Posted: Mon Jul 25, 2005 2:49 pm
Beautiful set Ross. Congratulations to both yourself and Joe!
Patrick.
Patrick.
As Patrick would say, "Careful now!". In just intonation, an E-flat, and a D# are two different notes.billh wrote:Yep. Or D#, take your pickPJ wrote:What's the key below the Fnat ring-key on the two chanters? Eb?
I'm a little unsure of what you mean here Ross - do you mean to say that the opening in the mainstock leading into the bag is small, which reduces the coupling between the drones and the chanter? I am not sure the direct tie-in argument implies this would be a good idea or not; perhaps phase locking between the chanter reed and drones would be a good thing?Ross wrote:The drones are just right, and there isn't a problem with intonation.
No doubt the stop key has something to do with this - though in the
Kenna set the air inlet to the main stock is tiny to prevent lock-in
with the drone reeds. Different ways of achieving the same effect, I
suppose.
Well, looking further back at the stuff that was in the 'tutors', there are other possibilities. Although it's right to be a bit sceptical of the tutors as a true reflection of what people were playing (they served as adverts after all - most authors of tutors were pipemakers ), the tutors include all sorts of music which today seems ill-suited to pipes; popular songs, show tunes, etc.I still haven't figured out what to use the D sharp key for. Best idea
so far is to alternate it with ghost D in Jenny's Welcome to Charlie.
Cleary people used to use accidentals more - look at all the slow airs
O'Neill has in G minor and D minor, or the old tutor books. I wonder
what caused that to go out of fashion? The growing use of regulators?
Ross