PipeChat Digest #5256 - Monday, April 4, 2005 Re: Bagpipe disgrace notes by "N. Russotto" <email@example.com> Re: Bagpipe disgrace notes by "Charles & Maria DeVita-Krug" <firstname.lastname@example.org> Fred Hohman (was Whom would you choose?) by "Robert Bell" <email@example.com> Bagpipes indoors by "Keith Zimmerman" <firstname.lastname@example.org> RE: Bagpipes indoors by "TheShieling" <TheShieling@xtra.co.nz> Re: wedding fees by <DERREINETOR@aol.com> Re: Bagpipe grace notes by <Justinhartz@aol.com> Clarification on distant pipes ... [Re: Bagpipe grace notes] by "Jan Nijhuis" <email@example.com> Re: Wedding fees and accompanists by <Justinhartz@aol.com> Subject: Re: whom would you choose? by <SWF12262@aol.com> RE: Bagpipe grace notes by "TheShieling" <TheShieling@xtra.co.nz> Tuning Pipes and Keys for a duet [was Re: Bagpipes indoors] by "Jan Nijhuis" <firstname.lastname@example.org> SPEC: THE VATICAN GRAND ORGAN (x post) by <ScottFop@aol.com>
(back) Subject: Re: Bagpipe disgrace notes From: "N. Russotto" <email@example.com> Date: Mon, 4 Apr 2005 21:30:02 -0400 Oh, aye! I'l agree with that one to the grave, me lad! "You can take ma'=20 life, but you can never take my freedom!" To put this on topic, lads and=20 lasses, I wonder if you couldnt use a Nachtigall for the Grace notes? It=20 creates a warble effect. . .=20 Cheerio, if I may mix nationalities. Aren't I the cosmopolite! Nick On Apr 4, 2005 9:08 PM, Walter Greenwood <firstname.lastname@example.org> wrote:=20 >=20 > Actually, Arie, I think it goes "If it isn't Scottish, its crap." > Remember to roll the "R". >=20 > ;-) >=20 > -WG >=20 > >"Arie Vandenberg" <ArieV@ClassicOrgan.com> wrote: > > > >There is a saying though "if you ain't Dutch, you ain't much". So I gues= s > >I should retain a trace of my roots. May come in handy. > > > > >=20 > ****************************************************************** > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:email@example.com > Administration: mailto:firstname.lastname@example.org > List-Subscribe: <mailto:email@example.com> > List-Digest: <mailto:firstname.lastname@example.org> > List-Unsubscribe: <mailto:email@example.com> >=20 >=20 --=20 Nicholas F. Russotto Somers, Connecticut Moderator/Owner: Monarch of Music=20 http://launch.groups.yahoo.com/group/monarch_of_music/
(back) Subject: Re: Bagpipe disgrace notes From: "Charles & Maria DeVita-Krug" <firstname.lastname@example.org> Date: Mon, 4 Apr 2005 21:48:40 -0400 On Mon, Apr 04, 2005 at 10:49:52AM -0400, Arie Vandenberg wrote: > > Colin, > > You betray your English roots. Don't ya know that God made the Scots > just a wee bit better? Once you put on Scottish ears, Amazing Grace > to the pipes will sound just wunnerful. > > Arie > In England, oats are fed to horses. In Scotland, oats are fed to people. Which is why England has good horses. And Scotland has good people. Who invented good Single Malt Which is as good a reason as any to love bagpipes. :)
(back) Subject: Fred Hohman (was Whom would you choose?) From: "Robert Bell" <email@example.com> Date: Mon, 04 Apr 2005 21:39:04 -0400 Fred is the featured artist on the weeks PipeDreams Broadcast. I'm listening to it as I type on the internet. Bob Bell ________________________________ From: firstname.lastname@example.org [mailto:email@example.com] On Behalf Of RMaryman@aol.com Sent: Monday, April 04, 2005 8:56 PM To: firstname.lastname@example.org Subject: Re: Whom would you choose? In a message dated 4/4/2005 12:05:20 AM Eastern Daylight Time, email@example.com writes: I noticed that no one at all has mentioned the name of Frederick Hohman? Any particular reason why not? He's "da man" when it comes to performing transcriptions. . . Faithfully, Richard Schneider Hey Grampa... His name did appear on the list a day or two ago. and I think that Tom Murray would give him a good run for the money in the "Da Man" dept. when = it comes to playing transcriptions. Rick in VA
