Really - not going well. My top hand seems to have moved to using fingertips and I can't remember how I used to place it. It's uncomfortable and I'm not covering the holes properly. I'm also doing the chicken impression - twitching and hunching shoulders, snatching at the bellows. I've tried twice to get comfortable, but it all feels very wrong and makes my head ache. It's all the more infuriating because my head has been full of great pipe tunes all day and I really wanted to put My Home Town next to Heights of Casino to see if they would work together. It's also the fan's turn to cook tonight, so that freed up a stack of extra time. Oh well, I've got mittens to knit that need to be finished the weekend after next...
Ramblings of an easily distracted learner piper
Friday 30 November 2012
Square One
First posted May 9th, 2012 by newpiper
Really - not going well. My top hand seems to have moved to using fingertips and I can't remember how I used to place it. It's uncomfortable and I'm not covering the holes properly. I'm also doing the chicken impression - twitching and hunching shoulders, snatching at the bellows. I've tried twice to get comfortable, but it all feels very wrong and makes my head ache. It's all the more infuriating because my head has been full of great pipe tunes all day and I really wanted to put My Home Town next to Heights of Casino to see if they would work together. It's also the fan's turn to cook tonight, so that freed up a stack of extra time. Oh well, I've got mittens to knit that need to be finished the weekend after next...
Really - not going well. My top hand seems to have moved to using fingertips and I can't remember how I used to place it. It's uncomfortable and I'm not covering the holes properly. I'm also doing the chicken impression - twitching and hunching shoulders, snatching at the bellows. I've tried twice to get comfortable, but it all feels very wrong and makes my head ache. It's all the more infuriating because my head has been full of great pipe tunes all day and I really wanted to put My Home Town next to Heights of Casino to see if they would work together. It's also the fan's turn to cook tonight, so that freed up a stack of extra time. Oh well, I've got mittens to knit that need to be finished the weekend after next...
My Home Town
First posted May 7th, 2012 by newpiper
Not going well today. I thought I'd avoid practising to get my speed up and just potter about learning My Home Town - a very lovely tune I know from Tryst and for which I found the dots on Ian Kinnear's website. There seems to be a howling gale around my chanter, which must mean my fingers aren't cleanly on the holes. My grace notes are slow and ragged. But the worst is that in order to get a steady flow of air I seem to be having to pump like billyo with both arms, twitching and hunching and generally giving myself shoulder-ache - something I've not done for ages, and that I really thought I had got past.
I've been lurking about Mr Kinnear's website, admiring - not to say lusting after - his very beautiful pipes. I love Morag a lot, of course I do, but she seems to be much more robust than the other pipes I've tried (practice pipes by Richard Evans, and smallpipes by the legendary Hamish and Fin Moore, both sets belonging to Vicki). I wonder if other pipes might be less physical effort. My pipes are lovely, but not made by a player, and the person who makes and puts in the reeds and sets them up is primarily a Great Highland Piper, so I just wonder if that affects the set-up. It's a shame it's not possible to walk into a music shop, or a maker's workshop, and try several out, as I know the fan has done with his various instruments.
My pipes have a lovely tone - lots of people have commented on it (and I suspect these recordings don't do justice to it). They look good too. I've also only had them five months (not that I have any thought of getting rid of them - only adding to them). Still, I don't need to rush into anything: Mr Kinnear has a waiting list, and there is the small matter of saving up. I'm just window shopping... At the moment I don't feel I play well enough to do justice to a really lovely set of pipes. Today I didn't even do justice to Morag. Sorry Morag.
Recording - My Home Town.
Retrieved (I think - I've got 2 and lost one).
Not going well today. I thought I'd avoid practising to get my speed up and just potter about learning My Home Town - a very lovely tune I know from Tryst and for which I found the dots on Ian Kinnear's website. There seems to be a howling gale around my chanter, which must mean my fingers aren't cleanly on the holes. My grace notes are slow and ragged. But the worst is that in order to get a steady flow of air I seem to be having to pump like billyo with both arms, twitching and hunching and generally giving myself shoulder-ache - something I've not done for ages, and that I really thought I had got past.
I've been lurking about Mr Kinnear's website, admiring - not to say lusting after - his very beautiful pipes. I love Morag a lot, of course I do, but she seems to be much more robust than the other pipes I've tried (practice pipes by Richard Evans, and smallpipes by the legendary Hamish and Fin Moore, both sets belonging to Vicki). I wonder if other pipes might be less physical effort. My pipes are lovely, but not made by a player, and the person who makes and puts in the reeds and sets them up is primarily a Great Highland Piper, so I just wonder if that affects the set-up. It's a shame it's not possible to walk into a music shop, or a maker's workshop, and try several out, as I know the fan has done with his various instruments.
My pipes have a lovely tone - lots of people have commented on it (and I suspect these recordings don't do justice to it). They look good too. I've also only had them five months (not that I have any thought of getting rid of them - only adding to them). Still, I don't need to rush into anything: Mr Kinnear has a waiting list, and there is the small matter of saving up. I'm just window shopping... At the moment I don't feel I play well enough to do justice to a really lovely set of pipes. Today I didn't even do justice to Morag. Sorry Morag.
Recording - My Home Town.
Retrieved (I think - I've got 2 and lost one).
Polska efter Carl Magnusson - take two
First posted May 6th, 2012 by newpiper
No piping yesterday. Today I've clocked up perhaps and hour and a half in two sessions, but I've been concentrating on getting my speed up,and it's been exhausting. Still working on That Tune, Carl Magnusson,the Roros Polskan and the Atholl Highlanders.
I've been over and over that fast run down in the Roros. I think I've mostly eliminated the crossing noises between the G and E and the F and D, but I've picked one up between the D and E. I'm certainly getting faster, though - the fan particularly noticed and put it down to my last long session.
I thought I was picking up speed on That Tune and that it was sounding quite fast and lively, although not quite note perfect, but when I listen to my recordings (which I'm not posting) it sounds creaky, tentative, slow, and full of errors.
The Highlanders creak along. Just started to learn the third part, and looking in trepidation at the fourth part as it seems to have extra sharps scattered about and I don't know whether those are notes I can play, except that it's a pipe tune and I play pipes, so surely....
I've noticed the fingers of my top hand curling and a tendency to use finger pads. Not sure how long this has been going on. Inclined to blame the whistle. I always think you can tell a piper who plays whistles because of their flat fingers, but clearly my fingers' memory for whistling is longer than that for piping and they are reverting to type.
I do partly blame the way my fingers are made - my ring fingers are over a knuckle longer than my pinkies, my middle finger is half a knuckle longer than my ring finger, and - on my left hand - whole knuckle longer than my index finger.
