zbd1960

[quote name='bertbass' timestamp='1469184660' post='3096387'] Mrs Bert always wanted to play bagpipes so no expense spared, I bought her a set for Christmas one year, they cost about £60. Totally useless. Mrs Bert thought it was her not being able to get much of a sound out of them but it turns out that the cheap bagpipes are rubbish and no one can play them. You have to spend a lot of cash to get bagpipes that can actually be played. The cheap ones look good hanging on the wall as an ornament though. [/quote] Ah, BSO's then: Bagpipe Shaped Objects

[quote name='paul_c2' timestamp='1469141833' post='3096149'] Yep - which is great when instruments with just tuning play together - eg string quartet, horn section, choir. But when they have to play with other instruments - piano, woodwind etc everyone needs to be in tune, so stuff like piano dictates that its equal temprament. In theory a guitar could be constructed and tuned to just tuning - but its fretboard would be correct in only a handful of keys and an open tuning would need to be used. As soon as the limitation of those few keys is removed, the requirement means the frets need to be equally spaced to avoid bad clashes on certain notes. [/quote] You could, like one instrument I play, have movable frets.... which is why older music is written in a small number of related keys

[quote name='paul_c2' timestamp='1469116890' post='3095920'] I am assuming you mean the most common/familiar type of bagpipes - the Great Highland Bagpipe. I don't know where your research was done but they do in fact play in A mixolydian, which is obviously closely related to the scale of D major. The confusion has probably arisen because bagpipe music doesn't bother to mention that its C is actually C# and its F is actually F# - since the chanter plays only the one scale, the sharps were deemed superfluous to mention. Also, you're likely caught out by the fact that over the years, they have crept up from the quasi-standard A=440Hz tuning, to as high as A=485Hz (B flat is 465Hz I think). So you need to be careful to research this and obtain bagpipes which are designed to play at A=440. [url="http://www.hotpipes.com/tuning.html"]http://www.hotpipes.com/tuning.html[/url] should help you with tuning them - out of tune bagpipes is the main reason why people dislike them, its quite a complicated process to get them in tune!! A further complication is that the chanter is tuned to just temprament, not even-tempered, and in fact the D and G are slightly sharp, so playing in these keys will sound wrong. You may be better off with smallpipes which are designed to play in D (mixolydian). Maybe you'd be better off with a synthesiser....? [/quote]Arguably, just intonation is more in-tune that the equal temperament that we use, since ET squashes 5th slightly and makes major 3rds way too wide...but that's another story... You could go for something with a softer sound such as the Uillean or Northumbrian pipes, or a musette. As most of these things are hand-made, I don't think there will be really cheap ones around. I do know someone who makes them (and recorders).

[quote name='discreet' timestamp='1468930994' post='3094396'] [/quote]Evidently the ironic nature of my post was lost in the telling

And there's me thinking it is the past tense of 'stink'; stunk is the past participle

[quote name='Bobthedog' timestamp='1468881452' post='3094083'] At this rate I could become quite the expert. Thank you. Interestingly (or not) cadence is the term cyclists use to talk about peddle rotation speed [/quote] Yes, cadence is one of those words that has a number of [url="http://www.oxforddictionaries.com/definition/english/cadence"]senses[/url]...

Might be worth buying Eric Taylor's books, the 'AB Guide to Theory' volumes I and II. These are small books and cover the theory needed for the ABRSM up to grade 5. They used to be about a fiver each (OK [url="https://www.amazon.co.uk/AB-Guide-Music-Theory-Vol/dp/1854724460"]here's[/url] link). Good explanation above. Once a tonal centre has been extablished (e.g. C major) then the tonic is the 'home' and is where the music wants to return to and settle and ultimately finish. Certain chords built on other degrees of the scale, such as V - which would be G in the case of C, have a strong pull back to the tonic. The sequence of chords that lead to a close is called a 'cadence' and comes from the Italian word meaning 'to fall' and that is because the bass note in the chords in a cadence usually 'falls' to the tonic. So, in the case of a 'full close' we have chord V => chord I which is G to C and the bass would fall from the G above down to C. There are various types of 'close' (cadence) and chord V to I is one of the most common ways of ending a section or an entire piece of music. There are others.