(back) Subject: Bagpipes indoors From: "Keith Zimmerman" <firstname.lastname@example.org> Date: Mon, 4 Apr 2005 21:44:45 -0400 Posters, Mention was made of bagpipes being way too loud for playing indoors. One = of my famous contemporary artists is Michael Card. A lot of his Christian music has a Celtic style. I remember attending a concert in which he mentioned a bagpipe-like instrument which appears to have a self inflating bag that is placed between the elbow and trunk. It had a nice sound. I searched the net and found that I "think" the particular instrument is: Uillean Pipes Is anybody familiar with this instrument? I liked the sound. There are several on e-bay. Keith -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.9.1 - Release Date: 4/1/2005
(back) Subject: RE: Bagpipes indoors From: "TheShieling" <TheShieling@xtra.co.nz> Date: Tue, 5 Apr 2005 14:10:04 +1200 >It had a nice sound. I searched the net and found that I "think" the particular instrument is: Uillean Pipes Is anybody familiar with this instrument? I liked the sound. There are several on e-bay. Oh yes. Those are the Irish pipes, played by a bellows under the arm, not = by mouth blowpipes as the Highland pipes are. More of a clarinetty sound as = the bore of the chanter is cylindrical, not conical. You can change the pitch = of the drones by the use of registers, unlike the Highland pipes, and the compass of the chanter is greater. These Uillean (union) pipes are = certainly OK indoors, and I wouldn't want to say either the Scottish or the Irish pipes are better, though they're certainly different. I love them both. Unlike the Highland variety, the Irish ones can stop the chanter = completely, whereas the Highland pipe sound is completely continuous. Does anyone know: is there an Irish kind of pipe music similar to the Scottish piobaireachd? Ross
(back) Subject: Re: wedding fees From: <DERREINETOR@aol.com> Date: Mon, 4 Apr 2005 22:07:59 EDT I'm happy to play anything in anyone's "key" as long as I receive my fee. John, not Done nor Donne, but undone; William, no shake of pike or spear; Campion, Dowland, Marlowe, in no way spun, Weddings, to this Nun, none are dear; In mode, though, Mass, is more than clear, More so than that which is, to some Mowed, Low, and Winter's Deer. Everyone's a Shakespeare, but a Marlowe's a Downlowe, and Donne's a = Cantuar Dean.;) Pax, BH
(back) Subject: Re: Bagpipe grace notes From: <Justinhartz@aol.com> Date: Mon, 4 Apr 2005 22:24:38 EDT Dear Ross and Chatters: Thank you for enlightening us on a few of the aspects of playing the bagpipes. Please accept my apology if I offended you or any other pipers about tuning. As with many things we hear in church, there are good and bad performances. My comments on tuning were meant as a humorous commentary on what I've = been exposed to at countless weddings and funerals. I guess bagpipe players are kind of like organists - it's sometimes = hard to find a good one! Justin
(back) Subject: Clarification on distant pipes ... [Re: Bagpipe grace notes] From: "Jan Nijhuis" <email@example.com> Date: Tue, 05 Apr 2005 10:33:44 +0800 Victoria, et al, My reference to pipes from a quarter mile away wasn't intended to be "out o= f earshot" but rather as a melody played from afar ... etherial. As for the use of pipes in modern music, I'd point to Brother (www.brotherm= usic.com) and Seven Nations (www.sevennations.com). I don't recall at the m= oment if Tempest (or it's accoustic sibling, Caliban) used the pipes in the= ir brand of Celtic music. (http://www.tempestmusic.com and http://www.tempe= stmusic.com/html/caliban.html respectivly). I'm sure there are others with = the popularity of Scottish Games and Gatherings. I'll have to check out the= Fathom site. A track lit by lumineria with pipers does sound considerably nicer than the= brand practiced locally, with the track lit by flood lights and boom boxes= going.