Hi All,

I've added two new images:

* Gawsworth Church in Cheshire.  Not the best quality pic - I have had to
enhance it rather a lot.  So if anyone is going past the tower on a nice day 
.....

* Bristol Cathedral, Gloucestershire.  A misericord.  If you are going in there
I would appreciate a pic of the p&t player from the left side as the misericord
is photographed from the centre.

http://myweb.tiscali.co.uk/createthemood/

If anyone is interested in doing research into any of the images, such as more
about their date, reconstruction, taking more photographs or about the building
they are in, that would be good information to add to the images pages.

Thank you

regards

frances

Me again,

I've added two new items to the draft website:

* 17th century Cotgrave dictionary definitions

* the FAQ now works.  Please let me know of anything else that should be added
to the FAQ.  Also please let me know if the links do not work, one or two of
these sometimes do and sometimes do not when I tested them.

Thanks

regards

frances

Hi all,

Judith Cohen is a Canadian musicologist and pipe and tabor player.  In 1999 she
went on one of her trips to Portugal and her report is online.  This is taken
from that report:

The EthnoFolk Letters 14, 1999

"In the northeast of Portugal, in the hilly, long-isolated region of
Tras-os-Montes(" over the mountains"), there is an area adjacent to the Spanish
border (Zamora province) where an old language is spoken: Mirandis do Douro
("Miranda of the [river] Douro").

I ended up both sitting on the jury and opening the festival of new Mirandes
song, and the city commemoration day, and pauliteiros (stick dancers with
pipe-and-tabor accompaniment).  I sang a few songs in Mirandes, including one
which I also played on pipe-and-tabor which is not generally played by women in
Spain or Portugal.

Maybe there was something in the air, but the usual tooth-pulling routine ("No,
we don't sing those old reaping and threshing songs any more ") was magically
unnecessary at times it felt as if I were sitting in a ballad orchard with ripe
songs falling into my lap (well, microphone).

Judith Cohen

http://cfmb.icaap.org/content/33.3/BV33.3art13.pdf

regards

frances

Pipe and glove puppet: "Dad's usual setup is the pipe and tabor - one of the
earliest one man band.  In dad's setup the drum is played by a skunk puppet that
also has some finger cymbals fastened to the "hands" for a little variety. "

http://pianomoods.hypermart.net/blog/archives/archive-092006.html

ha ha ha

regards

frances

Stephen Rowley wrote:
> For a small fee, Malcolm in the Vaughan Williams Memorial Library at
> EFDSS will post you a copy.

What about asking for permission to upload a copy to the member
section of the P&T Society website?

Jeremy

> At 15:51 17/11/2009, you wrote:
>  >I contacted the The English Folk Dance and Song Society via email
>  >about the article concerning bore/length ratio that was mentioned
>  >previously. Here is the reply. Being in the US Midwest, I imagine my
>  >success with an "Inter-Library Loan" for the publication would be
>  >slim, but I'm going to try:
>  >
>  >Sorry for the delay. Here's the reference you want. If you have any
>  >further queries, I suggest you contact the Library of the EFDSS,
>  >www.efdss.org library@... <mailto:library%40efdss.org> as they
> have all the articles
>  >indexed, and they sent me this reference. They could sort you a photocopy.
>  >Strange - the second pipe and tabor query this week! Regards
>  >
>  >Derek Schofield
>  >
>  >Jones, Jim
>  >Article on the making of 3 holed pipes
>  >In English Dance and Song vol. 41 no. 1, 1979, p. 11-13 (Morris Workshop)

Hi Steven,

Welcome to the fun world of pipe & tabor!

> First, for those of you who own Susato tabor pipes (the lower
> pitched ones) what pitches have you found have worked better for the
> pipes (in other words, have you played certain key Susato pipes that
> play better than others -- Bb, A, G, F, etc.). I have some Susato
> whistles that are lower pitched and I find them significanly more
> "squeaky" and hard to control when jumping octaves as compared with
> my high D and C whistles.

When discussing Susato whistles and/or tabor pipes, it is good to
note bore size as well as key.  Check out
<http://www.susato.com/konakart/SelectCat.do?catId=144&prodsFound=4&redir=true&c\
ategory=Kildare>
for a look at the current Susato pennywhistle lineup.  Sadly, they
don't have an analogous chart in their tabor pipe section, so you
have to know to look under the whistles.  "S-series" is what they
now call what used to be the only bore size they made.  They
currently show only S-series and V-series tabor pipes available, but
they briefly made G-pipes in what is now called the "M-series" (it
was then called "medium bore").  I wish they'd go back to making
these, because they were nice.

I own a range of Susato pipes, and really like playing them all.
When playing out for Morris, I usually play the high D (S-series),
because I want the loud, piercing sound.  But when playing for
practice I prefer to drop down at least to the C (still S-series),
which is somehow significantly less shrill than the D.  If I owned a
V-series pipe, I might try that for practices.

I don't tend to play my Bb pipe (S-series) much, but probably
should.  I rather like my A pipe (S-series), but don't play it all
that much because it doesn't fit in my drum case so I'd have to
carry it separately.  If you ever have to play along with a fiddler,
they will be happy if you pull out an A pipe.

I also have two different Susato G pipes, one in the S-series and
one in the M-series (sadly, no longer being made).  The S-series G
pipe is easier to play, but the M-series G pipe has a much nicer
tone.



> Second, does anyone have any thoughts/approaches concerning learning
> the tabor drum and how to actually combine the pipe and drum.

I see that you have already received some good advice, but I'd like
to add a few thoughts of my own.

First of all, you should know that I have been a woodwind player for
nearly all of my life; I started on recorder, added oboe, and
eventually (while in college) added pennywhistle.  I took up pipe &
tabor maybe a dozen years ago (wow, has it been that long?).

You should also know that I am lefthanded.  So for me there was the
very important question of which hand to use for which part of the
instrument (I recommend that you think of p&t as being one combined
instrument).  The absolute first thing I was told, when I approached
a taborer to learn about the instrument, was to use my *dominant*
hand on the *drum*.  The reason for this is that, so long as I can
keep the drum's beat going, the dancers will be OK.  So that means
that I drum with my left hand, and pipe with my right.  If you are
lefthanded, I recommend this.

OK, moving on.  I agree completely with whoever it was who said you
need to be able to provide a steady drum beat.  In playing for
morris one actually needs to be able to vary the beat (slow down
here, speed up there), but in order to do that, you need first to be
able to keep it steady.  So I suggest practicing a bit on just the
drum.  Put on a recording of music of the sort you want to play
(Morris On, et al, if you'll be playing for morris dancing), and
just drum along.  For starters don't worry about doing anything
fancy, just mark out the beat.  By the way, this is also the way I
started out when trying to learn bodhran.