[quote name='Maude' timestamp='1468774700' post='3093227'] No there's no sign of any cracking, just a hump which I didn't notice at first but we did a gig where the venue had a dancefloor that was lit from underneath, when my bass was lying down pre gig I saw it in the light. Now I know it's there I notice it more. It hasn't got any worse in two and half years since I noticed it and I've wondered if all doublebasses have it to a degree, but as I said I've nothing to compare it to. I don't get many issues with feedback and a tight soundpost could actually be helping this I suppose. My amplified sound is fine and I fear any improvement on acoustic sound, by having a proper setup, could give me more feedback when amplified due to a more resonant top. [/quote]I don't think it should be doing that - worth a chat with a luthier... if the humidity drops and the instrument shrinks, the pressure may get too much. Don't know much about string shops/luthiers in your neck of the woods - probably Exeter and Bristol at a guess? Long way from you I suspect. There probably are ones nearer, needs a search. I'll ask some people I know.

[quote name='stingrayPete1977' timestamp='1468683578' post='3092651'] I'll report back, she will be doing it this week all being well, has your wood cracked or just a gentle hump formed? Mine is quite isolated to the post area, must be really tight and this humid weather has not helped I bet. I'm going to let her show me the basses they have on sale when I collect it, could be an expensive mistake! [/quote]Sounds like you were talking to Helen... She sold me my Jay Haide cello and Dorfler bow. If you talk nicely they will cut a bit of a deal. They have a bass room (and a cello room...)

[quote name='stingrayPete1977' timestamp='1468667367' post='3092500'] Ta mate I've just dropped it off at Tim Tofts, bit like taking a Kia Picanto into a vintage Ferrari restoration specialists! [/quote]TimTofts are good - that's where I bought my first cello. There's a really nice guy in Shrewsbury - Julian Batey - he has a shop in the centre off Dogpole I think. Real old-fashioned craftsman and he will be less expensive than Tofts. He's done some running repairs for me and he re-hairs my bows.

I'm the kind of guy that usually ends up organising stuff and over the years I have realised that there are basically two camps: those who make-it-up as they go along, and those who plan. The odds are that if you are a member of one of those clans you don't really like the other clan's way of working. There are exceptions: some people will be happy to have someone do the planning and will go with the decisions made. Personally, I dislike lack of organisation and planning and so I usually end up being involved in doing that. It is nice sometimes to turn up to an event and to have others do the organising. The only way to find out and resolve this is to talk. They aren't going to understand what you need and why if you don't tell them. Equally, they need to tell you what they're OK with. Good luck.

Wind band gig in Ludlow this evening but on tenor sax playing with The Film Orchestra

I imagine a decent DB will be more expensive than anything other than a collector's item BG. I play cello and a basic Chinese cello is £1,500. New UK luthier made starts at around £8k. 'Cheap' German/Italian/French/English from around early C20th start at about £5k, anything 'interesting' starts at about £8k+. Even a decent C19th English instrument will be £20k+. DBs are probaly similar, or more...

I'd get it straight to a luthier, sounds like the sound post needs adjusting. Position of the post is critical to the sound of the instrument. If it's just a sound post adjustment, it will be a quick and cheap fix. A full set-up with new bridge etc will be rather more.

Update time... I have had weekly lessons for a couple of months as noted above. But I think I will move on. He tends to run 2 or 3 people simultaneously in separate rooms. I get two minutes of attention whilst he 'shows' me something, e.g. B minor scale linked to D major, put on a backing track and leaves me to it. Pops in a few times and 'says 'wow - you've nailed that...'. Am I expecting too much? I'd rather pay more for fewer lessons one-to-one. This is getting to be very disheartening. I've been looking for ones nearer to work (mid-Cheshire) and there's plenty around south Manchester/Stockport area, which is around 15 miles from the office, so not too bad, the killer is the 45 - 50 miles home. Welcome any suggestions for Chester/south Cheshire (Sandbach/Crewe/Nantwich/Audlem), Wrexham area, north Shropshire (Oswestry/Whitchurch/Wem/Prees/Market Drayton)

I suppose the best-known is the Dittersdorf, but on a different tack there is Koussevitsky, better known for piano works.

It's geared tuning pegs you are looking for. Agree with comments about getting taper checked - it might not be a straight swap. Also, depending on the set-up of the instrument, tuning of the neck, suitbale string tension etc., it is possible the geared pegs may be too heavy to suit your instrument (I wanted to put them on mine, but the luthier did some tests about the tuning of the neck, stiffness etc., and concluded not suitable for my instrument). If it's because existing pegs are stiff, or not holding, I'd see a luthier anyway, you might need the holes aligning or reaming / re-sizing, or different pegs.