Anyway, today's recording is take two. First recorded for international piping day just under two months ago and practising again in readiness for the Scandi session a week today. I feel as though I am holding the last note for ages, but it sounds too short, too abrupt a finish still. Some hesitancy on the second part - the previous attempt to record involved not finding the holes when my fingers came back down after the As, so I was feeling wary of them. However - just look at the difference in timing between the two recordings - this new one knocks 18 seconds off the previous one - actual real live measurable evidence of improvement, thank heaven.
Recording - Polska efter Carl Magnusson. Lost.
No piping yesterday. Today I've clocked up perhaps and hour and a half in two sessions, but I've been concentrating on getting my speed up,and it's been exhausting. Still working on That Tune, Carl Magnusson,the Roros Polskan and the Atholl Highlanders.
I've been over and over that fast run down in the Roros. I think I've mostly eliminated the crossing noises between the G and E and the F and D, but I've picked one up between the D and E. I'm certainly getting faster, though - the fan particularly noticed and put it down to my last long session.
I thought I was picking up speed on That Tune and that it was sounding quite fast and lively, although not quite note perfect, but when I listen to my recordings (which I'm not posting) it sounds creaky, tentative, slow, and full of errors.
The Highlanders creak along. Just started to learn the third part, and looking in trepidation at the fourth part as it seems to have extra sharps scattered about and I don't know whether those are notes I can play, except that it's a pipe tune and I play pipes, so surely....
I've noticed the fingers of my top hand curling and a tendency to use finger pads. Not sure how long this has been going on. Inclined to blame the whistle. I always think you can tell a piper who plays whistles because of their flat fingers, but clearly my fingers' memory for whistling is longer than that for piping and they are reverting to type.
I do partly blame the way my fingers are made - my ring fingers are over a knuckle longer than my pinkies, my middle finger is half a knuckle longer than my ring finger, and - on my left hand - whole knuckle longer than my index finger.
Anyway, today's recording is take two. First recorded for international piping day just under two months ago and practising again in readiness for the Scandi session a week today. I feel as though I am holding the last note for ages, but it sounds too short, too abrupt a finish still. Some hesitancy on the second part - the previous attempt to record involved not finding the holes when my fingers came back down after the As, so I was feeling wary of them. However - just look at the difference in timing between the two recordings - this new one knocks 18 seconds off the previous one - actual real live measurable evidence of improvement, thank heaven.
Recording - Polska efter Carl Magnusson. Lost.
How Time Flies
First posted May 3rd, 2012 by newpiper
Going well this evening! The fan is out so I’m not competing for air space (I can’t concentrate while I can hear him fiddling in the next room...and I’m not quite sure how much our neighbours would appreciate stereophonic music practice). I don’t feel I need to put in a straight hour and then stop – I can come and go, have a cold drink in the middle (I’m sure the several degrees piping adds to your overall body temperature must be a contributing factor to their popularity in the frozen wastes of Scotland!)
Anyway, working at the Roros Polskan tonight, as there’s a Scandi session coming up. The speedy run down is not speedy and I’m getting horrible crossing noises coming on and off the G. Have been practising just those changes (something else best done when you’re alone in the house). That Tune doing nicely - quite pleased. Atholl Highlanders, parts one and two only, still slow, but mainly dotless. Much more work needed. No recorder!! The fan must have taken it with him. He’s gone to a new session so I guess he’s hoping to pick up some new tunes.
Long weekend on the horizon, and the yarn for my next knitting project hasn’t arrived, so I hope to get plenty of practice.
Yikes – I know I’ve been fiddling around on the internet and making cups of tea between tunes, but I’ve clocked up the best part of 2 hours tonight! Doesn’t time fly...
Going well this evening! The fan is out so I’m not competing for air space (I can’t concentrate while I can hear him fiddling in the next room...and I’m not quite sure how much our neighbours would appreciate stereophonic music practice). I don’t feel I need to put in a straight hour and then stop – I can come and go, have a cold drink in the middle (I’m sure the several degrees piping adds to your overall body temperature must be a contributing factor to their popularity in the frozen wastes of Scotland!)
Anyway, working at the Roros Polskan tonight, as there’s a Scandi session coming up. The speedy run down is not speedy and I’m getting horrible crossing noises coming on and off the G. Have been practising just those changes (something else best done when you’re alone in the house). That Tune doing nicely - quite pleased. Atholl Highlanders, parts one and two only, still slow, but mainly dotless. Much more work needed. No recorder!! The fan must have taken it with him. He’s gone to a new session so I guess he’s hoping to pick up some new tunes.
Long weekend on the horizon, and the yarn for my next knitting project hasn’t arrived, so I hope to get plenty of practice.
Yikes – I know I’ve been fiddling around on the internet and making cups of tea between tunes, but I’ve clocked up the best part of 2 hours tonight! Doesn’t time fly...
Playlist
First posted May 2nd, 2012 by newpiper
This evening I picked up my pipes with some trepidation, as (all together now) it's an age since I played. Felt immediately comfortable and went through That Tune a couple of times. I did record it - but have managed to lose the recording. It wasn't perfect, anyway.
I ran through the usual tunes. I've got enough to keep me going for the best part of an hour, provided I go over some more than once, either because it's going so well I'm happy to play one twice, or because one needs picking over and some work. Work needed on gracing - half double F, which was one of the first gracings I learned, I seem incapable of doing. Time to dig out those books of exercises.
After 15 minutes I felt very tired, pushed on through, generally happy, felt less tired, and then had to abandon mid tune just under an hour in as arm-ache and general fatigue kicked in. The fan is at a session tomorrow so I will have another go.
My playlist, I realise, is falling into three, or perhaps four, categories. First up is hangovers from the chanter - Green Hills of Tyrol, Lochanside, Highland Cathedral Hector the Hero. Playing these for old time's sake, but feeling that once my repertoire increases they may drop off the end.
Second category is tunes that the fan has suggested I play, because he likes them: The Battle of Waterloo, Leaving Friday Harbor, Mull of the Mountains. Not sure which of these I'll stick with, although Friday Harbor is a really lovely tune.
Potential third group - tunes written or played by Vicki, some, but not all, from the tutor book: The Golden Birch, Dusty Pipes, The Broken Drone, Polska efter Carl Magnusson, Roros Polskan.
Final group (which is where the third group might also live) is tunes I have heard, like, and want to play. I hope eventually all my tunes will be in this category, and some tunes in other categories may eventually slide into this one. Tunes here are: Heights of Casino, Nigel's tune, Atholl Highlanders, The Rowan Tree. I wonder if I've got enough and should just concentrate on bringing these up to scratch for now (whatever scratch may be....)
For anyone in search of real pipes, there will be plenty in Colchester next month.
This evening I picked up my pipes with some trepidation, as (all together now) it's an age since I played. Felt immediately comfortable and went through That Tune a couple of times. I did record it - but have managed to lose the recording. It wasn't perfect, anyway.
