says.  You must work from your mind, rather than your fingers.  In
> the examples given by RM, most (if not all) are examples of the failure of
> muscle memory, and are the result of not knowing the tune.
> ===========================

Hi...  Different strokes for different folks..... Indeed there are different ways
of visualization and implementation of the learning/playing process.... whatever
works for you...
The way I think about conscious playing... is that there will be a certain
limitation to the speed of your playing if you are constantly consciously thinking
about the next note your finger needs to play...before you play it... In this
mode... one slip of the memory and your fingers hesitate a bit before you get back
on track...

Not in contradiction, but in contrast .... the following is a little more
elaboration on how I guide my own learning playing process...an analytical
framework, so to speak...

=============================

Memorization..Draft 2.

⌐1997, 1999 by Richard Mao.
Feel free to copy this work for your individual use in the study of piping. If you
use or republish portions of it in any form for teaching others or distributing to
others, or for commercial efforts, you must secure my permission (generally, all I
want is to know you are using this work and for you to give credit to the source).
This copyright notice must stay with and be reproduced with any copy of this work.

Introduction / Framework


Where in your mind and body does your bagpipe playing come from?

I base my advice on the premise that you play your bagpipes most successfully when
you play from the same ôplaceö as you drive your car.

That is, your conscious mind acts as a navigator, setting your destination,
deciding where to turn, deciding on how fast to get there...but it is the
subconscious mind that is actually driving the car, using hands to steer the car,
using feet to step on the gas and the brakes, using your bodyÆs eyes to look out
for stop signs, traffic lights turning red, pedestrians, and other hazards. Your
conscious mind has complete confidence in your subconscious mindÆs ability to drive
the car...to the point of actually carrying on a conversation with the passenger in
the next seat while the subconscious mind ôdrivesö the car. When your brain has
complete confidence in your fingers, you will be playing ôout of your mind,ö you
will be playing ôin the zone.ö

Another way to think about it, your brain sets the goals but your fingers do the
playing. (You may recognize concepts similar to ôleft brain-right brainö of Betty
Edwards,  ôself one and self twoö of Tim Gallwey. I am drawing from all of these
and choosing the terms ôconscious mindö or ôbrainö and ôsubconscious mindö or
ôfingers.ö)

What, then, is the process of learning. How do you, learn/memorize under this
viewpoint? The conscious mindÆs role is to show the subconscious mind how to play a
tune and then the conscious mind gets out of the way.

First, we must recognize that either the conscious mind or the subconscious mind
can control and manipulate your fingers. I visualize the memorization process this
way:

At first, the conscious mind uses your eyes to read the music and move the fingers
according to the pattern of notes. The conscious mind is ôshowingö the subconscious
mind how this tune goes.

Then comes repetition of the musical phrase (in this context,  a phrase is a chunk
of music that the piper is comfortable with memorizing, e.g. a four-note musical
word, a two-bar phrase, an eight-bar partûall based on the piperÆs current musical
memorization capability). The conscious mind makes the fingers play the phrase over
and over...eventually the conscious mind gets familiar with the tune and its
attention wanders. The subconscious mind reaches out under the conscious mindÆs
finger control and starts manipulating the fingers.

The conscious mind at first resists this takeover and the fingers fumble, the
fingers can lock up....the conscious mind has not developed confidence that the
subconscious mind can do the job. (Imagine a father hanging on to the seat of a
bicycle, running along side while his child pedals the wheels. The kid shouts, ôlet
go, let goö and sooner or later the parent has to let go...the kid might wobble,
but will straighten out and peddle on its own....thatÆs successful learning and
letting go.)