[quote name='essexbasscat' timestamp='1468134084' post='3088717'] This. Strained muscles, leading to decreasing vocal ability, leading to further strain and progressing in a vicious circle. The strained soft tissue becomes inflamed and sore, also making the area susceptible to infection. Vocal lessons are the kiddie [/quote]Yep. I know it's not easy, but if it needs saying/doing, then to be fair to eeryone, it should. A good musician looking to develop should always be open to feedback and suggestions. Maybe we're more self-deprecating in choral groups, and less of the diva/divo ego of the soloist... Where I live I have heard a few bands in local pubs (to be honest, not really my genre) and I would say that in the majority of cases the singers and the bands are not in tune with each other and most of the singers have poor technique. There are exceptions and I have heard a few good ones.

Interesting comments above. I didn't start singing until I was in my 30s and I then started lessons with a retired opera singer (counter tenor) who had morphed into the head of a music service. Long story short: poor technique results in tightening of muscles, restricts air flow, and the tight muscles tire quickly, leading to strain, hoarseness etc. Proper breathing, relaxed stance/posture, and relaxed, open airway = being able to sing comfortably for long periods (with practice). Persistent poor technique can lead to permanent damage. Even though an amateur, I can sing in a 3 hours rehearsal and then do a 2 hour concert same day. I've done summer schools where I have had to sing for about 6 hours during a 10 hour 'day' for a week.

OK - I'm a 'classically' trained singer (but amateur). I don't do solo.... A lot of singers (not all) have no proper training in technique, which leads to straining of the vocal chords (in brief - tuned shouting rather than proper controlled vocal production). This means that the voice tires very quickly and is easily strained. So one option, is that their voice just isn't very robust due to poor technique. Thi can explain lots of sore throats etc. Alternatively, they've picked up a bug and you can't sing if you've got one - and there are plenty of those aroudn at the moment.

[quote name='PaulWarning' timestamp='1468010070' post='3088112'] no issue, just wondering whether classical trained muso's have a music stand in front of them to make them look more professional whereas rock bands don't, to make them look more professional, perverse of what? and how do they turn the pages? [/quote]Planning....

[quote name='jezzaboy' timestamp='1468008370' post='3088088'] Re the classical players. How do they turn the pages when holding a bow and violin. Is it some mad Jedi / Kung Fu mind trick??? [/quote]Yep. As a cellist, the switch from pizzicato to arco in a nano-second between quavers is a rare Jedi secret... [url=http://www.emoticonsfree.net/][/url]

[quote name='paul h' timestamp='1467980847' post='3087769'] Actually...I'm guilty of this as well I call it a "guitarist's key". When I ask somebody what key a song is, I'm really asking what the first chord is I'm a terrible, terrible musician [/quote] May all your songs start on an anacrusis on the dominant....

[quote name='PaulWarning' timestamp='1467987131' post='3087864'] I guess that's why we have a drummer seriously, I don't see much difference between learning a a 40 song 2 hour set than a long classical piece, but hey, I've never been anywhere near an orchestra so I probably don't know what I'm talking about [/quote] Because you get very little repeatition of notes, rhythm, or structure that you get in rock/pop. I play in orchestras and in large wind bands. Some of the easier pieces, the music is an aide-memoire since you get to know it after a few rehearsals. But you don't develop that level of familiarity with more complex works, plus as already noted, there are a vast number of articulation, dynamic and performance instructions, as well as notes and rhythm to worry about, plus other performance guidance notes, cuts etc. Typically you get maybe 4 or 5 rehearsals, do concert, start rehearsing new set of music... I don't yet play bass in any group. When I get round to that, it is likely to be jazz-ish probably. Since I don't currently know any bass music, I'm anticipating using a stand, which I do not see as a problem. Maybe over time, if I end up developing a core repertoire that is aired regularly, that requirement will fade. Don't know. I don't see it as a big deal. One orchestra I play in has a partially sighted player. He has an A4 sized tablet. He gets his music scanned and then video reversed so that white is black and vice versa - he can see this better. He has a pedal to control scrolling. The main point is surely that what matters is the end result - if it's a decent performance, what's the issue?

[quote name='Rich' timestamp='1467832915' post='3086640'] Hogwash. A band doesn't have to actually be professional to have a 'professional' attitude, approach and organisation. [/quote] Agree amateur = does something for the love of it. If you want to be taken seriously, you need a professional approach