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bagpipe-digest       Thursday, September 9 1999       Volume 01 : Number 057




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

Date: Thu, 09 Sep 1999 11:07:01 -0500
From: Mike Talcott <[e-mail]>
Subject: (bagpipe) Re: Chanter reed strength?

Zudupiper wrote:

> The two are not mutually exclusive.  If you're struggling, you're working too
> hard.  And there's no reason for that unless you're trying to build endurance
> or you're in a serious upper-level band.
>
> Play any top-level (Open/ Professional) player's solo pipes and see how easy
> they are.  And see what great tone they produce with such a minimal effort.
>
> As Scot Walker says, "It's all about BALANCE, not VOLUME".
>
> Loud pipes are just...loud.  Sweet, comfortable pipes are quieter, but you get
> to hear those great harmonics that really make piping enjoyable.  More than
> makes up for any volume loss.
>

At the Balmoral School I finished playing a piobairachead ground for Jimmy
MacIntosh and he said, "You're reed is too hard." I always considered myself a
medium to medium easy sort, so I said, "Show me what you mean."

I gave him a brand new McGarrity-Ross. He got a sharp knife and started hacking.
Really, it looks like he took a blinkin' hatchet to it. He peeled off cane below
the "heel" both on the outside edges and some on the centerline. He said he was
trying to get "response" or to "free the reed". Indeed he did. I would put this
reed as an "easy" but it drives my chanter, all notes, as well as any hard reed
I've put in, it just doesn't have that glass-shattering volume. Balances nicely.
It's about 30% easier than those "medium easy" Warnocks I've been delicately
shaving out of the box, though I haven't put it on a manometer.

I've tried to duplicate JM's hacking, first using some lesser reeds. It works, but
I don't have the technique nailed yet. I have made some serviceable reeds out of
shit-can reeds, though.

BTW, with a chanter cap and water trap, JM says the reed should last several
years. His do. Mine's doing fine after a month and a half of continuous play.

Mike Talcott



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

Date: Thu, 09 Sep 1999 13:10:52 -0400
From: Chris Hamilton <[e-mail]>
Subject: (bagpipe) Re: Champion of champions

On Thu, 9 Sep 1999 18:35:21 +0200, "Michael Ambech"
<[e-mail]> wrote:

>Who won the champion of Champions award this year?

Bucksburn won the Grade 2 (http://www.bucksburnpipeband.com).

Grade 1 could be interesting ... Shotts won the British and European
early on, but were 2nd at the Worlds, 3rd at Cowal, and 4th at the
Scottish.

Don't know about the other grades.  I suspect Bleary & District won
Grade 3A, though.

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

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

Date: Thu, 9 Sep 1999 16:12:12 -0300
From: "dnimmo" <[e-mail]>
Subject: (bagpipe) Re: Reed Maker Flees Workshop!

Mark Wygent wrote in message
<[e-mail]>...
>Some pipers seem to be confused about some of the fine
>points of tuning and adjusting our Synthe-Drone (TM) reeds.


Well Mark, I do not doubt the sincerity of all of your statements, however
you have not addressed the well publicized characteristic of having to "blow
them in"............we live in an "instantaneous society"  which is very
impatient to many................

Your reeds were NOT "plug n' play" .....I just found that, with the bridles
pulled back enought that the reeds did not stop when used with a medium to
easy chanter reed, I just didn't have the capacity to keep the pipes going
AND think about chanter fingering at the same time.  I installed all three
reeds about 3 weeks apart as I understood that air volume required would
decrease after about 20 hours playing,  but by the time I installed the
third I just couldn't produce enough air

My pipes were NOT leaking, etc.   and with nothing else done other than
installing cane, my pipes again became a pleasure to play.  Albeit, damp,
very cold, or very hot long parades are not the venues for cane reeds.

My comments on the E-Zs are in a previous recent post to the NG(& may have
initiated your post)........I am not super happy with them either, tone
wise, but they have been "plug 'n play" and very easily
adjustable.......very user friendly.

I have no axe to grind.........I have no vested interest, other than to
enjoy piping as a hobby, and if I were not attached to a band thus requiring
dependable drones, I would be quite happy to fiddle with and baby the cane
in order to enjoy their, in my opinion, superior tone.