For 6/8 music, try striking 1-34-6, 1-34-6
For 4/4 music, try striking 1-3-, 1-3-

Once you get comfortable with that, you can try something a little
fancier for 4/4 music, like 1-34, 1-34.  But take your time, the
most important thing is to be comfortable with what you are doing.

I'd then try working up a very simple tune, preferably one that you
know well in your head from your whistle experience.  I like
"Shepherd's Hey" or the "Winster Processional" for this, but there
are many good options.  I think that, the year I went to the P&T
Festival, someone used "Old Molly Oxford" as an intro tune.
Whatever tun you use, keep your drumming pattern very simple, and
work on making it regular and steady.  Expect that you'll have
trouble initially when you try to use both hands at once, but you'll
get over it and start having fun before you know it.

You might want to consider picking up a p&t tutor.  Kelischek
Workshops (the makers of Susato instruments) sells two nice ones,
one by George Kelischek and one by Dick Bagwell.  They're pretty
inexpensive.

Good luck!

Jeremy Kessler

Thanks Steve R.

-Steven, the other Steve R(oe)

--- In tabor_n_pipe@yahoogroups.com, Stephen Rowley <steve@...> wrote:
>
>
> For a small fee, Malcolm in the Vaughan Williams Memorial Library at
> EFDSS will post you a copy.
>
> Steve
>
>
> At 15:51 17/11/2009, you wrote:
> >I contacted the The English Folk Dance and Song Society via email
> >about the article concerning bore/length ratio that was mentioned
> >previously. Here is the reply. Being in the US Midwest, I imagine my
> >success with an "Inter-Library Loan" for the publication would be
> >slim, but I'm going to try:
> >
> >Sorry for the delay. Here's the reference you want. If you have any
> >further queries, I suggest you contact the Library of the EFDSS,
> >www.efdss.org library@... as they have all the articles
> >indexed, and they sent me this reference. They could sort you a photocopy.
> >Strange - the second pipe and tabor query this week! Regards
> >
> >Derek Schofield
> >
> >Jones, Jim
> >Article on the making of 3 holed pipes
> >In English Dance and Song vol. 41 no. 1, 1979, p. 11-13 (Morris Workshop)
> >
> >
> >
> >------------------------------------
> >
> >Find the home page for this group at:
> >http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
> >
> >
> >
>

For a small fee, Malcolm in the Vaughan Williams Memorial Library at
EFDSS will post you a copy.

Steve


At 15:51 17/11/2009, you wrote:
>I contacted the The English Folk Dance and Song Society via email
>about the article concerning bore/length ratio that was mentioned
>previously. Here is the reply. Being in the US Midwest, I imagine my
>success with an "Inter-Library Loan" for the publication would be
>slim, but I'm going to try:
>
>Sorry for the delay. Here's the reference you want. If you have any
>further queries, I suggest you contact the Library of the EFDSS,
>www.efdss.org library@... as they have all the articles
>indexed, and they sent me this reference. They could sort you a photocopy.
>Strange - the second pipe and tabor query this week! Regards
>
>Derek Schofield
>
>Jones, Jim
>Article on the making of 3 holed pipes
>In English Dance and Song vol. 41 no. 1, 1979, p. 11-13 (Morris Workshop)
>
>
>
>------------------------------------
>
>Find the home page for this group at:
>http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
>
>
>

I contacted the The English Folk Dance and Song Society via email about the
article concerning bore/length ratio that was mentioned previously. Here is the
reply. Being in the US Midwest, I imagine my success with an "Inter-Library
Loan" for the publication would be slim, but I'm going to try:

Sorry for the delay. Here's the reference you want. If you have any further
queries, I suggest you contact the Library of the EFDSS, www.efdss.org
library@... as they have all the articles indexed, and they sent me this
reference. They could sort you a photocopy.
Strange - the second pipe and tabor query this week! Regards

Derek Schofield

Jones, Jim
Article on the making of 3 holed pipes
In English Dance and Song vol. 41 no. 1, 1979, p. 11-13 (Morris Workshop)

Frances



Sorry, the picture I remembered is the one of Joan Sharp playing for Douglas
Kennedy that's in the Grahame Lyndon-Jones article from FoMRHI. That issue
also contains another female taborer, Jephtha's daughter, c.1550



pete



   _____

From: tabor_n_pipe@yahoogroups.com [mailto:tabor_n_pipe@yahoogroups.com] On
Behalf Of frances
Sent: 16 November 2009 21:42
To: tabor_n_pipe@yahoogroups.com
Subject: [tabor_n_pipe] Re: Updating the Taborers Society website 2009 -
famous people






Hi All

Re: Helen Kennedy (1888-1976).

Margaret Reid has given me some more information about Helen Kennedy, which
I will add to the draft essay already in the Pipe and Tabor compendium.
http://myweb.
<http://myweb.tiscali.co.uk/createthemood/p+tsection/famous%20people/Helen%2
0Kennedy.html>
tiscali.co.uk/createthemood/p+tsection/famous%20people/Helen%20Kennedy.html

She says:

"I have a vague recollection of seeing a photo containing Helen playing P&T
in Douglas Kennedy's obituary in the newspaper, in January 1988. I know I
have a copy of it somewhere, but alas having just moved, have no idea where.
It was probably the Guardian, but I can't be sure."

Does anyone have access to this? Thanks.

regards

frances





[Non-text portions of this message have been removed]

Thinking about practice leads me to another suggestion about beginning to
play tabor; perhaps you should abandon any idea of tune and start with just
one simple repeated phrase; the same pipe notes (say just 5-1-3-1, D-G-B-G
on a D/G pipe) can be played to accompany a variety of tabor rhythm
patterns, (you can glean these patterns from the Spanish web site I linked
to in a previous post)

BTW Steven, I bet you could have played tuba and tabor! I've been known to
play sousaphone and tabor at moments of extreme necessity ...