=20 .... ahhh, but to bring this back to the organ music wars ... does anyone ha= ve experience with electronic practice chanters? (e.g., http://www.deger.co= m/) ----- Original Message ----- From: Myosotis51@aol.com To: firstname.lastname@example.org Subject: Re: Bagpipe grace notes Date: Mon, 4 Apr 2005 20:36:57 EDT >=20 > Hello email@example.com, >=20 >=20 > In reference to your comment: >=20 > AG isn't my favorite hymn, but I think it works well as a pipes solo from > about a quarter mile away. >=20 > ~~~~~~~~~~~~~~~~~~~~ > The setting: Relay for Life, which is a fundraiser for cancer research. >=20 > The reason: To honor those who survived cancer and to remember those who > didn't. A candle is put in a bag and lit, then placed around an outdoor > running track or the like. >=20 > The timing: At dusk, with all the walkers silently walking around the > track, reading the names on the bags. There have been as many as=20 > 2500 bags at the > Relay in which I participate. >=20 > The music: "Amazing Grace," played by 3 - 5 bagpipers, marching as an h= onor > guard. >=20 > It works. And it changed the way I feel about the hymn. I'm a survivor= and > I lost three grandparents to cancer. This is a very emotional ceremony. >=20 > I do agree, however, that bagpipes are NOT an indoor instrument with very > few exceptions. A band I really like called "Fathom" successfully combin= es > bagpipes and mandolin with electric guitars and drums. Check them out at > _www.fathom.tv_ (http://www.fathom.tv) . >=20 > Victoria -- Jan Nijhuis firstname.lastname@example.org --=20 ___________________________________________________________ Sign-up for Ads Free at Mail.com http://promo.mail.com/adsfreejump.htm
(back) Subject: Re: Wedding fees and accompanists From: <Justinhartz@aol.com> Date: Mon, 4 Apr 2005 22:51:51 EDT Regarding accompanists: It is customary for the singer to provide the music in his or her own = key. The same holds true for an instrumental soloist. Transposing a full accompaniment written on two or three staves and in = two clefs is much more demanding than transposing one line of melody notes = which are sung or played one at a time. (As a former brass player, I can attest = to this). Ad to this that the accompanist often has to deal with a nervous = singer who may or may not know the notes well (or at all) and the situation = becomes more complicated. Justin Hartz - professional accompanist since he was 12 years old! P.S. Remember - a good accompanist can make or break a performance. A great accompanist can make the soloist sound better than s/he is.
(back) Subject: Subject: Re: whom would you choose? From: <SWF12262@aol.com> Date: Mon, 4 Apr 2005 22:51:59 EDT Karel Paukert Richard Webster John Scott Steven Weyand Folkers Director of Music St. Lambert RC Church Skokie, IL
(back) Subject: RE: Bagpipe grace notes From: "TheShieling" <TheShieling@xtra.co.nz> Date: Tue, 5 Apr 2005 15:03:28 +1200 >=A0=A0=A0 Thank you for enlightening us on a few of the aspects of = playing the bagpipes. =A0=A0=A0 Please accept my apology if I offended you or any other pipers = about tuning. Hey, Justin, you certainly didn't offend me. I get put right on this = List and elsewhere, too, and I hope to accept it. :-) =A0 =A0=A0 >As with many things we hear in church, there are good and bad performances. Every one of us must agree 101% with this. =A0>=A0=A0 My comments on tuning were meant as a humorous commentary on = what I've been exposed to at countless weddings and funerals. I would suspect that the American piping tradition is not as great as it = is here or in the UK. =A0=A0=A0 >I guess bagpipe players are kind of like organists - it's = sometimes hard to find a good one! =A0 Here, I would think good organists are considerably rarer than good organists. Nil illegitimes carborundum, Ross, who enjoys rising in high dudegon and righteous anger when people either belittle the pipes or make mistakes about them. It's great fun.=20