Sorry if our observations rub anyone the wrong way, any strong statements
made are initiated by NG contributors who state that any one item or product
is "the answer to a maidens prayer"..................there is no one answer,
and it is hoped that readers, by reading all contributions, will get both
the pros and cons of products.

David



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

Date: 09 Sep 1999 19:06:12 GMT
From: [e-mail] (MwinH)
Subject: (bagpipe) Re: Capital District Logo Change

I went to pick up my jacket that had been draped over a chair all day as it was
way too hot to wear it and it looked fuzzy from a distance - turns out it was
just covered in flies. Don't know why they liked it so much - I get it cleaned
often to get the food stains out.

>>It is rumored that the Altamont Games is going to change their logo from
>a
>>hand
>>grasping a mace to a hand grasping a fly swatter.
>>


Martin Hatcher
Albany NY USA

..................................................... "Nine Notes? How hard can
it be?"

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

Date: Thu, 09 Sep 1999 13:19:03 -0400
From: Chris Hamilton <[e-mail]>
Subject: (bagpipe) Re: NRP on Capital District

On Tue, 07 Sep 1999 16:21:20 GMT, Brian Counihan <[e-mail]>
wrote:

>Get the score sheets for the III, two 1st's piping!, 2nd drumming!,
>what 's this 6th ensemble? How the f*ck do you lose a contest due to
>ensemble???

Ask the LA Scots ... tied for 1st with Hydro-Electric Buchan in 1995,
tie broken on Ensemble Preference ... World Championship goes to
Buchan.  Bummer!

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

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

Date: Thu, 9 Sep 1999 08:59:26 -0700 (PDT)
From: Michael Duell <[e-mail]>
Subject: (bagpipe) Re: Henderson Drone Reeds: Help!

Perhaps part of the problem is that when one reed
shuts down, you open the bridle more.  Although
intuitive, this solution is often wrong.

Often I find that by closing another bridle a little,
the pressure to the reeds balances, and they play
together nicely.

Take each drone out, blow on the reed (while in the
drone).  Gradually increase pressure until it cuts
off. If one takes more pressure to cut off than the
others, close its bridle a little until it comes in
line with the others.

When you have the pressure balanced between the drone
reeds, you will find that they take a lot less air,
and don't cut out on you.

Hope this helps,

Mike





- ---neharris <[e-mail]> wrote:
>
>  Message from the Deja.com forum:
>  rec.music.makers.bagpipe
>  Your subscription is set to individual email
delivery
>
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>
> Okay, the year+ I've been at this has been most
rewarding, especially my
> trip this past July to the North American Academy
of Piping in North
> Carolina. But one thing just seems to be
unanswerable by those I find myself
> conversing with regarding Henderson reeds.
> I am having one heck of a time determining at
exactly what point to set the
> bridles. I seem to go either from one extreme
(inevitable shut off) to using
> far too much air. I bought the Hendersons based on
a number of
> recommendations, but I can spend hours getting
nowhere working with these
> reeds to obtain a comfortable level of air flow
while maintaining good tone.
> The bass drone sounds dreadful 90% of the time. I
have been playing a medium
> chanter reed for about 4 months now, and have no
problems here. Any
> suggestions?
> -neh
>
>
>
>
>
>
_____________________________________________________________
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------------------------------

Date: Thu, 09 Sep 1999 15:08:21 -0500
From: Richard Mao <[e-mail]>
Subject: (bagpipe) Re: kid pipes

Hi Ed...

I forgot to include blowpipes in my first response. Thanks for reminding me
that a kid should have a short blowpipe. Both the short blowpipe and
customization of where it is tied into the bag is important...

The blowpipe should penetrate the bag such that the blowpipe mouthpiece goes
straight into the center of the pipers mouth (as opposed to flipping/pointing
away from the pipers mouth).