pete

> -----Original Message-----
> From: tabor_n_pipe@yahoogroups.com [mailto:tabor_n_pipe@yahoogroups.com]
> On Behalf Of cd
> Sent: 17 November 2009 00:32
> To: tabor_n_pipe@yahoogroups.com
> Subject: Re: [tabor_n_pipe] Re: A Few General Questions
>
> Hi Steven & All,
>
> The taborer's poor brains have a lot to cope with and the two physical
> activities - piping and taboring - would appear to demand quite
> different types of brain activity and mind-muscle coordination. This
> suggests a need for some focused "training". With this in mind, I would
> ceretainly echo Steven R's good advice and also offer a lesson learned
> from my own experience that you or others might find helpful.
>
> Having persevered with learning the fiddle for Morris (yes, another one)
> with an adequate measure of success, the prospect of learning to play
> the pipe & tabor presented me with a new and irresistible challenge, but
> I quickly came to realise that the particular set of brains that I was
> born with didn't lend themselves readily to this complex activity. You
> may know what I mean. Consequently, I spent a few years occasionally
> tootling on the pipe and eventually started to get the hang of that
> before I declared time on procrastination and set-too in earnest to
> bring the two instruments together.
>
> It once again became apparent to me that endeavouring to play the tabor
> from the wrist whilst also piping demanded too complicated a set of
> coordinated instructions and movements for my puny grey cells to tackle
> all at once, so this is the technique I subsequently adopted and I can
> recommend it as a potential method for anyone who isn't a "natural"
> player (if there is such a creature).
>
> Whilst piping simple tunes that I could get through without too many
> fouled notes, I hung the tabor low down and, holding a stick firmly in
> my hand and keeping my wrist "fixed", struck the skin just once or twice
> to the bar with my arm swinging, with a regular beat, pendulum-style
> from the shoulder. I made no attempt to flex the elbow or impart any
> additional motion via the hand or wrist. The idea was to "train" the
> pathway from brain to hand whilst concentrating mostly on the pipe
> ...and this did the trick for me. After a couple of hours I found that I
> was able to maintain a steady rhythm with some confidence and it wasn't
> long before I started to forget the right arm and let it get on with its
> job on its own. After that, the wrist and hand soon came into play,
> imparting variations in rhythm and dynamics to suit the purpose of the
> tune.
>
> If you can't yet maintain a steady rhythm because your piping interferes
> with your striking, try this and see how you get along. Don't rush it,
> just give your brain and body time to learn through the experience.
> Complex and expressive ryhthms will follow all the more easily in due
> course.
>
> Picking up Steven R's further point about Morris players, I agree that
> many appear to maintain a steady rhythm, but there's also another school
> of taborers who seek to use the tabor rather than the pipe to
> predominantly point the dance, employing significant variation in their
> playing to this end. This perhaps warrants a topic string all of its
> own, so I'll say no more here, other than to remind Morris musicians of
> the forthcoming M Ring musicians' weekend (27-29 Nov, Wilstone, Herts,
> UK) which will be led by the redoubtable Allan Jarvis, taborer for Leeds
> M Men. Contact me for info in you're interested. Non-M Ring Morris
> players are welcome.
>
> Apologies to those impatient with rambling prose, but brevity is another
> brain-aching ineptitude I must (happily) lay claim to. ;-)
>
> .Now if anyone can suggest a quick and easy way of becoming note-perfect
> on the pipe, please do say!
>
> Regards, Clive
>
>
>
>
> Steven wrote:
> > Have besides the Bb have you had a chance to play any Susato "G" or "F"
> pipes? I really do like my C, but the volume and high pitch get to be a
> bit much at times and I am thinking about investing in a lower
> (inexpensive "plastic" -- for starters) pipe as an alternate.
> >
> > --- In tabor_n_pipe@yahoogroups.com, Stephen Rowley <steve@...> wrote:
> >
> >> With Susato pipes it is a case of play the pipe that just happens to
> >> have the right pitch/bore ratio - The high D is hard, the C is better
> >> - I like the Bb.
> >>
> >> The secret of playing pipe and tabor lies in our name: Taborers.
> >>
> >> Taborers lead with the tabor.
> >>
> >> Here is my tried and trusted method for teaching taboring:
> >>
> >> 1) Make a real effort to beat rhythms with your right hand only -
> >> this is easily done at any time of day whilst listening to the
> >> radio.  Tapping on a table top, steering wheel, anything.
> >>
> >> 2) If you have a recording of the tune you are interested in -
> >> practice beating that rhythm on the tabor whilst listening to the
> recording.
> >>
> >> 3) Hum the tune - and play the tabor.
> >>
> >> 4) Hum the
> >>
> >> 5) Finally -  beat the rhythm and fit the tune to it on the tabor pipe.
> >>
> >> People who come to the pipe and tabor having learnt other melodic
> >> instruments - spend most of their time on the tabor pipe, then try to
> >> fit the tabor.
> >>
> >> The C19th morris taborers beat the pattern of specific steps
> >> -  marking the footfalls with the tabor.
> >>
> >> e.g. Double Step:
> >>
> >> step  step  step  Hop
> >>
> >> 1      2       3      -
> >>
> >> However, most morris taborers today play a steady rhythm
> >>
> >> e.g.  6/8 Jig
> >>
> >> 1 - 3 4 - 6
> >>
> >> Regards
> >>
> >> Steve
> >>
> >>
> >> At 19:08 16/11/2009, Steven wrote:
> >>
> >>> First, for those of you who own Susato tabor pipes (the lower
> >>> pitched ones) what pitches have you found have worked better for the
> >>> pipes (in other words, have you played certain key Susato pipes that
> >>> play better than others -- Bb, A, G, F, etc.). I have some Susato
> >>> whistles that are lower pitched and I find them significanly more
> >>> "squeaky" and hard to control when jumping octaves as compared with
> >>> my high D and C whistles.
> >>>
> >>> Second, does anyone have any thoughts/approaches concerning learning
> >>> the tabor drum and how to actually combine the pipe and drum. To
> >>> quote Roger Ascham, "By experience we find out a short way by a long
> >>> wandering" (I'd rather not wander if I can help it).
> >>>
> >>> Thanks,
> >>> -Steven
> >>>
> >>>
> >>>
> >>>
> >>> ------------------------------------
> >>>
> >>> Find the home page for this group at:
> >>> http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
> >>>
> >>>
> >>>
> >>>
> >
> >
> >
> >
> > ------------------------------------
> >
> > Find the home page for this group at:
> > http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
> >
> >
> >
> >
> >
> >
>
>
>
> ------------------------------------
>
> Find the home page for this group at:
> http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
>
>
>

Frances

I have a picture of HK playing for someone (Douglas?) dancing, somewhere in
my filing system (!). I'll try and dig it out



pete



   _____

From: tabor_n_pipe@yahoogroups.com [mailto:tabor_n_pipe@yahoogroups.com] On
Behalf Of frances
Sent: 16 November 2009 21:42
To: tabor_n_pipe@yahoogroups.com
Subject: [tabor_n_pipe] Re: Updating the Taborers Society website 2009 -
famous people






Hi All

Re: Helen Kennedy (1888-1976).