(back) Subject: Tuning Pipes and Keys for a duet [was Re: Bagpipes indoors] From: "Jan Nijhuis" <email@example.com> Date: Tue, 05 Apr 2005 11:00:15 +0800 For the past several months one of our parishoners, Sean Campbell, (if that= gives you a clue to his heritage) has asked to do an offertory with me. He= plays the pipes, I know he's got a set of highland pipes, and may have oth= er (lower volume pipes). Sean claims that pipes are always tuned considerab= ly sharp (A =3D 460-470 cps)... is that true? If so, how does that sit with= playing a duet. Any suggestions for a three-five minute offertory piece that isn't a happy = Reel or Jig? Sean's sister, Terri is a harpist and "pretty darn good soprano" (http://ww= w.geocities.com/Vienna/Choir/4733/) She's sung solos several times. Their f= ather is a deacon, and mother has tutored my daugter in English. (I know, T= MI) ----- Original Message ----- From: "Keith Zimmerman" <firstname.lastname@example.org> To: email@example.com Subject: Bagpipes indoors Date: Mon, 4 Apr 2005 21:44:45 -0400 >=20 > Posters, >=20 > Mention was made of bagpipes being way too loud for playing indoors. One= of > my famous contemporary artists is Michael Card. A lot of his Christian > music has a Celtic style. I remember attending a concert in which he > mentioned a bagpipe-like instrument which appears to have a self inflating > bag that is placed between the elbow and trunk. It had a nice sound. I > searched the net and found that I "think" the particular instrument is: >=20 > Uillean Pipes >=20 > Is anybody familiar with this instrument? I liked the sound. There are > several on e-bay. >=20 > Keith -- Jan Nijhuis firstname.lastname@example.org --=20 ___________________________________________________________ Sign-up for Ads Free at Mail.com http://promo.mail.com/adsfreejump.htm
(back) Subject: SPEC: THE VATICAN GRAND ORGAN (x post) From: <ScottFop@aol.com> Date: Mon, 4 Apr 2005 23:01:47 EDT I thought I would offer this for everyone's curiosity who may be watching = the Papal funeral proceedings on TV and hearing the organ in the Basilica = of St. Peter. I played the Solemn Latin Mass there and directed my choir = from Detroit when they sang at the Vatican in 2001, and it's a grand sound = indeed, especially in those acoustics. The instrument is housed in two identical = cases between the front-most large columns holding up the great dome and the = Altar of the Chair of Peter. The 4-manual console is located in front of the north case, with the organist's back to the case, facing south. The = choir stalls where the Sistine Chapel Choir and Schola (and guest choirs) sing is = located between the organist's back and the front pipe facade in that north case. = There is also a mobile three manual console connected to the pipes via a coaxial cable that can be moved all over the main floor of the basilica = with contact plugs in numerous locations. S. PIETRO IN VATICANO Ditta Giovanni Tamburini, 1954 e 1962 PRIMO TASTIERA (Choir) 16' Principale 8' Principale Forte 8' Principale Dolce 4' Ottava 2-2/3' Duodecima 2' Decimaquinta 1-3/5' Decimasettima 6 file Ripieno 5 file Ripieno SECONDA TASTIERA (Great) 16' Sub Diapason 8' Principale Stentor 8' Diapason 8' Principale 8' Flauto Aperto 4' Ottava Diapason 4' Prestante 2-2/3' Duodecima 2' Decimaquinta 7 file Gran Ripieno 5 file Ripieno Acuto 3 file Cimbalo 16' Tromba Bassa 8' Tromba Forte 8' Tromba a Squillo 8' Tromba Orrizontale (en chamade) 4' Tromba Squillo TERZA TASTIERA (Swell) 16' Tibia Profunda 8' Principale di Legno 8' Tibia 8' Bordone 8' Viole Forte 8' Voce Celeste 4' Fugara 4' Flauto Silvestre 2-2/3' Nazardo 2' Flauto 5 file Ripieno 8' Tromba Armonica 8' Tuba 4' Tuba Clarone Tremolo QUARTA TASTIERA (Solo or Resonance) 8' Diapason 8' Bordone 8' Viola 8' Voce Celeste 4' Ottava Diapason 4' Flauto Orchestrale 2' Ottavino 8' Tromba Armonica 4' Trombina Tremolo PEDALE - I SEZIONE 32' Acustico 16' Diapason 16' Violone Contrabasso 16' Tibia Profunda 16' Subbasso 10-2/3' Gran Quinta 8' Ottava 8' Violone 8' Flauto Basso 4' Ottava 16' Tromba Bassa 16' Trombone 8' Tromba Forte 8' Trombone 4' Clarone PEDALE - II SEZIONE 32' Basso Acustico 16' Contrabasso 16' Principale 16' Subbasso 8' Basso 8' Bordone 4' Ottava 16' Bombarda 8' Tromba Full Couplers Scott F. Foppiano Organist and Director of Parish Music Holy Rosary Catholic Church, Memphis, TN In te Domine speravi, non confundar in aeternum.