Peter Crisler makes very nice telescoping mouthpieces. Two models: 7-12 inches
and for the kids... 5-8 inches... you can check them out at
http://home.att.net/~peter.crisler/blowpipe.htm

Cheers

When I die, I know IÆm going to heavenà
     IÆve already been through Hell as a member of a pipe bandà

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


Ed Via wrote:

> My son started at age 7-8 on a set of Gibson fireside pipes. He loved
> playing them and it taught him the mechanics of blowing and squeezing.
> He moved onto the GHB at age 9. Knowing what I know now about how to set
> up a GHB for a kid, he probably could have started on GHB at age 8, if
> not sooner. For a kid/child, you'll need a small bag, short blowpipe,
> easy chanter reed, and a knowledge of how to get it all set-up and put
> together (bag must be "custom" fitted, etc.). It can be done :*)
>


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

Date: Thu, 9 Sep 1999 16:11:46 -0700
From: "Iain Sherwood" <[e-mail]>
Subject: (bagpipe) Re: Comments on Pettigrew  or kilberry pipes?

and the problems magnify with full sized pipes...

IS
Matt Buckley <[e-mail]> wrote in message
news:01befac6$9c2e4820$3d025bd1@default...
>
> A couple of weeks ago I encountered an individual with a new
> set of Kilberry smallpipes.  Tone was very poor, workmanship
> was very poor, and they were extremely difficult to play.  Yet
> the cost was $1,200.00!  That individual ordered a new set at
> North Hero from a well-known maker of fine smallpipes.  If
> the Kilberry smallpipes were any indication of the quality of
> Kilberry GHB, I would suggest avoiding them.
>
>
>
>



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

Date: Thu, 09 Sep 1999 15:29:15 -0400
From: Chris Hamilton <[e-mail]>
Subject: (bagpipe) Re: Capital District Results

On Thu, 09 Sep 1999 17:21:37 GMT, [e-mail] wrote:

>  [e-mail] wrote:

>> On Tue, 07 Sep 1999 20:05:35 GMT, [e-mail] wrote:
>>
>> I wasn't there ... I didn't hear the contest ... but ... as a EUSPBA
>> judge and a Grade 2 (Grade 1?) band player, I'll jump in with some
>> thoughts here ...
>>
>> >Anyone else as confused about the Grade II results at Capital
>District?
>> >For all those who don't know - Niagara Regional Police - 1st,
>Worcester
>> >Kilties - 2nd, Tulach Ard 3rd, Schenectady - 4th, Oran Mor - 5th, and
>> >Saffron Kilts - 6th. Niagara, even being short staffed a bit was
>> >definitely the better band. That being said - the other placings are
>> >way off. Not just one judge making a mistake, but blatantly wrong.
>>
>> I don't think that accusations should be leveled against judges unless
>> you're prepared to name names, including your own.
>
>What - the judges are suddenly never wrong? I don't know the names of
>the judges who were there. My name is not important. I wrote this
>posting to see if anyone WHO WAS THERE agreed with me. I admire you for
>defending fellow judges but you weren't there to hear the contest.

Yes, judges can be wrong ... but we accept that when we enter.  It is
subjective stuff.  I'm sure the bands that WERE in the list felt they
were right ;-)

True enough - I wasn't there ... I just cringe when someone goes on
the 'net saying judges are crazy though.  And I'm familiar with the
bands involved, certainly.  Anything can happen on the day, of course.

> ...

>> > While Worcester has one of the best drum corps in the world, tone
>> >has never been strong.
>>
>> Oh, I don't know, back in the 1960s it was quite good ;-)  ... but
>> seriously the band is improving steadily.
>
>Not touching this one - OUCH!!! ; )

Actually, I meant that as a tribute to the old band which was one of
the top bands on the continent for a good while.  The current band is
rebuilding after years on the downswing.

> ...

>Bottom line I thought it was wrong and apologize if I pissed anyone
>off. But I would like to hear from someone who did hear the contest.

Nah, I'm not pissed, just a little ruffled is all.  (actually the UK
definition of "pissed"  would be a good thing here, eh?).  I shudder
to think if the internet became a "blast the judges" forum it could
really get out of hand.  Don't get me wrong - I've certainly done my
share of head-shaking and bitching, but I try to do it in my little
circle of conspirators   ;-)   And having done a little judging, I
know it's not easy and someone is always going to be annoyed at you.

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

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

Date: Thu, 9 Sep 1999 20:56:13 +0100
From: "lsrapm" <[e-mail]>
Subject: (bagpipe) Re: Warming up before funerals (or not).

One stategy I often use on occasions like this is to keep breathing into the
bag for five/ten minutes before I'm due to play. This is usually enough to
get the reeds moist and warm and very close to where they were when I tuned
up.