Margaret Reid has given me some more information about Helen Kennedy, which
I will add to the draft essay already in the Pipe and Tabor compendium.
http://myweb.
<http://myweb.tiscali.co.uk/createthemood/p+tsection/famous%20people/Helen%2
0Kennedy.html>
tiscali.co.uk/createthemood/p+tsection/famous%20people/Helen%20Kennedy.html

She says:

"I have a vague recollection of seeing a photo containing Helen playing P&T
in Douglas Kennedy's obituary in the newspaper, in January 1988. I know I
have a copy of it somewhere, but alas having just moved, have no idea where.
It was probably the Guardian, but I can't be sure."

Does anyone have access to this? Thanks.

regards

frances





[Non-text portions of this message have been removed]

HI Clive

You wrote:
>Now if anyone can suggest a quick and easy way of becoming note-perfect on
the pipe, please do say!

That's an easy one; practice; controlled, consistent, goal-oriented
practice; works every time ...

But I'm not sure note-perfect should be an ultimate goal. I've always
preferred working creatively with my mistakes. What's wanted is fluency,
which comes from familiarity, which comes from practice ...

pete

> -----Original Message-----
> From: tabor_n_pipe@yahoogroups.com [mailto:tabor_n_pipe@yahoogroups.com]
> On Behalf Of cd
> Sent: 17 November 2009 00:32
> To: tabor_n_pipe@yahoogroups.com
> Subject: Re: [tabor_n_pipe] Re: A Few General Questions
>
> Hi Steven & All,
>
> The taborer's poor brains have a lot to cope with and the two physical
> activities - piping and taboring - would appear to demand quite
> different types of brain activity and mind-muscle coordination. This
> suggests a need for some focused "training". With this in mind, I would
> ceretainly echo Steven R's good advice and also offer a lesson learned
> from my own experience that you or others might find helpful.
>
> Having persevered with learning the fiddle for Morris (yes, another one)
> with an adequate measure of success, the prospect of learning to play
> the pipe & tabor presented me with a new and irresistible challenge, but
> I quickly came to realise that the particular set of brains that I was
> born with didn't lend themselves readily to this complex activity. You
> may know what I mean. Consequently, I spent a few years occasionally
> tootling on the pipe and eventually started to get the hang of that
> before I declared time on procrastination and set-too in earnest to
> bring the two instruments together.
>
> It once again became apparent to me that endeavouring to play the tabor
> from the wrist whilst also piping demanded too complicated a set of
> coordinated instructions and movements for my puny grey cells to tackle
> all at once, so this is the technique I subsequently adopted and I can
> recommend it as a potential method for anyone who isn't a "natural"
> player (if there is such a creature).
>
> Whilst piping simple tunes that I could get through without too many
> fouled notes, I hung the tabor low down and, holding a stick firmly in
> my hand and keeping my wrist "fixed", struck the skin just once or twice
> to the bar with my arm swinging, with a regular beat, pendulum-style
> from the shoulder. I made no attempt to flex the elbow or impart any
> additional motion via the hand or wrist. The idea was to "train" the
> pathway from brain to hand whilst concentrating mostly on the pipe
> ...and this did the trick for me. After a couple of hours I found that I
> was able to maintain a steady rhythm with some confidence and it wasn't
> long before I started to forget the right arm and let it get on with its
> job on its own. After that, the wrist and hand soon came into play,
> imparting variations in rhythm and dynamics to suit the purpose of the
> tune.
>
> If you can't yet maintain a steady rhythm because your piping interferes
> with your striking, try this and see how you get along. Don't rush it,
> just give your brain and body time to learn through the experience.
> Complex and expressive ryhthms will follow all the more easily in due
> course.
>
> Picking up Steven R's further point about Morris players, I agree that
> many appear to maintain a steady rhythm, but there's also another school
> of taborers who seek to use the tabor rather than the pipe to
> predominantly point the dance, employing significant variation in their
> playing to this end. This perhaps warrants a topic string all of its
> own, so I'll say no more here, other than to remind Morris musicians of
> the forthcoming M Ring musicians' weekend (27-29 Nov, Wilstone, Herts,
> UK) which will be led by the redoubtable Allan Jarvis, taborer for Leeds
> M Men. Contact me for info in you're interested. Non-M Ring Morris
> players are welcome.
>
> Apologies to those impatient with rambling prose, but brevity is another
> brain-aching ineptitude I must (happily) lay claim to. ;-)
>
> .Now if anyone can suggest a quick and easy way of becoming note-perfect
> on the pipe, please do say!
>
> Regards, Clive
>
>
>
>
> Steven wrote:
> > Have besides the Bb have you had a chance to play any Susato "G" or "F"
> pipes? I really do like my C, but the volume and high pitch get to be a
> bit much at times and I am thinking about investing in a lower
> (inexpensive "plastic" -- for starters) pipe as an alternate.
> >
> > --- In tabor_n_pipe@yahoogroups.com, Stephen Rowley <steve@...> wrote:
> >
> >> With Susato pipes it is a case of play the pipe that just happens to
> >> have the right pitch/bore ratio - The high D is hard, the C is better
> >> - I like the Bb.
> >>
> >> The secret of playing pipe and tabor lies in our name: Taborers.
> >>
> >> Taborers lead with the tabor.
> >>
> >> Here is my tried and trusted method for teaching taboring:
> >>
> >> 1) Make a real effort to beat rhythms with your right hand only -
> >> this is easily done at any time of day whilst listening to the
> >> radio.  Tapping on a table top, steering wheel, anything.
> >>
> >> 2) If you have a recording of the tune you are interested in -
> >> practice beating that rhythm on the tabor whilst listening to the
> recording.
> >>
> >> 3) Hum the tune - and play the tabor.
> >>
> >> 4) Hum the
> >>
> >> 5) Finally -  beat the rhythm and fit the tune to it on the tabor pipe.
> >>
> >> People who come to the pipe and tabor having learnt other melodic
> >> instruments - spend most of their time on the tabor pipe, then try to
> >> fit the tabor.
> >>
> >> The C19th morris taborers beat the pattern of specific steps
> >> -  marking the footfalls with the tabor.
> >>
> >> e.g. Double Step:
> >>
> >> step  step  step  Hop
> >>
> >> 1      2       3      -
> >>
> >> However, most morris taborers today play a steady rhythm
> >>
> >> e.g.  6/8 Jig
> >>
> >> 1 - 3 4 - 6
> >>
> >> Regards
> >>
> >> Steve
> >>
> >>
> >> At 19:08 16/11/2009, Steven wrote:
> >>
> >>> First, for those of you who own Susato tabor pipes (the lower
> >>> pitched ones) what pitches have you found have worked better for the
> >>> pipes (in other words, have you played certain key Susato pipes that
> >>> play better than others -- Bb, A, G, F, etc.). I have some Susato
> >>> whistles that are lower pitched and I find them significanly more
> >>> "squeaky" and hard to control when jumping octaves as compared with
> >>> my high D and C whistles.
> >>>
> >>> Second, does anyone have any thoughts/approaches concerning learning
> >>> the tabor drum and how to actually combine the pipe and drum. To
> >>> quote Roger Ascham, "By experience we find out a short way by a long
> >>> wandering" (I'd rather not wander if I can help it).
> >>>
> >>> Thanks,
> >>> -Steven
> >>>
> >>>
> >>>
> >>>
> >>> ------------------------------------
> >>>
> >>> Find the home page for this group at:
> >>> http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
> >>>
> >>>
> >>>
> >>>
> >
> >
> >
> >
> > ------------------------------------
> >
> > Find the home page for this group at:
> > http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
> >
> >
> >
> >
> >
> >
>
>
>
> ------------------------------------
>
> Find the home page for this group at:
> http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
>
>
>