I ran through the usual tunes. I've got enough to keep me going for the best part of an hour, provided I go over some more than once, either because it's going so well I'm happy to play one twice, or because one needs picking over and some work. Work needed on gracing - half double F, which was one of the first gracings I learned, I seem incapable of doing. Time to dig out those books of exercises.
After 15 minutes I felt very tired, pushed on through, generally happy, felt less tired, and then had to abandon mid tune just under an hour in as arm-ache and general fatigue kicked in. The fan is at a session tomorrow so I will have another go.
My playlist, I realise, is falling into three, or perhaps four, categories. First up is hangovers from the chanter - Green Hills of Tyrol, Lochanside, Highland Cathedral Hector the Hero. Playing these for old time's sake, but feeling that once my repertoire increases they may drop off the end.
Second category is tunes that the fan has suggested I play, because he likes them: The Battle of Waterloo, Leaving Friday Harbor, Mull of the Mountains. Not sure which of these I'll stick with, although Friday Harbor is a really lovely tune.
Potential third group - tunes written or played by Vicki, some, but not all, from the tutor book: The Golden Birch, Dusty Pipes, The Broken Drone, Polska efter Carl Magnusson, Roros Polskan.
Final group (which is where the third group might also live) is tunes I have heard, like, and want to play. I hope eventually all my tunes will be in this category, and some tunes in other categories may eventually slide into this one. Tunes here are: Heights of Casino, Nigel's tune, Atholl Highlanders, The Rowan Tree. I wonder if I've got enough and should just concentrate on bringing these up to scratch for now (whatever scratch may be....)
For anyone in search of real pipes, there will be plenty in Colchester next month.
From Bad to Worse
First posted Apr 27th, 2012 by newpiper
Yesterday didn't go too badly. Actually, yesterday things went rather well. I found that I can play the first part of the Atholl Highlanders dotless, and that's speeding things up. I also spent a while trying That Tune dotless, and didn't do too badly. I mostly worked on these two, my tone was good, I was comfortable. For a while I had the third drone going, and that seemed OK.
Today - not so good again. Trying the same two tunes. Getting a decent speed on the Highlanders, but the faster I go the more notes I get wrong - or the more bars I play in the wrong order or leave out altogether. Also finding playing exhausting - feel I'm really fighting the pipes. It's not comfortable, My Fan points out that playing at speed is making me tense up - it's the effort of remembering tune and getting enough air through to keep things going.
One thing that does seem to work is having dots to hand, but a bit too far away to read from. This means I can just see the general shape of the tune and can think "aha - yes, the next bit goes up/down/is faster/slower" and that gives me a nudge without letting me slip back into full dot reading.
I'm back listening to Iain MacInnes. I love his playing, his arrangements (with harpsichord - a really inspired pairing). It's really inspiring, but I'm just falling so short of my own expectations. No recording today - I literally haven't been able to play a single tune right through without major errors.
Yesterday didn't go too badly. Actually, yesterday things went rather well. I found that I can play the first part of the Atholl Highlanders dotless, and that's speeding things up. I also spent a while trying That Tune dotless, and didn't do too badly. I mostly worked on these two, my tone was good, I was comfortable. For a while I had the third drone going, and that seemed OK.
Today - not so good again. Trying the same two tunes. Getting a decent speed on the Highlanders, but the faster I go the more notes I get wrong - or the more bars I play in the wrong order or leave out altogether. Also finding playing exhausting - feel I'm really fighting the pipes. It's not comfortable, My Fan points out that playing at speed is making me tense up - it's the effort of remembering tune and getting enough air through to keep things going.
One thing that does seem to work is having dots to hand, but a bit too far away to read from. This means I can just see the general shape of the tune and can think "aha - yes, the next bit goes up/down/is faster/slower" and that gives me a nudge without letting me slip back into full dot reading.
I'm back listening to Iain MacInnes. I love his playing, his arrangements (with harpsichord - a really inspired pairing). It's really inspiring, but I'm just falling so short of my own expectations. No recording today - I literally haven't been able to play a single tune right through without major errors.
Mystery Solved
First posted Apr 25th, 2012 by newpiper
I think I've discovered why I have problems learning tunes. The simple answer is that I don't have any problem at all. Yesterday evening I sat down with virtual Kirsten and learned I'll tell me Ma. I had a quick refresher with her when I got home this evening and can now play the tune, correctly, reasonably quickly, and by heart. I've not even looked at the dots. So it's clearly possible - what stops me?
What stops me, I discover, is my mind wandering. When I knit - and this is one of the joys of knitting for me - my fingers get busy and my mind wanders off into a little world of its own. It thinks about the music or episode of Paul Temple I'm listening to, it wonders about the next knitting project, planting plans, things to eat, stuff at work, the state of the planet and so on. I've been knitting for over 30 years, on and off, and generally speaking my fingers carry on without supervision, providing the pattern is simple or has repeated enough times. After a while though, especially if there is any variation in the pattern, my fingers we will send an SOS to my mind. "Pants," they say. "We've screwed up. That last bit we did there felt all wrong". So my mind comes back, looks at what my fingers have done, checks the pattern, says a few rude words, and fixes it.
Playing my pipes recently I realised that my fingers were busy...but my mind had gone. It wasn't listening to the music, it was busy considering life, the universe, and everything. My fingers are up to the usual SOS alerts, but, as with the knitting, aren't organised enough on their own to fix it. Clearly the tune has sunk in to some extent, otherwise I'd stop the moment my mind wandered, but I've only got a broad brush view of the tune, no details, unless I refer to dots.
When I learn a tune from Virtual Kirsten my mind gets no chance to nip out for a crafty tea break - it has to stay on the ball. When I play from dots my mind checks stuff out, briefs my fingers, and then wanders off, leaving my fingers to get on with it themselves. So all I need to do is find some way of tying of my mind down, keeping its eye on the ball.
Today's practice - one perfect run through of That Tune. Total failure to play any of half a dozen other tunes. Total failure to play That Tune a second time. Problems with too much pressure, arm aching, connector tube. This is my third ever run through of The Rowan Tree - with dots. It's awful. Bad day. I give up: knitting calls.
Recording - The Rowan Tree. Lost.
I think I've discovered why I have problems learning tunes. The simple answer is that I don't have any problem at all. Yesterday evening I sat down with virtual Kirsten and learned I'll tell me Ma. I had a quick refresher with her when I got home this evening and can now play the tune, correctly, reasonably quickly, and by heart. I've not even looked at the dots. So it's clearly possible - what stops me?