Chris Eyre





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

Date: Thu, 9 Sep 1999 16:10:40 -0700
From: "Iain Sherwood" <[e-mail]>
Subject: (bagpipe) Re: Chanterrach

Canntairreachd is traditionally used only in Piobaireachd, but it can be
adapted for use in modern tunes with a little work. An outline of the
notation can be found in each of the Piob.Society books, or in the Kilberry
Book.

IS
Jeff Ramsden (MacLe≥id) <[e-mail]> wrote in
message news:37d81fb7$0$[e-mail]...
> Can anyone tell me a site or book (or even if you happen to know,
yourself)
> the chanterrach expressions for the notes and more common movements
> of tunes?  I'd really like to be able to use chanterrach as well as modern
> notation - I'm kind of weird like that.
>
> Thanks in advance-
>
> --
> ----------------------
> Goraidh (Jeff) Ramsden
> Pacific Region Vice President Clan MacLeod Society USA, Inc.
> Clann MhicLe≥id Le≤dhais (MacThorchadail)
> "I Birn Quhil I Se" - "Vivat Rex"
>
>



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

Date: Thu, 9 Sep 1999 13:53:43 -0700
From: "Jeff Ramsden (MacLe≥id)" <[e-mail]>
Subject: (bagpipe) Chanterrach

Can anyone tell me a site or book (or even if you happen to know, yourself)
the chanterrach expressions for the notes and more common movements
of tunes?  I'd really like to be able to use chanterrach as well as modern
notation - I'm kind of weird like that.

Thanks in advance-

- --
- ----------------------
Goraidh (Jeff) Ramsden
Pacific Region Vice President Clan MacLeod Society USA, Inc.
Clann MhicLe≥id Le≤dhais (MacThorchadail)
"I Birn Quhil I Se" - "Vivat Rex"



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

Date: 09 Sep 1999 21:31:16 GMT
From: [e-mail] (SENDMORESPAM)
Subject: (bagpipe) Re: kid pipes

>I forgot to include blowpipes in my first response. Thanks for reminding me
>that a kid should have a short blowpipe. Both the short blowpipe and
>customization of where it is tied into the bag is important...
>

Ed,
Add these two things to the list I sent you of things we did to help my
daughter adjust to the pipes.
Bill
Mar a bha, mar a tha,
mar a bhitheas gu brath,
ri tra'ghadh's ri lionadh.
(back by popular demand)

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

Date: Thu, 09 Sep 1999 16:27:12 -0500
From: Richard Mao <[e-mail]>
Subject: (bagpipe) Re: re Capital District Results

Oops... I wanted to stay out of this one.... because I wasn't there...

But, as a matter of general principle.... you hire a judge for that judge's
best effort, best opinion coming from the weight, depth, and breadth of
that persons past (hopefully vast) integrity, experience, knowledge, and
ability to apply all of that to judge on the day of the contest...

If two judges like and advocate two different styles of ...whatever....
they will "put up" what they like... They are honestly....repeat ....
honestly..... trying to influence the direction of the art along the lines
of what they are advocating ... teaching... as being the best for the art.
So I do not agree with your statement: "....one persons opinion of a
performance that may be totally different than anothers. But I feel that
they shouldn't be too different. There should be some continuity in the
results which I haven't seen this season...."  If you want continuity...
hire ONE judge for every competition to judge the same class every
time....(wouldn't that throw a large stone in the boiling cauldron...)

Most if not all of these judges have come from the ranks of competition...
they have been judged... they have, I'm sure, felt that they have been
scr...d by judges... they have criticized judges... they have heard
criticism of judges... yet... now they've become one... and are being
subject to being savaged...just now....Why? because they are wanting to
"give back" to the art...

This thread has been repeated in EVERY competitive field that requires
judges versus measuring tape or stopwatches... gymnastics, dog show, horse
show, figure skating, drum and bugle corp... you name it....I can only
speak for myself.... I have been involved judging in several hobby and
competitive fields... on the field I turn into a "judging machine"  ... my
main objective is to judge every competitor under the same conditions of
contest and by consistent criteria...comparing their performance to my
mental standard of excellence/perfection (or to published standards)...
often at the end of the day when I'm reviewing results... I am surprised at
who did well and who didn't ... I never had the time to think politics in
the heat of the fray.