Hi Steven & All,

The taborer’s poor brains have a lot to cope with and the two physical
activities - piping and taboring – would appear to demand quite
different types of brain activity and mind-muscle coordination. This
suggests a need for some focused “training”. With this in mind, I would
ceretainly echo Steven R's good advice and also offer a lesson learned
from my own experience that you or others might find helpful.

Having persevered with learning the fiddle for Morris (yes, another one)
with an adequate measure of success, the prospect of learning to play
the pipe & tabor presented me with a new and irresistible challenge, but
I quickly came to realise that the particular set of brains that I was
born with didn't lend themselves readily to this complex activity. You
may know what I mean. Consequently, I spent a few years occasionally
tootling on the pipe and eventually started to get the hang of that
before I declared time on procrastination and set-too in earnest to
bring the two instruments together.

It once again became apparent to me that endeavouring to play the tabor
from the wrist whilst also piping demanded too complicated a set of
coordinated instructions and movements for my puny grey cells to tackle
all at once, so this is the technique I subsequently adopted and I can
recommend it as a potential method for anyone who isn’t a “natural”
player (if there is such a creature)…

Whilst piping simple tunes that I could get through without too many
fouled notes, I hung the tabor low down and, holding a stick firmly in
my hand and keeping my wrist “fixed”, struck the skin just once or twice
to the bar with my arm swinging, with a regular beat, pendulum-style
from the shoulder. I made no attempt to flex the elbow or impart any
additional motion via the hand or wrist. The idea was to “train” the
pathway from brain to hand whilst concentrating mostly on the pipe
...and this did the trick for me. After a couple of hours I found that I
was able to maintain a steady rhythm with some confidence and it wasn’t
long before I started to forget the right arm and let it get on with its
job on its own. After that, the wrist and hand soon came into play,
imparting variations in rhythm and dynamics to suit the purpose of the
tune.

If you can’t yet maintain a steady rhythm because your piping interferes
with your striking, try this and see how you get along. Don’t rush it,
just give your brain and body time to learn through the experience.
Complex and expressive ryhthms will follow all the more easily in due
course.

Picking up Steven R's further point about Morris players, I agree that
many appear to maintain a steady rhythm, but there's also another school
of taborers who seek to use the tabor rather than the pipe to
predominantly point the dance, employing significant variation in their
playing to this end. This perhaps warrants a topic string all of its
own, so I'll say no more here, other than to remind Morris musicians of
the forthcoming M Ring musicians' weekend (27-29 Nov, Wilstone, Herts,
UK) which will be led by the redoubtable Allan Jarvis, taborer for Leeds
M Men. Contact me for info in you're interested. Non-M Ring Morris
players are welcome.

Apologies to those impatient with rambling prose, but brevity is another
brain-aching ineptitude I must (happily) lay claim to. ;-)

…Now if anyone can suggest a quick and easy way of becoming note-perfect
on the pipe, please do say!

Regards, Clive




Steven wrote:
> Have besides the Bb have you had a chance to play any Susato "G" or "F" pipes?
I really do like my C, but the volume and high pitch get to be a bit much at
times and I am thinking about investing in a lower (inexpensive "plastic" -- for
starters) pipe as an alternate.
>
> --- In tabor_n_pipe@yahoogroups.com, Stephen Rowley <steve@...> wrote:
>
>> With Susato pipes it is a case of play the pipe that just happens to
>> have the right pitch/bore ratio - The high D is hard, the C is better
>> - I like the Bb.
>>
>> The secret of playing pipe and tabor lies in our name: Taborers.
>>
>> Taborers lead with the tabor.
>>
>> Here is my tried and trusted method for teaching taboring:
>>
>> 1) Make a real effort to beat rhythms with your right hand only -
>> this is easily done at any time of day whilst listening to the
>> radio.  Tapping on a table top, steering wheel, anything.
>>
>> 2) If you have a recording of the tune you are interested in -
>> practice beating that rhythm on the tabor whilst listening to the recording.
>>
>> 3) Hum the tune - and play the tabor.
>>
>> 4) Hum the
>>
>> 5) Finally -  beat the rhythm and fit the tune to it on the tabor pipe.
>>
>> People who come to the pipe and tabor having learnt other melodic
>> instruments - spend most of their time on the tabor pipe, then try to
>> fit the tabor.
>>
>> The C19th morris taborers beat the pattern of specific steps
>> -  marking the footfalls with the tabor.
>>
>> e.g. Double Step:
>>
>> step  step  step  Hop
>>
>> 1      2       3      -
>>
>> However, most morris taborers today play a steady rhythm
>>
>> e.g.  6/8 Jig
>>
>> 1 - 3 4 - 6
>>
>> Regards
>>
>> Steve
>>
>>
>> At 19:08 16/11/2009, Steven wrote:
>>
>>> First, for those of you who own Susato tabor pipes (the lower
>>> pitched ones) what pitches have you found have worked better for the
>>> pipes (in other words, have you played certain key Susato pipes that
>>> play better than others -- Bb, A, G, F, etc.). I have some Susato
>>> whistles that are lower pitched and I find them significanly more
>>> "squeaky" and hard to control when jumping octaves as compared with
>>> my high D and C whistles.
>>>
>>> Second, does anyone have any thoughts/approaches concerning learning
>>> the tabor drum and how to actually combine the pipe and drum. To
>>> quote Roger Ascham, "By experience we find out a short way by a long
>>> wandering" (I'd rather not wander if I can help it).
>>>
>>> Thanks,
>>> -Steven
>>>
>>>
>>>
>>>
>>> ------------------------------------
>>>
>>> Find the home page for this group at:
>>> http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
>>>
>>>
>>>
>>>
>
>
>
>
> ------------------------------------
>
> Find the home page for this group at:
> http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
>
>
>
>
>
>

Stephen (that's Roqley), do you think the "tabor first" would apply to other
traditions, as in Provence or Northern Spain with the string drum, or in
Colombia, where you shake a rattle? I'm not trying to be too clever by half, but
i do suspect that it might not necessarily be the iron-cast rule, more of a
guideline...