What stops me, I discover, is my mind wandering. When I knit - and this is one of the joys of knitting for me - my fingers get busy and my mind wanders off into a little world of its own. It thinks about the music or episode of Paul Temple I'm listening to, it wonders about the next knitting project, planting plans, things to eat, stuff at work, the state of the planet and so on. I've been knitting for over 30 years, on and off, and generally speaking my fingers carry on without supervision, providing the pattern is simple or has repeated enough times. After a while though, especially if there is any variation in the pattern, my fingers we will send an SOS to my mind. "Pants," they say. "We've screwed up. That last bit we did there felt all wrong". So my mind comes back, looks at what my fingers have done, checks the pattern, says a few rude words, and fixes it.
Playing my pipes recently I realised that my fingers were busy...but my mind had gone. It wasn't listening to the music, it was busy considering life, the universe, and everything. My fingers are up to the usual SOS alerts, but, as with the knitting, aren't organised enough on their own to fix it. Clearly the tune has sunk in to some extent, otherwise I'd stop the moment my mind wandered, but I've only got a broad brush view of the tune, no details, unless I refer to dots.
When I learn a tune from Virtual Kirsten my mind gets no chance to nip out for a crafty tea break - it has to stay on the ball. When I play from dots my mind checks stuff out, briefs my fingers, and then wanders off, leaving my fingers to get on with it themselves. So all I need to do is find some way of tying of my mind down, keeping its eye on the ball.
Today's practice - one perfect run through of That Tune. Total failure to play any of half a dozen other tunes. Total failure to play That Tune a second time. Problems with too much pressure, arm aching, connector tube. This is my third ever run through of The Rowan Tree - with dots. It's awful. Bad day. I give up: knitting calls.
Recording - The Rowan Tree. Lost.
Not Tonight, Josephine
First posted Apr 23rd, 2012 by newpiper
I wasn't going to post tonight - I wasn't going to play tonight. I have not had a good day and tired and grouchy pretty much covers my mood when I got home. However, after dinner and a glass of wine I started feeling more cheerful and less tired and thought perhaps I'd get the whistle out. Problem is my laptop isn't happy with the internet this evening and virtual Kirsten is all out of synch. You cannot follow a tune from someone whose fingers are half a beat behind the sound. So I fiddled about and spent money on Amazon, and decided to look for dots for the Heights of Cassino.
I've been trying to get my ear back to Scottish music and so I've been listening to Smalltalk. Cassino's a lovely tune - really upbeat and light. Not played on pipes on the disk, but it's a pipe tune, of course. The Session has dots, barely legible (what do they do to their dots? This set looks as though someone left them in a the pocket of a pair of trews that went in the wash) so I've found a recording on YouTube to help me with the way the tune sounds. I'm pleased with it - recognisable, at least.
In other news, before I decided to try Cassino I warbled about and found I can play a bit of That Tune sans dots, and I know enough to know that it's not the very first bit, it's the first repeat. I know, I know, it's very small fry, but heavens, I'm pleased about it.
Oh, Ok. Look. I'm posting That Tune, but this is NOT my definitive best shot. This is me reassuring myself that the playing I did at the weekend wasn't as dire as I thought. I have two versions of this. In the one I'm posting I make a heap of mistakes, plus I abandon not even half way through. The other version is technically more accurate but sounds as though I'm wading through treacle. This version has the tempo and the spirit of the tune more - it trips and skips along where the other version trudged and dragged its feet and whined a lot about how tired it felt.
See - and now it's bed time and I didn't get time to do the ironing. What a shame!
Recording - the Halsway Schottische. Lost.
I wasn't going to post tonight - I wasn't going to play tonight. I have not had a good day and tired and grouchy pretty much covers my mood when I got home. However, after dinner and a glass of wine I started feeling more cheerful and less tired and thought perhaps I'd get the whistle out. Problem is my laptop isn't happy with the internet this evening and virtual Kirsten is all out of synch. You cannot follow a tune from someone whose fingers are half a beat behind the sound. So I fiddled about and spent money on Amazon, and decided to look for dots for the Heights of Cassino.
I've been trying to get my ear back to Scottish music and so I've been listening to Smalltalk. Cassino's a lovely tune - really upbeat and light. Not played on pipes on the disk, but it's a pipe tune, of course. The Session has dots, barely legible (what do they do to their dots? This set looks as though someone left them in a the pocket of a pair of trews that went in the wash) so I've found a recording on YouTube to help me with the way the tune sounds. I'm pleased with it - recognisable, at least.
In other news, before I decided to try Cassino I warbled about and found I can play a bit of That Tune sans dots, and I know enough to know that it's not the very first bit, it's the first repeat. I know, I know, it's very small fry, but heavens, I'm pleased about it.
Oh, Ok. Look. I'm posting That Tune, but this is NOT my definitive best shot. This is me reassuring myself that the playing I did at the weekend wasn't as dire as I thought. I have two versions of this. In the one I'm posting I make a heap of mistakes, plus I abandon not even half way through. The other version is technically more accurate but sounds as though I'm wading through treacle. This version has the tempo and the spirit of the tune more - it trips and skips along where the other version trudged and dragged its feet and whined a lot about how tired it felt.
See - and now it's bed time and I didn't get time to do the ironing. What a shame!
Recording - the Halsway Schottische. Lost.
Highland Cathedral
First posted Apr 21st, 2012 by newpiper
Another day of struggle, although it's starting to improve again. I've decided half the problem with the connector tube is that I don't sit straight on to my music stand sometimes so I'm twisting to see it, which must put pressure on the tube.
I spent an hour just about today, interrupted by a neighbour's cat (who was surprisingly tolerant of the pipes but had a lot to say when I was done) and my sister, who needed urgent quilt-making advice.
I've been working on Atholl Highlanders especially that A moving to D grace on C. Quick whizz through Friday Harbor, and a lot of work on Nigel's tune. I've gone through Highland Cathedral. I've not played it for a while, in fact I'm not sure that I've ever played it on pipes - just chanter. It came out OK. I made three recordings. They had various faults between them. They were all hesitant and wavery. I think that's me slowly feeling my way back in - still feeling the effects of that long break. The waver is to do with relying on my stronger bellows arm rather than forcing my bag arm to do some work.
The E doubling needs to be much better - I think I'm just picking up my G finger twice instead of the G and F, and sometimes think I fail to put down one finger before I lift the next. There's a little tap between two Fs which comes out as a whole note. I'm not holding the long notes anything like long enough. The tempo varies - on one version I played the B part faster than the A part. The D strike is way too slow and clunky. Oh - and that second triplet in the B part ditto really.
Look at that list of errors - and this is a tune I'm happy enough about to record. Sheesh!