Think of it this way... if, for example, politics played a big role... who
would have the guts to put "the world champions" down in a subsequent
contest.... would you put the evaluation of that judge down to pique... or
... courage of conviction... (don't I remember some rule that says the
judges can't compare notes or talk to each other before they turn their
judging sheets in... exactly and precisely to avoid judgement by
collusion?)

=============
Finally, a minor observation: I've seen contests both where a band, say,
missed an attack ... and still won... I've heard what I consider only a
minor or occasional booboo and seen that band end up in flames...

Someone mentioned... they heard a bad attack or other minor problem and saw
the bands involved end up at the bottom...  please consider there is a
difference between "cause and effect" and "coincidence"... Chris mentioned
that not only he but other judges were thinking of the overall rather than
counting errors... it might be true!

===
I feel that the only avenues available to competitors is not to submit
themselves for evaluation under a judge they did not respect...and to
express their desires to the games committee or other judge
selecting/certifying group... otherwise... as most do... just
play...play...play...

I feel that the only legitimate venue for a spectator that felt judging was
not correct (notice I didn't say fair)...that would have some hope of
correcting a bad situation in the future... is to recommend in writing to
the games committee... either or both.... asking them not to rehire a
certain person as a judge... and/or to recommend judges who you have seen
render good results....otherwise... you will weight your soul down with
less choler by just remembering/cherishing what was enjoyable...

anything else...regardless of avowed purpose... will amount to tempest in a
teapot...rabble rousing in a public forum...and come to no effect.

My hat is off to both the games people who run/sponsor the events for your
enjoyment that make your complaints even possible and to the judges who, in
effect, expose themselves to your complaints....

In search of perspective..

When I die, I know IÆm going to heavenà
     IÆve already been through Hell as a member of a pipe bandà

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



[e-mail] wrote:

> Chris,
>
> Believe it or not - we're different! Different bands and everything -
> but I know who you are Fetternutter!
>
> I guess you are right about the subjectiveness of judging - after all
> it's one persons opinion of a performance that may be totally different
> than anothers. But I feel that they shouldn't be too different. There
> should be some continuity in the results which I haven't seen this
> season. Thanks for your input though - I appreciate it. Its good to
> have another judges input on things - I just wish you were there to
> hear it so you won't think of me as whacked or who the heck is he or
> some other chioce words.
> bobofet
>
> Sent via Deja.com http://www.deja.com/
> Share what you know. Learn what you don't.


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

Date: Thu, 09 Sep 1999 14:58:39 -0400
From: Chris Hamilton <[e-mail]>
Subject: (bagpipe) Re: re Capital District Results

On Thu, 09 Sep 1999 17:34:09 GMT, [e-mail] wrote:

Hi Bob-o-fet ...

>Chris,
>
>Believe it or not - we're different! Different bands and everything -
>but I know who you are Fetternutter!
>
>I guess you are right about the subjectiveness of judging - after all
>it's one persons opinion of a performance that may be totally different
>than anothers. But I feel that they shouldn't be too different. There
>should be some continuity in the results which I haven't seen this
>season. Thanks for your input though - I appreciate it. Its good to
>have another judges input on things - I just wish you were there to
>hear it so you won't think of me as whacked or who the heck is he or
>some other chioce words.

Naw, I'm cool.  And hell you may be right, after all.  But I figure
most judges are sane -- and I know someone is going to curse my
results someday!

I only once went up to a judge and complained about the result I was
given, and she stood her ground, then I got upset and a little testy.
The next day I apologized and vowed never to do such a thing again.
(She claimed my B strikes were inaudible and I took offense!)

I figured nobody would touch Niagara and 2nd place was up for grabs.

After seeing the Beers 'n' Cheers photos, I am NOT missing this games
next year!

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

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

Date: Thu, 9 Sep 1999 15:35:04 -0500
From: "matheson" <[e-mail]>
Subject: (bagpipe) Re: Newbie with a Question on Buying a Chanter

Yes, that's why I wrote as I did.  My first school was as a beginner, 6
months on chanter, and only attendee without pipes.  It only convinced me
that I wanted to succeed all the more.  I learned/was exposed to so much
from Ken Eller and Sandy Keith that I still go over my notes even 4 years
later.

Besides, by summer, he will have more that 6 months and if he gets an
instructor first, all the better.