Have besides the Bb have you had a chance to play any Susato "G" or "F" pipes? I
really do like my C, but the volume and high pitch get to be a bit much at times
and I am thinking about investing in a lower (inexpensive "plastic" -- for
starters) pipe as an alternate.

--- In tabor_n_pipe@yahoogroups.com, Stephen Rowley <steve@...> wrote:
>
> With Susato pipes it is a case of play the pipe that just happens to
> have the right pitch/bore ratio - The high D is hard, the C is better
> - I like the Bb.
>
> The secret of playing pipe and tabor lies in our name: Taborers.
>
> Taborers lead with the tabor.
>
> Here is my tried and trusted method for teaching taboring:
>
> 1) Make a real effort to beat rhythms with your right hand only -
> this is easily done at any time of day whilst listening to the
> radio.  Tapping on a table top, steering wheel, anything.
>
> 2) If you have a recording of the tune you are interested in -
> practice beating that rhythm on the tabor whilst listening to the recording.
>
> 3) Hum the tune - and play the tabor.
>
> 4) Hum the
>
> 5) Finally -  beat the rhythm and fit the tune to it on the tabor pipe.
>
> People who come to the pipe and tabor having learnt other melodic
> instruments - spend most of their time on the tabor pipe, then try to
> fit the tabor.
>
> The C19th morris taborers beat the pattern of specific steps
> -  marking the footfalls with the tabor.
>
> e.g. Double Step:
>
> step  step  step  Hop
>
> 1      2       3      -
>
> However, most morris taborers today play a steady rhythm
>
> e.g.  6/8 Jig
>
> 1 - 3 4 - 6
>
> Regards
>
> Steve
>
>
> At 19:08 16/11/2009, Steven wrote:
> >First, for those of you who own Susato tabor pipes (the lower
> >pitched ones) what pitches have you found have worked better for the
> >pipes (in other words, have you played certain key Susato pipes that
> >play better than others -- Bb, A, G, F, etc.). I have some Susato
> >whistles that are lower pitched and I find them significanly more
> >"squeaky" and hard to control when jumping octaves as compared with
> >my high D and C whistles.
> >
> >Second, does anyone have any thoughts/approaches concerning learning
> >the tabor drum and how to actually combine the pipe and drum. To
> >quote Roger Ascham, "By experience we find out a short way by a long
> >wandering" (I'd rather not wander if I can help it).
> >
> >Thanks,
> >-Steven
> >
> >
> >
> >
> >------------------------------------
> >
> >Find the home page for this group at:
> >http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
> >
> >
> >
>

Thanks Steven,
I am in denial -- but I know what you are saying must be true. I keep thinking
"pipe first" in my head. I think playing whistle for so long has my brain liking
my two hands as one -- feeling the notes of the melody with BOTH hands. At first
all I could do is tap my right hand exactly the same tempo as the melody I was
playing. At this point I can barely pull off whole not down beats while I play
the melody.
-Steven

--- In tabor_n_pipe@yahoogroups.com, Stephen Rowley <steve@...> wrote:
>
> With Susato pipes it is a case of play the pipe that just happens to
> have the right pitch/bore ratio - The high D is hard, the C is better
> - I like the Bb.
>
> The secret of playing pipe and tabor lies in our name: Taborers.
>
> Taborers lead with the tabor.
>
> Here is my tried and trusted method for teaching taboring:
>
> 1) Make a real effort to beat rhythms with your right hand only -
> this is easily done at any time of day whilst listening to the
> radio.  Tapping on a table top, steering wheel, anything.
>
> 2) If you have a recording of the tune you are interested in -
> practice beating that rhythm on the tabor whilst listening to the recording.
>
> 3) Hum the tune - and play the tabor.
>
> 4) Hum the
>
> 5) Finally -  beat the rhythm and fit the tune to it on the tabor pipe.
>
> People who come to the pipe and tabor having learnt other melodic
> instruments - spend most of their time on the tabor pipe, then try to
> fit the tabor.
>
> The C19th morris taborers beat the pattern of specific steps
> -  marking the footfalls with the tabor.
>
> e.g. Double Step:
>
> step  step  step  Hop
>
> 1      2       3      -
>
> However, most morris taborers today play a steady rhythm
>
> e.g.  6/8 Jig
>
> 1 - 3 4 - 6
>
> Regards
>
> Steve
>
>
> At 19:08 16/11/2009, Steven wrote:
> >First, for those of you who own Susato tabor pipes (the lower
> >pitched ones) what pitches have you found have worked better for the
> >pipes (in other words, have you played certain key Susato pipes that
> >play better than others -- Bb, A, G, F, etc.). I have some Susato
> >whistles that are lower pitched and I find them significanly more
> >"squeaky" and hard to control when jumping octaves as compared with
> >my high D and C whistles.
> >
> >Second, does anyone have any thoughts/approaches concerning learning
> >the tabor drum and how to actually combine the pipe and drum. To
> >quote Roger Ascham, "By experience we find out a short way by a long
> >wandering" (I'd rather not wander if I can help it).
> >
> >Thanks,
> >-Steven
> >
> >
> >
> >
> >------------------------------------
> >
> >Find the home page for this group at:
> >http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
> >
> >
> >
>

Hello Pete,
Yes, I played quite a bit of tuba growing up, and even more guitar in later
years. I do also play pennywhistle. I guess the hardest part for me is doing
things "independently" as I'd imagine one would play a piano, or perform as a
percussionist. I see what you mean by the fiddlers, but even in that case (as a
guitar) the left and right hands are working more in conjunction to obtain the
same notes and rhythms. I contantly feel like I am doing the old childhood game
of patting your head, rubbing your stomach and hopping on one foot. The only
mild success I have had comes close to Arthur Dent's approach to flying -- if
somehow I stop thinking about what I am doing, I can do it, but when I think
about it, I fall flat on my face. I feel like I almost have to get the tempo
going right hand and then try to forget that I am actually tapping and play
along like it's a metronome track. For those of you who can do this
successfully, I am quite impressed! (and I am by NO means a dancer -- this may
be part of the problem as well) :)
-Steven