I'm pondering posting recordings of Nigel's tune. I have to keep reminding myself that this blog is my space for me to hear how I am improving. To hear that I need to post the rubbish as well as the best shots. If people come looking for performance, as I've said before, they wont get it. Still, a girl has her vanities and it's difficult to make mistakes in public. I've seen the catty and unkind comments some people make on Youtube when beginners post their best shot at something. I think I'm mostly able to ignore this, but Nigel's tune is a bit different because I know that there are people out there collecting versions of the tune and I feel them hovering in the wings, somehow, and that's making me shy. (And not at all intending to suggest those collecting the tune would be unkind - in fact I'm sure they wouldn't. It's just that I feel if I post the tune it will be for them, not for me, and I want to make it as good as I can for them).
Oh - one good thing. My fan claims that I am getting a bit faster when I play (he likes fast). This is the same fan who, when I moaned about how badly it went today, said it sounded fine to him. I had to point out that as he's spent all afternoon recording he's had headphones on all the time I've been playing....
Recording - Highland Cathedral. Lost.
Another day of struggle, although it's starting to improve again. I've decided half the problem with the connector tube is that I don't sit straight on to my music stand sometimes so I'm twisting to see it, which must put pressure on the tube.
I spent an hour just about today, interrupted by a neighbour's cat (who was surprisingly tolerant of the pipes but had a lot to say when I was done) and my sister, who needed urgent quilt-making advice.
I've been working on Atholl Highlanders especially that A moving to D grace on C. Quick whizz through Friday Harbor, and a lot of work on Nigel's tune. I've gone through Highland Cathedral. I've not played it for a while, in fact I'm not sure that I've ever played it on pipes - just chanter. It came out OK. I made three recordings. They had various faults between them. They were all hesitant and wavery. I think that's me slowly feeling my way back in - still feeling the effects of that long break. The waver is to do with relying on my stronger bellows arm rather than forcing my bag arm to do some work.
The E doubling needs to be much better - I think I'm just picking up my G finger twice instead of the G and F, and sometimes think I fail to put down one finger before I lift the next. There's a little tap between two Fs which comes out as a whole note. I'm not holding the long notes anything like long enough. The tempo varies - on one version I played the B part faster than the A part. The D strike is way too slow and clunky. Oh - and that second triplet in the B part ditto really.
Look at that list of errors - and this is a tune I'm happy enough about to record. Sheesh!
I'm pondering posting recordings of Nigel's tune. I have to keep reminding myself that this blog is my space for me to hear how I am improving. To hear that I need to post the rubbish as well as the best shots. If people come looking for performance, as I've said before, they wont get it. Still, a girl has her vanities and it's difficult to make mistakes in public. I've seen the catty and unkind comments some people make on Youtube when beginners post their best shot at something. I think I'm mostly able to ignore this, but Nigel's tune is a bit different because I know that there are people out there collecting versions of the tune and I feel them hovering in the wings, somehow, and that's making me shy. (And not at all intending to suggest those collecting the tune would be unkind - in fact I'm sure they wouldn't. It's just that I feel if I post the tune it will be for them, not for me, and I want to make it as good as I can for them).
Oh - one good thing. My fan claims that I am getting a bit faster when I play (he likes fast). This is the same fan who, when I moaned about how badly it went today, said it sounded fine to him. I had to point out that as he's spent all afternoon recording he's had headphones on all the time I've been playing....
Recording - Highland Cathedral. Lost.
Did You Miss Me?
First posted Apr 20th, 2012 by newpiper
Pipes sulk. It's true. It's the only way I can account for Morag's behaviour this evening. Drones sound hideous. Connector tube won't stay put. The bellows strap keeps flapping in the way of my hands. The peg on the middle drone keeps popping out. I swear the holes on the chanter keep moving around. I've failed to play one single decent tune. I think this means she's missed me. Sorry, Morag. I won't do it again. I promise.
Pipes sulk. It's true. It's the only way I can account for Morag's behaviour this evening. Drones sound hideous. Connector tube won't stay put. The bellows strap keeps flapping in the way of my hands. The peg on the middle drone keeps popping out. I swear the holes on the chanter keep moving around. I've failed to play one single decent tune. I think this means she's missed me. Sorry, Morag. I won't do it again. I promise.
Whistling in the Dark
First posted Apr 19th, 2012 by newpiper
I've not been well this week: nothing serious, but enough to feel that reading a book is hard work and knitting impossible, so piping has been out of the question. Feeling brighter this evening so I've been following Virtual Kirsten on her basic whistle lessons and just refamiliarising myself. I'm absolutely not looking at any dots. Somehow it's easier to play around with tunes on a whistle; the physical effort is less, obviously, but it seems less hassle mentally, too.
As I fiddle about some very old tunes are coming back to me - tunes that I played half a lifetime or more ago on an E flat whistle (it suited my small hands but the pitch was uncomfortable, especially in the second octave) and my old wooden recorder. Tunes I had forgotten that I knew but that my hands seem to have remembered and the whistle reminds them. My fingers get confused from time to time - forgetting there isn't anything for my right hand pinky to do, forgetting to take the bottom hand off when I'm playing top hand notes, looking for that thumb hole...generally wanting to act as though they are playing pipes or recorder. Occasionally I find I'm playing a pipe tune - Dusty Pipes, mostly, and Hector, of course.
Anyway, I'm pleased at how much I can remember or work out, and am hopeful that this learning will transfer to pipes, as my fan says it will. I'm also hopeful that I'll feel up to a gentle piping session this weekend - I miss it.
I've not been well this week: nothing serious, but enough to feel that reading a book is hard work and knitting impossible, so piping has been out of the question. Feeling brighter this evening so I've been following Virtual Kirsten on her basic whistle lessons and just refamiliarising myself. I'm absolutely not looking at any dots. Somehow it's easier to play around with tunes on a whistle; the physical effort is less, obviously, but it seems less hassle mentally, too.
As I fiddle about some very old tunes are coming back to me - tunes that I played half a lifetime or more ago on an E flat whistle (it suited my small hands but the pitch was uncomfortable, especially in the second octave) and my old wooden recorder. Tunes I had forgotten that I knew but that my hands seem to have remembered and the whistle reminds them. My fingers get confused from time to time - forgetting there isn't anything for my right hand pinky to do, forgetting to take the bottom hand off when I'm playing top hand notes, looking for that thumb hole...generally wanting to act as though they are playing pipes or recorder. Occasionally I find I'm playing a pipe tune - Dusty Pipes, mostly, and Hector, of course.
Anyway, I'm pleased at how much I can remember or work out, and am hopeful that this learning will transfer to pipes, as my fan says it will. I'm also hopeful that I'll feel up to a gentle piping session this weekend - I miss it.
The Atholl Highlanders' Dog's Dinner
First posted Apr 12th, 2012 by newpiper
Still thinking about the Atholl Highlanders. Driving home today I realised that it's a track on a CD I have of a solo piper running through the top 20 favourite pipe tunes. Not as naff as it sounds. It's a while since I've listened to GHB proper, and they are rather harsh in tone. Feeling much happier that SSP are right for me.