Les

Richard Mao wrote in message <[e-mail]>...
>With respect...
>
>It is my experience with fellow attendees of summer schools...that a raw
>beginner would seem to be paying an awful lot for a one or two week summer
>school for marginal gains.
>
>The raw beginner is faced with needing to achieve physical skills in
blowing
>strength, and coordination of many new finger movements, and learning to
read
>the music... all of which take time...to overcome the uncertainties and
gain
>familiarity and self confidence and the ability to absorb the instruction
(and
>this is just on the practice chanter...it might be even worse if the raw
>beginner brings a set of pipes and expects to be up and rumbling by the end
of a
>week or two). This is regardless of how good the instructor is either as an
>instructor or as a piper... It seems a mismatch to think that an "Alasdair
>Gillies" class instructor could achieve any more than a more
run-of-the-mill
>instructor who is experienced at working with beginners...both at an adult
or
>adolescent level.
>
>My opinion is that a piper who has about a half dozen or so tunes up on the
>pipes is perhaps the minimum level student who can really benefit from
summer
>schools...with their grand, world class instructors.
>
>On the other hand... if a piper were to take the, say $300, of room and
board
>and tuition, plus any travel expense, and could find a reasonably good
>instructor...at, say $15 the half-hour, or $25  per hour (all amounts are
plus
>or minus)....that piper would be a lot further ahead for the money at the
end of
>a dozen weekly sessions...even if that piper would have to drive a hundred
or so
>miles to get to that instructor.
>
>Are there any pipers in the ng who attended summer schools as raw beginners
who
>would offer their experience? either in agreement or disagreement?
>
>Thanks
>
>When I die, I know IÆm going to heavenà
>     IÆve already been through Hell as a member of a pipe bandà
>
>Richard Mao, The Peking Piper ( [e-mail] )
>
>
>
>
>matheson wrote:
>
>> I would echo what everybody else has said about instruction, but you
might
>> want to start planning t attend a piping school in the summer, also.  The
>> instructors at any of them are first rate and the level of knowledge you
>> will gain is unbelievable.  I'm still working on things I picked up at
>> Oberlin in June/July.
>>
>> Les
>>
>> dbled wrote in message <7r3j1m$mt2$[e-mail]>...
>> >I know practically nothing about bagpipes, but I'm curious about them
and
>> >I'm thinking of getting a chanter and some instructional material as a
way
>> >to begin to learn.
>> >I have a catalog that lists a "Chanter Kit"  produced by Bagpipes of
>> >Caledonia.  It sells for $45 (US) and contains a 19" chanter made of
>> >hardwood with aluminum mounts, a reed, playing chart, an instructional
>> audio
>> >cassette and a music book.  Are any of you familiar with this product or
>> the
>> >"Bagpipes of Caledonia"?  What are your opinions on buying this as an
entry
>> >level kit?
>> >If any one has other ideas, or can suggest other instruments or material
>> >that would be suitable for a beginner.   I would greatly appreciate your
>> >comments/suggestions.
>> >I know it would be best if I could talk to a player, but unfortunately
I'm
>> >located in a somewhat isolated area - at least as far as this subject is
>> >concerned; so I'm hoping some of you will help.
>> >Thanks
>> >
>> >
>> >
>


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

Date: 9 Sep 1999 20:44:25 -0500
From: "Maeve" <[e-mail]>
Subject: (bagpipe) More on badge progress

I finished the initial sculpt of the badge today and it will be going in
for a mold (to my shop) tomorrow. If all goes well, I will be able to dry
the mold in the oven tomorrow night (isn't that what ovens are made for?)
and start the refining by Monday. I am planning on leaving for England on
the 5th of October and hope to have this wrapped up before I leave. Zu,
I'll probably be sending you an oversized prototype by the end of the week.
JIM! Where was my Font Geek when I needed him the most??? Dan, don't expect
much in the mail for about two weeks. And, yes, on the trip to England, my
Sinclairs will be with me as a carry-on and the husband will stay at home.
See the priorities here? This has been fun and I really LIKE what I am
seeing here! Remember, the badge is still at:
http://people.delphi.com/terralyn/pin5x.jpg    It looks good so far!
- --
Love and Light be with you,
Maeve
http://people.delphi.com/terralyn
[e-mail]

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

Date: Thu, 09 Sep 1999 22:22:01 GMT
From: "Lorne MacDougall" <[e-mail]>
Subject: (bagpipe) The Piping Net

Howdy all,

Just a quick note to say you can now access the piping net through

www.piping-net.co.uk

All the old addresses (listen.to/bagpipes and home.clara.net/lorne417) still
work and will do for as long as I can help it.