======================================
Ccc31807 wrote:

>
> RM's memory tips were good, and I recommend them.  But I have two additional
> tips:
>
> 1.  The FIRST thing you do, even before you can play the tune, is memorize it.
> You should be able to do this from the music alone, without ever playing it
> once on the pc.  Memorize the tune like you would a poem.  Get it into your
> head before you try to get it into your fingers.
> 2.  Sing the tune.  Put words to it.  Find suitable lyrics from a metrical
> index of poetry.  If you can sing the tune, with words, you can "sing" along as
> you play it, and I guarantee that you will never miss an ending or confuse the
> tune with another tune.
>
> Memory work is to your mind like working out is to your body.  The more you do,
> the more you are able to do.  ......

==========================

Thanks ccc for these additions... For when you have decided to add a tune you have
previewed/played/heard on a CD... to your permanent repertiore.....I agree with
both hints (to my way of thinking you are creating/memorizing the map that the
conscious mind uses to guide the subconscious mind) ..

and I agree especially with the concluding statement... The more you do, the more
you are able to do... Memorization (for almost everybody) is a learnable skill that
improves with practice and increasing exercise of the skill.

Yours in service to better piping.........


A smile on your face is the light in the window
           that lets people know you're at home.(author unknown)

Richard Mao, The Peking Piper ( [e-mail] )