Anyway, I came home and ran through the tune a couple of times. It occurs to me that despite my statement when I began that this is not a performance I do actually try to practice a tune and get it half right before I post it. I have at least half an eye out there for those who I know drop in from time to time. However, nice as it is to see everyone, as it were, the point of this blog was to demonstrate to me how far (or not) I've got. So this time I've not waited until I've got the tune before recording. I ran through it perhaps half a dozen times yesterday, and a couple of times today, and then hit record. So what we have here is a bit of a dog's dinner. There are bits where I get it right, bits where I fluff notes, gracenotes or timing, and bits where I retrace my steps and repeat a phrase I've found complicated. Hopefully I'll record a clean version in a few days and then I'll see an improvement!
The fan pointed out, just before I recorded this, that various Bs in the second phrase ought to be As. Sure enough, the version downloaded from the Session has As. Easily enough changed - and to be honest it's not the first time I've had to scribble over the Green Book where notes are wrong - but my fingers had already got into the habit of Bs. The G grace on A to D grace on C has taken some practice, as has the snap at the end of each part where the placing of the short note in the triplet is moved.
The fan says there are two more parts. More inspection of version from the Session (which is in tiny print and not easy to read) and sure enough, two more parts.
Anyway, this is a recording for me as a learner, not for you as a listener. Listen at your own risk!
Recording - Atholl Highlanders - lost.
Still thinking about the Atholl Highlanders. Driving home today I realised that it's a track on a CD I have of a solo piper running through the top 20 favourite pipe tunes. Not as naff as it sounds. It's a while since I've listened to GHB proper, and they are rather harsh in tone. Feeling much happier that SSP are right for me.
Anyway, I came home and ran through the tune a couple of times. It occurs to me that despite my statement when I began that this is not a performance I do actually try to practice a tune and get it half right before I post it. I have at least half an eye out there for those who I know drop in from time to time. However, nice as it is to see everyone, as it were, the point of this blog was to demonstrate to me how far (or not) I've got. So this time I've not waited until I've got the tune before recording. I ran through it perhaps half a dozen times yesterday, and a couple of times today, and then hit record. So what we have here is a bit of a dog's dinner. There are bits where I get it right, bits where I fluff notes, gracenotes or timing, and bits where I retrace my steps and repeat a phrase I've found complicated. Hopefully I'll record a clean version in a few days and then I'll see an improvement!
The fan pointed out, just before I recorded this, that various Bs in the second phrase ought to be As. Sure enough, the version downloaded from the Session has As. Easily enough changed - and to be honest it's not the first time I've had to scribble over the Green Book where notes are wrong - but my fingers had already got into the habit of Bs. The G grace on A to D grace on C has taken some practice, as has the snap at the end of each part where the placing of the short note in the triplet is moved.
The fan says there are two more parts. More inspection of version from the Session (which is in tiny print and not easy to read) and sure enough, two more parts.
Anyway, this is a recording for me as a learner, not for you as a listener. Listen at your own risk!
Recording - Atholl Highlanders - lost.
10,000 Hours
First posted Apr 11th, 2012 by newpiper
I read an article today that mentioned, among other things, the concept that it takes 10,000 hours to gain mastery of something. Aside from the issues around how anyone knows this, who has counted, and exactly what constitutes "mastery" this is a scarily large amount of time. It amounts to three hours a day for ten years.
Three hours a day is amazing in itself. I spend 10 hours a day travelling too and from and being at work. Take another 7 for sleeping. Then meals need to be cooked and eaten and the basics of housework done. Remove a couple more hours for distractions - the allotment, knitting, needlepoint, sewing, baking, reading. Even when I do get my pipes out time is spent blogging about it (ahem!), fiddling with batteries in the recorder, and so on. Today I got to spend a very rare and very precious 2 hours or so sitting on the sofa with my fan listening to some of the haul of CDs we brought back from Ireland (Dulahan, Hayes Senior and Junior and Floriane and Dermot). I wouldn't give that up for any amount of mastery.
So, I'm trying to get back to listening to Scottish tunes and pipes tunes, and poked about on YouTube yesterday looking at various things. Definitely want to learn the Atholl Highlanders. It's a classic pipe tune and also sounds good at sessions. At the moment my problem with it is that it needs to be played faster than I can manage. After my heavy reliance on G graces the D grace on A is proving tricky. My best shot is poor, to say the least. I will work on it. I do need to get faster at lots of tunes. I also need to get up the stamina (and repertoire) to play tunes back to back in proper sets.
The Halsway Schottische is coming on OK, although there are some notes in the B part that keep throwing me. Again, speed is an issue. Still hoping to post a version here soon.
In the meantime I managed to record Mull of the Mountains. Played it three times. This was the only one with a set of working batteries in the recorder, and naturally the only one I managed to fluff notes in. My drones aren't happy. Retuned twice in half an hour of playing and I'm still not convinced they are right. Not sure what's upset them - perhaps having been abandoned for a week they are sulking. However, I feel the tune is sustained nicely - fairly even tempo and sound. I also played both parts twice quite comfortably, without needing a lie down afterwards. It ends rather abruptly though - could have done with a sustained note at the end.
Recording - Mull of the Mountains. Lost.
I read an article today that mentioned, among other things, the concept that it takes 10,000 hours to gain mastery of something. Aside from the issues around how anyone knows this, who has counted, and exactly what constitutes "mastery" this is a scarily large amount of time. It amounts to three hours a day for ten years.
Three hours a day is amazing in itself. I spend 10 hours a day travelling too and from and being at work. Take another 7 for sleeping. Then meals need to be cooked and eaten and the basics of housework done. Remove a couple more hours for distractions - the allotment, knitting, needlepoint, sewing, baking, reading. Even when I do get my pipes out time is spent blogging about it (ahem!), fiddling with batteries in the recorder, and so on. Today I got to spend a very rare and very precious 2 hours or so sitting on the sofa with my fan listening to some of the haul of CDs we brought back from Ireland (Dulahan, Hayes Senior and Junior and Floriane and Dermot). I wouldn't give that up for any amount of mastery.
So, I'm trying to get back to listening to Scottish tunes and pipes tunes, and poked about on YouTube yesterday looking at various things. Definitely want to learn the Atholl Highlanders. It's a classic pipe tune and also sounds good at sessions. At the moment my problem with it is that it needs to be played faster than I can manage. After my heavy reliance on G graces the D grace on A is proving tricky. My best shot is poor, to say the least. I will work on it. I do need to get faster at lots of tunes. I also need to get up the stamina (and repertoire) to play tunes back to back in proper sets.