--- In tabor_n_pipe@yahoogroups.com, "Pete Stewart" <pete@...> wrote:
>
> Hi Steve,
>
> I'm not sure if you play any other instrument; I think perhaps you mentioned
> playing whistles; I don't think it's at all surprising that so many English
> Morris taborers were fiddlers too; it's more or less the same thing really;
> bow/drum stick - finger board/whistle. Still, I suppose learning fiddle
> first might be considered wandering . (it would be a brave act to try to
> learn to lay p&t without playing something else before, I think; it might
> not involve wandering, but it would be a steep uphill walk)
>
>
>
> I'm sure that the word used is always 'taborer' rather than 'whistler'
> because the tabor is the important part; so I'd say master the basic tabor
> rhythms first; tootle along on the pipe but don't worry about it; make up
> tunes using the notes you can play easily or just tootle long notes . oh,
> and you have to be a dancer too, but that ought to go without saying, if you
> ask me  .
>
>
>
> Scroll down the page at http://www.tamborileros.com/tamboril.htm
>
> to paragraph 2 where you'll find most sorts of rhythm to practice.
>
>
>
> pete
>
>
>
>   _____
>
> From: tabor_n_pipe@yahoogroups.com [mailto:tabor_n_pipe@yahoogroups.com] On
> Behalf Of Steven
> Sent: 16 November 2009 19:09
> To: tabor_n_pipe@yahoogroups.com
> Subject: [tabor_n_pipe] A Few General Questions
>
>
>
>
>
> First, for those of you who own Susato tabor pipes (the lower pitched ones)
> what pitches have you found have worked better for the pipes (in other
> words, have you played certain key Susato pipes that play better than others
> -- Bb, A, G, F, etc.). I have some Susato whistles that are lower pitched
> and I find them significanly more "squeaky" and hard to control when jumping
> octaves as compared with my high D and C whistles.
>
> Second, does anyone have any thoughts/approaches concerning learning the
> tabor drum and how to actually combine the pipe and drum. To quote Roger
> Ascham, "By experience we find out a short way by a long wandering" (I'd
> rather not wander if I can help it).
>
> Thanks,
> -Steven
>
>
>
>
>
> [Non-text portions of this message have been removed]
>

With Susato pipes it is a case of play the pipe that just happens to
have the right pitch/bore ratio - The high D is hard, the C is better
- I like the Bb.

The secret of playing pipe and tabor lies in our name: Taborers.

Taborers lead with the tabor.

Here is my tried and trusted method for teaching taboring:

1) Make a real effort to beat rhythms with your right hand only -
this is easily done at any time of day whilst listening to the
radio.  Tapping on a table top, steering wheel, anything.

2) If you have a recording of the tune you are interested in -
practice beating that rhythm on the tabor whilst listening to the recording.

3) Hum the tune - and play the tabor.

4) Hum the

5) Finally -  beat the rhythm and fit the tune to it on the tabor pipe.

People who come to the pipe and tabor having learnt other melodic
instruments - spend most of their time on the tabor pipe, then try to
fit the tabor.

The C19th morris taborers beat the pattern of specific steps
-  marking the footfalls with the tabor.

e.g. Double Step:

step  step  step  Hop

1      2       3      -

However, most morris taborers today play a steady rhythm

e.g.  6/8 Jig

1 - 3 4 - 6

Regards

Steve


At 19:08 16/11/2009, Steven wrote:
>First, for those of you who own Susato tabor pipes (the lower
>pitched ones) what pitches have you found have worked better for the
>pipes (in other words, have you played certain key Susato pipes that
>play better than others -- Bb, A, G, F, etc.). I have some Susato
>whistles that are lower pitched and I find them significanly more
>"squeaky" and hard to control when jumping octaves as compared with
>my high D and C whistles.
>
>Second, does anyone have any thoughts/approaches concerning learning
>the tabor drum and how to actually combine the pipe and drum. To
>quote Roger Ascham, "By experience we find out a short way by a long
>wandering" (I'd rather not wander if I can help it).
>
>Thanks,
>-Steven
>
>
>
>
>------------------------------------
>
>Find the home page for this group at:
>http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
>
>
>

Hi All

Re: Helen Kennedy (1888-1976).

Margaret Reid has given me some more information about Helen Kennedy, which I
will add to the draft essay already in the Pipe and Tabor compendium. 
http://myweb.tiscali.co.uk/createthemood/p+tsection/famous%20people/Helen%20Kenn\
edy.html

She says:

"I have a vague recollection of seeing a photo containing Helen playing P&T in
Douglas Kennedy's obituary in the newspaper, in January 1988.  I know I have a
copy of it somewhere, but alas having just moved, have no idea where.  It was
probably the Guardian, but I can't be sure."

Does anyone have access to this?  Thanks.

regards

frances

Hi Steve,

I'm not sure if you play any other instrument; I think perhaps you mentioned
playing whistles; I don't think it's at all surprising that so many English
Morris taborers were fiddlers too; it's more or less the same thing really;
bow/drum stick - finger board/whistle. Still, I suppose learning fiddle
first might be considered wandering . (it would be a brave act to try to
learn to lay p&t without playing something else before, I think; it might
not involve wandering, but it would be a steep uphill walk)



I'm sure that the word used is always 'taborer' rather than 'whistler'
because the tabor is the important part; so I'd say master the basic tabor
rhythms first; tootle along on the pipe but don't worry about it; make up
tunes using the notes you can play easily or just tootle long notes . oh,
and you have to be a dancer too, but that ought to go without saying, if you
ask me  .



Scroll down the page at http://www.tamborileros.com/tamboril.htm

to paragraph 2 where you'll find most sorts of rhythm to practice.



pete



   _____

From: tabor_n_pipe@yahoogroups.com [mailto:tabor_n_pipe@yahoogroups.com] On
Behalf Of Steven
Sent: 16 November 2009 19:09
To: tabor_n_pipe@yahoogroups.com
Subject: [tabor_n_pipe] A Few General Questions





First, for those of you who own Susato tabor pipes (the lower pitched ones)
what pitches have you found have worked better for the pipes (in other
words, have you played certain key Susato pipes that play better than others
-- Bb, A, G, F, etc.). I have some Susato whistles that are lower pitched
and I find them significanly more "squeaky" and hard to control when jumping
octaves as compared with my high D and C whistles.