Thanks,
Lorne (DUT).



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

Date: Thu, 09 Sep 1999 15:34:08 -0500
From: Richard Mao <[e-mail]>
Subject: (bagpipe) Re: memorizing tunes

Hi C's!!!

Thanks for this analysis. This describes almost the exact way I approach
piobaireachd...both from a memorization point of view and recall during the
performance point of view.

Regarding memorization of light music... I am also a multi-sensory discipline
person... not only Kinesthetic (dancing with fingers)... but singing onomatopoeia
(sp?) in my head (my band will tell you I use this at the beginning of our
sets)...and visual...road map style of thinking to remember when and how to
navigate between first and second endings... I certainly agree... use ALL your
tools....but most of the chunes go by too fast for me to think through/use your
structural analysis when I'm performing in the field....only when I'm first
memorizing.

I tend to memorize sequences (like others do phone numbers and social security
numbers)... during memorization I memorize the sequence and when I call on the
sequence...(remember the "recall handles" from a prior post)... like others who
tell me their phone number in a rush... as opposed to thinking of what number comes
after the first number, then the second number, etc. as soon as I start the
sequence ... the rest of the sequence comes automatically like dominoes
falling...One of my music teachers always stressed during our actual performance
... THINK THE MUSIC!!!! You need to focus and concentrate just on that (not the
next hand motion...not just the next note...not avoiding an error, not what we're
going to have for dinner, etc.)

My take on your question at the end of your post on semantics vs substance... I
tend to think that we are looking at different facets of the same jewel...

Cheers

When I die, I know IÆm going to heavenà
     IÆve already been through Hell as a member of a pipe bandà

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


Ccc31807 wrote:

> This is a delayed response to this thread.  I have not had time to do this, and
> I wanted to do it right, so now I have a little time.  I wanted to go through
> the four types of memory as I understand them, briefly consider the first
> three, and spend a little time on the last one.  This will not be a long post,
> but I hope it will be helpful.
>
> I have no background in psychology, or other science, and have undertaken no
> systematic study of memory.  My only qualification is that I have memorized a
> large quantity of music, and I regularly commit music to memory.  I have been
> doing this for about 30 years, and I know what works for me.
>
> The four types of memory are kinesthetic memory, aural memory, visual memory,
> and cognitive memory.
>
> <snipped>
>
> I am not sure whether I differ from Richard Mao and Mike Talcott on just
> semantics, or on the substance.  I am sure they are both fine musicians, and
> can play from memory perfectly.  I am also sure that there are many ways to
> accomplish any one end, and that I am ignorant of most of them.  However, I
> would submit that, our physical and mental resources being as frail as they
> are, we would be remiss in our obligation to the music if we failed to use
> every facility at our disposal to perform it.


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

Date: Thu, 9 Sep 1999 13:08:21 -0700
From: "Jeff Ramsden (MacLe≥id)" <[e-mail]>
Subject: (bagpipe) Re: Recording Practice Sessions

> Bill Carr wrote:
>
> > Today I started recording my daily solo practice with a dictaphone (Sony
> > TCM Ciear Voice) The sound quality is not to good so a Sony Mini Disk
> > Recorder would be much better.
> >
> > Does anyone else do this?
>

Absolutely!  I use a Sony MiniDisk with the stereo condenser microphone.
Fantastic tool!  I also record my lessons with my instructor, label the
tracks,
and store them away for reference.  I find that my mind is so stuffed
sometimes
after the lesson that I can't remember some timings - all I have to do
is go to the appropriate track on the MiniDisk and play it back.

That MiniDisk is one of the best piping equipment purchases I've made.  :)
(Well, 'cept for my pipes, of course.....)



- --
- ----------------------
Goraidh (Jeff) Ramsden
Pacific Region Vice President Clan MacLeod Society USA, Inc.
Clann MhicLe≥id Le≤dhais (MacThorchadail)
"I Birn Quhil I Se" - "Vivat Rex"



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

End of bagpipe-digest V1 #57
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