The Halsway Schottische is coming on OK, although there are some notes in the B part that keep throwing me. Again, speed is an issue. Still hoping to post a version here soon.
In the meantime I managed to record Mull of the Mountains. Played it three times. This was the only one with a set of working batteries in the recorder, and naturally the only one I managed to fluff notes in. My drones aren't happy. Retuned twice in half an hour of playing and I'm still not convinced they are right. Not sure what's upset them - perhaps having been abandoned for a week they are sulking. However, I feel the tune is sustained nicely - fairly even tempo and sound. I also played both parts twice quite comfortably, without needing a lie down afterwards. It ends rather abruptly though - could have done with a sustained note at the end.
Recording - Mull of the Mountains. Lost.
Return of the Wanderer
First posted Apr 10th, 2012 by newpiper
A week without piping - and I've missed it, especially when sitting in sessions. We've been to Ireland where its clear people are very vague on what Scottish Smallpipes are, although everyone agrees that they must be lovely and that I would have been very welcome to take them along to sessions. Next time, hopefully.
Of course, all the tunes I've heard this week have been Irish, almost without exception, and not very useful for SSP. We did find an Irish piper at one session. He gloomily pointed out that it costs about £2000 to buy a set, and that any decent maker will have a 10 year waiting list...I bought a Tony Dixon D whistle in one of the many music shops we visited, so perhaps will get together some Irish tunes on that for sessions. In the meantime I need to get out the CDs and retune my ear to Scottish songs.
I have played today. Very tiring indeed on my arms. I began well but towards the end had the usual set of issues - drones never sounding quite in tune, connector flipping out, and a hideous screech on the chanter from time to time which I think must mean I'm putting too much pressure through it. I'm starting to pick up the tune for Friday Harbor, but I only tried it at the end of my playing when I was tired. The first part coming out OK mostly - second part to work on. Nothing worth recording.
A week without piping - and I've missed it, especially when sitting in sessions. We've been to Ireland where its clear people are very vague on what Scottish Smallpipes are, although everyone agrees that they must be lovely and that I would have been very welcome to take them along to sessions. Next time, hopefully.
Of course, all the tunes I've heard this week have been Irish, almost without exception, and not very useful for SSP. We did find an Irish piper at one session. He gloomily pointed out that it costs about £2000 to buy a set, and that any decent maker will have a 10 year waiting list...I bought a Tony Dixon D whistle in one of the many music shops we visited, so perhaps will get together some Irish tunes on that for sessions. In the meantime I need to get out the CDs and retune my ear to Scottish songs.
I have played today. Very tiring indeed on my arms. I began well but towards the end had the usual set of issues - drones never sounding quite in tune, connector flipping out, and a hideous screech on the chanter from time to time which I think must mean I'm putting too much pressure through it. I'm starting to pick up the tune for Friday Harbor, but I only tried it at the end of my playing when I was tired. The first part coming out OK mostly - second part to work on. Nothing worth recording.
Leaving Friday Harbor
First posted Apr 2nd, 2012 by newpiper
My fan listened as I played today and we talked a little about learning tunes. I feel I've moved away from learning a phrase at a time to trying to run through whole tunes, but I've also moved from learning tunes I don't know at all - just the next tune in the Green Book - to deciding to learn tunes because I've heard and like them. I tend to run through the first apart most often, because that's where I always start, and often I run over something a couple of times, and then get tired, or cross, and move on to another tune. B parts thus get practised less often, and surely B parts are harder than A parts...
Anyway, the fan says there is no need to learn phrase by phrase - just noodle along, says he, and all will drop into place. Possibly. Either way I worked at some specific phrases in Friday Harbor that were not working well. I played it once through beautifully. My fan was impressed. Was the recorder on? Of course not. Could I repeat it for the recorder? Of course not.
My fan says I'm no longer snatching at the bellows, which I did yesterday evening (but I was tired). He says my endings are better, my tone is improving. I have problems noticing these things. I notice that I am still cautious in my playing - I start off too fast, I slow right down when I'm unsure. I haven't found a way to start off that doesn't sounds as though a small group of animals is rushing through the room. The sound level seems to come and go, although I sat by the recorder. Speaking of endings, you can just here a little clunk right at the end - that's my drones dropping down on each other as I lean over to switch the recorder off.
Working on the Halsway tune. Getting there, slowly.
Recording - Leaving Friday Harbor. Lost.
My fan listened as I played today and we talked a little about learning tunes. I feel I've moved away from learning a phrase at a time to trying to run through whole tunes, but I've also moved from learning tunes I don't know at all - just the next tune in the Green Book - to deciding to learn tunes because I've heard and like them. I tend to run through the first apart most often, because that's where I always start, and often I run over something a couple of times, and then get tired, or cross, and move on to another tune. B parts thus get practised less often, and surely B parts are harder than A parts...
Anyway, the fan says there is no need to learn phrase by phrase - just noodle along, says he, and all will drop into place. Possibly. Either way I worked at some specific phrases in Friday Harbor that were not working well. I played it once through beautifully. My fan was impressed. Was the recorder on? Of course not. Could I repeat it for the recorder? Of course not.
My fan says I'm no longer snatching at the bellows, which I did yesterday evening (but I was tired). He says my endings are better, my tone is improving. I have problems noticing these things. I notice that I am still cautious in my playing - I start off too fast, I slow right down when I'm unsure. I haven't found a way to start off that doesn't sounds as though a small group of animals is rushing through the room. The sound level seems to come and go, although I sat by the recorder. Speaking of endings, you can just here a little clunk right at the end - that's my drones dropping down on each other as I lean over to switch the recorder off.
Working on the Halsway tune. Getting there, slowly.
Recording - Leaving Friday Harbor. Lost.
Sunday
First posted Apr 1st, 2012 by newpiper
No recording today. I tried Friday Harbor, but managed not to hit the right buttons. It's coming on well, except for the little run of four Gs in a row - having problems finding suitable gracing that allows me to preserve the timing. Generally I'm breaking the run up with a few Fs, but I don't think that's the best option. Second part still needs work, especially the fiddly bit where a D is followed by another D and C, so grace needed to split the Ds, but the D and C are ...is it demi-semi-quavers? - faster than the norm, anyway, so three notes to cram into less than a heartbeat.
A few problems today with the tube popping out, and my arms aching - but then I did do a little light digging at the plot this morning, and I played for about an hour this evening.
I have dots for the Halsway tune, courtesy of Simon. Tune is in D. Fan said I should put it up a fifth, which turns out to be 5/8 rather than 1/5, and to involve lifting each note by 4. Who knew?
The mysteries of music theory will always evade me, I fear.