- --------------8992658E5A97320D141A1536
Content-Type: text/html; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Ccc31807 wrote:
<blockquote TYPE=CITE>This is a critique of Richard Mao's post on memorization.</blockquote>
<snipped>
<blockquote TYPE=CITE>>Your subconscious mind plays the tune.... drives
the car, manipulates your
<br>>fingers.... Your conscious mind is like the navigator... reminding
the
<br>>subconscious mind what comes next, when a turn is coming up... whether
you
<p>I have to disagree with him, not so much on the practical tips, which
are good,
<br>but on his theory.  There is no "right" way, and each person must
find out
<br>which works for him.  This may not be true for anyone else but
me, but this is
<br>the way I see it.
<p>Learning a tune and playing a tune both must be done by the conscious
mind.
<br>The subconscious mind should have no involvement at all.  If it
does, you
<br>haven't learned the tune.
<p>When you learn the tune, you should do it as an act of your conscious
will.
<br>When the composer wrote the tune, he wrote it as an act of conscious
will, and
<br>the tune has an inner framework or structure, which is unique to that
<br>particular tune, and makes sense in that particular tune.  If
you learn (not
<br>memorize) the structure, the tune will be truly yours.  Analyze
the tune, note
<br>by note, phrase by phrase, rhythmic pattern by rhythmic pattern, harmonic
<br>pattern by harmonic pattern, part by part, until you know the tune,
and you
<br>know what it says.  You must work from your mind, rather than
your fingers.  In
<br>the examples given by RM, most (if not all) are examples of the failure
of
<br>muscle memory, and are the result of not knowing the tune.
<br>===========================</blockquote>
Hi...  Different strokes for different folks..... Indeed there are
different ways of visualization and implementation of the learning/playing
process.... whatever works for you...
<br>The way I think about conscious playing... is that there will be a
certain limitation to the speed of your playing if you are constantly consciously
thinking about the next note your finger needs to play...before you play
it... In this mode... one slip of the memory and your fingers hesitate
a bit before you get back on track...
<p>Not in contradiction, but in contrast .... the following is a little
more elaboration on how I guide my own learning playing process...an analytical
framework, so to speak...
<p>=============================
<p>Memorization..Draft 2.
<p>©1997, 1999 by Richard Mao.
<br>Feel free to copy this work for your individual use in the study of
piping. If you use or republish portions of it in any form for teaching
others or distributing to others, or for commercial efforts, you must secure
my permission (generally, all I want is to know you are using this work
and for you to give credit to the source). This copyright notice must stay
with and be reproduced with any copy of this work.
<p>Introduction / Framework
<br>
<p>Where in your mind and body does your bagpipe playing come from?
<p>I base my advice on the premise that you play your bagpipes most successfully
when you play from the same ôplaceö as you drive your car.
<p>That is, your conscious mind acts as a navigator, setting your destination,
deciding where to turn, deciding on how fast to get there...but it is the
subconscious mind that is actually driving the car, using hands to steer
the car, using feet to step on the gas and the brakes, using your bodyÆs
eyes to look out for stop signs, traffic lights turning red, pedestrians,
and other hazards. Your conscious mind has complete confidence in your
subconscious mindÆs ability to drive the car...to the point of actually
carrying on a conversation with the passenger in the next seat while the
subconscious mind ôdrivesö the car. When your brain has complete confidence
in your fingers, you will be playing ôout of your mind,ö you will be playing
ôin the zone.ö
<p>Another way to think about it, your brain sets the goals but your fingers
do the playing. (You may recognize concepts similar to ôleft brain-right
brainö of Betty Edwards,  ôself one and self twoö of Tim Gallwey.
I am drawing from all of these and choosing the terms ôconscious mindö
or ôbrainö and ôsubconscious mindö or ôfingers.ö)
<p>What, then, is the process of learning. How do you, learn/memorize under
this viewpoint? The conscious mindÆs role is to show the subconscious mind
how to play a tune and then the conscious mind gets out of the way.
<p>First, we must recognize that either the conscious mind or the subconscious
mind can control and manipulate your fingers. I visualize the memorization
process this way:
<p>At first, the conscious mind uses your eyes to read the music and move
the fingers according to the pattern of notes. The conscious mind is ôshowingö
the subconscious mind how this tune goes.
<p>Then comes repetition of the musical phrase (in this context,
a phrase is a chunk of music that the piper is comfortable with memorizing,
<i>e.g.</i> a four-note musical word, a two-bar phrase, an eight-bar partûall
based on the piperÆs current musical memorization capability). The conscious
mind makes the fingers play the phrase over and over...eventually the conscious
mind gets familiar with the tune and its attention wanders. The subconscious
mind reaches out under the conscious mindÆs finger control and starts manipulating
the fingers.
<p>The conscious mind at first resists this takeover and the fingers fumble,
the fingers can lock up....the conscious mind has not developed confidence
that the subconscious mind can do the job. (Imagine a father hanging on
to the seat of a bicycle, running along side while his child pedals the
wheels. The kid shouts, ôlet go, let goö and sooner or later the parent
has to let go...the kid might wobble, but will straighten out and peddle
on its own....thatÆs successful learning and letting go.)
<br>
<br>
<p>======================================
<br>Ccc31807 wrote:
<blockquote TYPE=CITE>
<br>RM's memory tips were good, and I recommend them.  But I have
two additional
<br>tips:
<p>1.  The FIRST thing you do, even before you can play the tune,
is memorize it.
<br>You should be able to do this from the music alone, without ever playing
it
<br>once on the pc.  Memorize the tune like you would a poem.
Get it into your
<br>head before you try to get it into your fingers.
<br>2.  Sing the tune.  Put words to it.  Find suitable
lyrics from a metrical
<br>index of poetry.  If you can sing the tune, with words, you can
"sing" along as
<br>you play it, and I guarantee that you will never miss an ending or
confuse the
<br>tune with another tune.
<p>Memory work is to your mind like working out is to your body.
The more you do,
<br>the more you are able to do.  ......</blockquote>

<p><br>==========================
<p>Thanks ccc for these additions... For when you have decided to add a
tune you have previewed/played/heard on a CD... to your permanent repertiore.....I
agree with both hints (to my way of thinking you are creating/memorizing
the map that the conscious mind uses to guide the subconscious mind) ..
<p>and I agree especially with the concluding statement... The more you
do, the more you are able to do... Memorization (for almost everybody)
is a learnable skill that improves with practice and increasing exercise
of the skill.
<p>Yours in service to better piping.........
<br>
<p>A smile on your face is the light in the window
<br>           that lets
people know you're at home.(author unknown)
<p>Richard Mao, The Peking Piper ( [e-mail] )
<br>
<br> </html>

- --------------8992658E5A97320D141A1536--


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------------------------------

End of bagpipe-digest V1 #33
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