Second, does anyone have any thoughts/approaches concerning learning the
tabor drum and how to actually combine the pipe and drum. To quote Roger
Ascham, "By experience we find out a short way by a long wandering" (I'd
rather not wander if I can help it).

Thanks,
-Steven





[Non-text portions of this message have been removed]

First, for those of you who own Susato tabor pipes (the lower pitched ones) what
pitches have you found have worked better for the pipes (in other words, have
you played certain key Susato pipes that play better than others -- Bb, A, G, F,
etc.). I have some Susato whistles that are lower pitched and I find them
significanly more "squeaky" and hard to control when jumping octaves as compared
with my high D and C whistles.

Second, does anyone have any thoughts/approaches concerning learning the tabor
drum and how to actually combine the pipe and drum. To quote Roger Ascham, "By
experience we find out a short way by a long wandering" (I'd rather not wander
if I can help it).

Thanks,
-Steven

Dear All,

This is another famous person who played the pipe and tabor that few of us will
have heard of:
Helen Kennedy (1888-1976).  I've added her to the list on the draft site.

I have had difficulty in finding out much about this lady.  Does anyone know if
there is a booklet or article about her?  I could not find an obituary online,
but she must have had one.

I mentioned to her son Peter as I was chatting to him in the street that there
were few women who played the pipe and tabor.  But he would not open up about
her; he did not even give me her name.

Some of you who live in the Gloucester area might know something more.  Do tell
me if you can give me any more information. thanks.

regards

frances

Dear All,

'Regency Folk Customs' is now on the draft site.

I do hope that you are checking my spelling, references and so on.  Please let
me know if something does not work on your computer.

I'm still learning how to use Dreamweaver, which is why the essays are not all
laid out beautifully.  I do not know why the titles sometimes come out in green
and sometimes in red. Ha.  Never mind, it is only a draft.

There has been a recent discussion on pipe lengths and bores.  Would someone
please offer to write up your conclusions for the draft site.

  thank you.

regards

frances

OOpps all,

I have just realised that I gave the wrong reference.  The Copper song has
parallels with the Haymakers Song from Hone, EveryDay Book 1826, Part 4

http://www.fullbooks.com/60494.html

regards

frances


>
> > I've just uploaded an essay called Regency Dancing to the Pipe and Tabor.
> >
> > http://myweb.tiscali.co.uk/createthemood/
>

Hi all,

I've had this English folk song pointed out to me.  Compare it with
Cornelius Webb 'The Harvest Home'  and you can see how 'tapering pipes' might
have arisen.  Thank you Pete, an inspired piece of detective-work that no
computer could have discovered.

cheers,

frances


:Pleasant Month of May
Sung by Bob and John Copper on the Song for Every Season LP (1971), by Jill and
John Copper on the Coppersongs 3 CD (1998), and by the Young Coppers on their
Passing Out CD (2008) .
________________________________________
'Twas in the pleasant month of May in the springtime of the year,
And down by yonder meadow there runs a river clear,
See how the little fishes how they do sport and play
Causing many a lad and many a lass to go there a-making hay.

Then in comes the scytheman that meadow to mow down,
With his old leathered bottle and the ale that runs so brown.
There's many a stout and labouring man comes here his skill to try,
He works, he mows, he sweats and blows and the grass cuts very dry.

Then in comes both Tom and Dick with their pitch-forks and their rakes
And likewise black-eyed Susan the hay all for to make.
There's a sweet, sweet, sweet and a jug, jug, jug, how the harmless birds did
sing,
From the morning till the evening as we were a-haymaking.

It was just at one evening as the sun was a-going down,
We saw the jolly piper come a-strolling through the town.
There he pulled out his tapering pipes and he made the valley ring,
So we all put down our rakes and forks and left off haymaking.

We call-ed for a dance and we tripp-ed it along,
We danced all round the haycocks till the rising of the sun.
When the sun did shine such a glorious light and the harmless birds did sing,
Each lad he took his lass in hand and went back to his haymaking.




> I've just uploaded an essay called Regency Dancing to the Pipe and Tabor.
>
> http://myweb.tiscali.co.uk/createthemood/

Yes, you are right Steve.

I expect one would have to make contact beforehand anyway as so many
churches are locked these days.

I have found another possible pipe and tabor player nearby.  I'm not
likely to be in the Kettering area until next year, so if anyone can
help out in the meantime, it would be lovely.

regards

frances

Hi Everyone,

I've just uploaded an essay called Regency Dancing to the Pipe and Tabor.  A
large part of this was prepared for the 2009 AGM in Lichfield but only some of
it was given in my talk.

http://myweb.tiscali.co.uk/createthemood/

Cheers.

frances

Be aware that one should check that the church is happy for you to
take photos for this purpose.

Steve


At 22:03 11/11/2009, frances wrote:
>Hi All,
>
>I have possibly just found another pipe and tabor sculpture in a
>church, but cannot find any pics online.  So if anyone lives, or is
>going to, the Kettering area, could you please pop into St Peters
>(used to be St Marys) Church, Raunds and take a few photographs for
>the website.  My information is:
>
>"On the north side the arches of the lower arcade are subdivided,
>with carved corbels supporting the inner arches and with a head in
>the spandrels thus formed. The spandrels of the arcades are
>variously treated: on the north the three middle ones have heads set
>in quatrefoil panels, our Lord in the centre, the two ends being
>occupied by figures playing pipe and tabor (east) and viol (west),
>the latter holding the bow in the left hand."
>
>I have seen a photograph of the left-handed viol player, but
>everyone seems to have ignored the pipe and tabor player.
>
>Please email me if you can help.  thanks
>
>regards
>
>frances
>
>
>
>------------------------------------
>
>Find the home page for this group at:
>http://groups.yahoo.com/group/tabor_n_pipeYahoo! Groups Links
>
>
>

Hi All,

I have possibly just found another pipe and tabor sculpture in a church, but
cannot find any pics online.  So if anyone lives, or is going to, the Kettering
area, could you please pop into St Peters (used to be St Marys) Church, Raunds
and take a few photographs for the website.  My information is:

"On the north side the arches of the lower arcade are subdivided, with carved
corbels supporting the inner arches and with a head in the spandrels thus
formed. The spandrels of the arcades are variously treated: on the north the
three middle ones have heads set in quatrefoil panels, our Lord in the centre,
the two ends being occupied by figures playing pipe and tabor (east) and viol
(west), the latter holding the bow in the left hand."

I have seen a photograph of the left-handed viol player, but everyone seems to
have ignored the pipe and tabor player.

Please email me if you can help.  thanks

regards

frances