I had a few panicked moments because the pipes are simple things and limited in the number of notes they can play, but in the end there were enough notes to go round. The first few bars were as I had written them the other day, so that was something. The second part is more complex than I had thought - lots of not-quite-repeated bars. Anyway - it's fun to play and I'm getting a recognisable version (where I can read my own handwriting - not sure why hand-written dots are so difficult to read). I will post a version when I get a half decent one.
I could have played more today, but I've been busy knitting and reading a lovely American baking book. I baked nothing from it because I failed to find a recipe that didn't call for over a bag of flour, a whole pat of butter and half a dozen eggs. I did bake good old fruit scones, though, to have with butter and jam.
No recording today. I tried Friday Harbor, but managed not to hit the right buttons. It's coming on well, except for the little run of four Gs in a row - having problems finding suitable gracing that allows me to preserve the timing. Generally I'm breaking the run up with a few Fs, but I don't think that's the best option. Second part still needs work, especially the fiddly bit where a D is followed by another D and C, so grace needed to split the Ds, but the D and C are ...is it demi-semi-quavers? - faster than the norm, anyway, so three notes to cram into less than a heartbeat.
A few problems today with the tube popping out, and my arms aching - but then I did do a little light digging at the plot this morning, and I played for about an hour this evening.
I have dots for the Halsway tune, courtesy of Simon. Tune is in D. Fan said I should put it up a fifth, which turns out to be 5/8 rather than 1/5, and to involve lifting each note by 4. Who knew?
The mysteries of music theory will always evade me, I fear.
I had a few panicked moments because the pipes are simple things and limited in the number of notes they can play, but in the end there were enough notes to go round. The first few bars were as I had written them the other day, so that was something. The second part is more complex than I had thought - lots of not-quite-repeated bars. Anyway - it's fun to play and I'm getting a recognisable version (where I can read my own handwriting - not sure why hand-written dots are so difficult to read). I will post a version when I get a half decent one.
I could have played more today, but I've been busy knitting and reading a lovely American baking book. I baked nothing from it because I failed to find a recipe that didn't call for over a bag of flour, a whole pat of butter and half a dozen eggs. I did bake good old fruit scones, though, to have with butter and jam.
Back from the Dead
First posted Mar 31st, 2012 by newpiper
Well, perhaps the post title is a bit of an exaggeration but it's almost a week since I picked up the pipes, for various reasons. Still having to work hard to remember Dusty Pipes and Hector.
Still just beginning to pick up Carl Magnusson. Friday Harbor coming on nicely. But tired today and the pipes sound very loud and the drones just don't sound right at all.
My fan says I've "just about" got the Halsway tune - and now I've got an offer of dots, which is great. So watch this space!
Well, perhaps the post title is a bit of an exaggeration but it's almost a week since I picked up the pipes, for various reasons. Still having to work hard to remember Dusty Pipes and Hector.
Still just beginning to pick up Carl Magnusson. Friday Harbor coming on nicely. But tired today and the pipes sound very loud and the drones just don't sound right at all.
My fan says I've "just about" got the Halsway tune - and now I've got an offer of dots, which is great. So watch this space!
Hello World
First posted Mar 25th, 2012 by newpiper
Heavens - I got a comment! Hello world! More specifically, hello Simon, and thanks for your encouragement, and thanks for spreading the word abut this tune - I'm so glad I've come across it. I've been listening to lots of versions of the Halsway Carol. I think my favourites are the one with bells, because it's nice and clear, and Nigel's own version. I'd not really come across hurdy gurdys before, and I'm quite smitten. I love the way it starts very gently and then that that percussive effect kicks in - marvellous!
So I've been trying to pick the tune out. I started on a whistle, and then in a moment of madness crossed to the mandolin. Despite violin lessons more years ago than I care to recall I don't find strings intuitive, however, sometimes they help with patterns. The tune seems to start, for instance, with two open string notes. Does that help? I’m not sure. I picked it out on the mandolin and wrote out the dots because I didn't think I could transfer what was then a mandolin tune for me direct onto pipes. I was wrong! I picked up pipes and I played it. Well, I played the first part, and I don't think it's quite right. Interestingly I got some of my best ever finger speeds, probably because somehow I'm not thinking about playing, I'm just thinking about the tune.
The fan is away this weekend but I am hoping when he gets back to get him to listen to the proper version and my version and he'll help me out. He can listen to a tune and go "well, that's a C and you're playing C sharp" whereas I just go "this note doesn't feel right". Oddly it's sometimes the correct note next to the wrong note that that feels wrong...
Anyway - no fan, no recording kit, but plenty of time to practise and I'm doing it in small bursts. Dusty Pipes and Hector both came back. In the end reading the dots to remind me didn't help. I know that I know the tunes, because I know when I've got them wrong. I've found that actually listening to the tune and working it out as I go along is more helpful than dots.
Kicking myself for not accepting the Halsway Schottische dots when they were offered, but I think I'm learning a lot by having to work the tune out for myself. It's a great tune and it's going to sound really good on Scottish Smallpipes!
Heavens - I got a comment! Hello world! More specifically, hello Simon, and thanks for your encouragement, and thanks for spreading the word abut this tune - I'm so glad I've come across it. I've been listening to lots of versions of the Halsway Carol. I think my favourites are the one with bells, because it's nice and clear, and Nigel's own version. I'd not really come across hurdy gurdys before, and I'm quite smitten. I love the way it starts very gently and then that that percussive effect kicks in - marvellous!
So I've been trying to pick the tune out. I started on a whistle, and then in a moment of madness crossed to the mandolin. Despite violin lessons more years ago than I care to recall I don't find strings intuitive, however, sometimes they help with patterns. The tune seems to start, for instance, with two open string notes. Does that help? I’m not sure. I picked it out on the mandolin and wrote out the dots because I didn't think I could transfer what was then a mandolin tune for me direct onto pipes. I was wrong! I picked up pipes and I played it. Well, I played the first part, and I don't think it's quite right. Interestingly I got some of my best ever finger speeds, probably because somehow I'm not thinking about playing, I'm just thinking about the tune.
The fan is away this weekend but I am hoping when he gets back to get him to listen to the proper version and my version and he'll help me out. He can listen to a tune and go "well, that's a C and you're playing C sharp" whereas I just go "this note doesn't feel right". Oddly it's sometimes the correct note next to the wrong note that that feels wrong...
Anyway - no fan, no recording kit, but plenty of time to practise and I'm doing it in small bursts. Dusty Pipes and Hector both came back. In the end reading the dots to remind me didn't help. I know that I know the tunes, because I know when I've got them wrong. I've found that actually listening to the tune and working it out as I go along is more helpful than dots.
Kicking myself for not accepting the Halsway Schottische dots when they were offered, but I think I'm learning a lot by having to work the tune out for myself. It's a great tune and it's going to sound really good on Scottish Smallpipes!
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