Amazing Grace Harmony experiment over phone Taylor Warren and Scott MacLeod
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Great, Taylor,
- and fun to explore ...
I've attached as a .mp3 ...
'Amazing Grace Harmony experiment over phone Taylor Warren and Scott MacLeod'
--
- Scott MacLeod - Founder, President & Professor
- World University and School
- 415 480 4577
- CC World University and School - like CC Wikipedia with best STEM-centric CC OpenCourseWare - incorporated as a nonprofit university and school in California, and is a U.S. 501 (c) (3) tax-exempt educational organization.
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Recording to come if I can convert .mp3 above to .mp4 for uploading to this Google Blogspot blog -
'Amazing Grace Harmony experiment over phone Taylor Warren and Scott MacLeod.mp3'
... but here is the sheet music for Amazing Grace with 5 parts - so 4 parts of harmony - which this real real time playing of bagpipes together over faster than the internet phone signal made it possible to make harmony together online for the first time ever ... (and I haven't seen this ever before, even with Eric Whitacre's online choral music recordings from around 2010) ...
... written for the Scottish bagpipe (both the Great Highland Bagpipe and the Scottish Small Pipes).
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Good playing, Taylor
... My smartphone speakers are crap as they might say in Britain. .. but there's much potential for real real time music making over phone ... We recorded harmony :) ... Wanna do the recording with Audacity and your phone if we try this again - as one possible direction? :)
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Ma,
Piping Lesson - And now for something completely different. ...
Gave another good lesson with Taylor ... exploring real real time music-making ... Over smartphones ...it worked so the beginnings are there ... And we're innovating in a way I haven't heard about before ... Hoping to find ways for sound to go over the phone signals EVEN FASTER ... We recorded in harmony Amazing Grace at the very end ...
... On the Audacity recording Application ... In a way never done before (that I've seen) regarding real real time music making for a duet as harmony making and recording (2,000 miles away) ...
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Taylor,
As an experiment with smartphone real real time music-making with 2 Scottish Small Pipes playing harmony, I think the recording could first take place experimentally in Skype, next week.
how to turn down the volume in Skype
"Click the "Speaker" tab and drag the slider to the right to increase volume"
"Click the "Speaker" tab and drag the slider to the right to increase volume"
(or just mute the microphone)
... so we'd hear each other over smartphones with earphones, and the Skype microphone could record both of us, hopefully playing somewhat together, ... all as a first experiment ... (am not sure where an initial metronome would play a role yet, but perhaps on the smartphone too) ...
Scott
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FYI, my number is (415) . . . - . . . . for when you want to try this.
Taylor
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Taylor,
Audacious & Nice playing with you ... In a completely new way 
️
Toward real real time music making with phone for audio (and video for communication too!)
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Hi Taylor,
It just occurred to me last night after our lesson that THE THE THE way to learn Piobaireachds' non-mensural beat per Ian Whitelaw - is to SING it as Cantaireachd. I hear for ex a 'non-mensural beat' in Donald MacLeod's singing of the third line of the ground of The Little Spree ... Funky beat yes, but it seems to be there non-mensurally
(& even drunken - and one could explore this further in new ways creatively:) .
More Cantaireachd next week with The Little Spree, if you're free?
Cheers, Scott
...
Here are "Ian Whitelaw's Guidelines for Interpreting Piobaireachd" in the body of an email, for your convenience (and in a thread with Ian):
Ian Whitelaw's Guidelines for Interpreting Piobaireachd
1. Establish a beat (nonmensurally)! The 1st is strong, the 4th is the strongest. (For Piobairreachds in ¾, the third note is the strongest beat).
2. Show contrast between the long and short notes, emphasizing the long notes and really shortening (de-emphasizing) the short notes.
3. Watch for mirrors? - where the same theme is played on different notes. (Call and answer).
4. If you're already on a note before a cadence, give the following note, after the grace note, the time, to link phrases together.
5. When playing a 'he heran' (cantairreachd for ...) always hold the E.
6. If the note has embellishments, accent it! Hold it.
7. Give space longer to a note before and after the cadence, and before and after a double echo.
8. Always hold the A after a birl.
9. Two notes are never the same, and usually the 2nd note is longer than the first.
10. If the note has a doubling on it, you always hold it.
11. When a cut note is the first beat in the bar, make the first note of bar absolutely on the beat.
12. In a Braebach (Piobairreachd) tune, in a crunluath singling, count to 3 before playing the crunluath, and make the following two notes even.
13. In a Braebach doubling, count to two before playing the crunluath movement.
14. In the taorluath movement, play the melody notes in this order: long, longer, longest. Make each note a different length, and make the third the longest!
Piobairreachd
Structures:
Primary
a a b
a b b
a b
Secondary
a b c d
b c
Tertiary
Regular
Irregular
Types of Piobairreachd
Braebach tune
Strong, sing song rhythmic beat
Fosgailte tune
Instead of Taorluoth, play GDF for crunluath
Play the theme note followed by short note followed by eedree
Also, in fosgailte, never play the crunluath a mach (open)
Standard
1. Establish a beat (nonmensurally)! The 1st is strong, the 4th is the strongest. (For Piobairreachds in ¾, the third note is the strongest beat).
2. Show contrast between the long and short notes, emphasizing the long notes and really shortening (de-emphasizing) the short notes.
3. Watch for mirrors? - where the same theme is played on different notes. (Call and answer).
4. If you're already on a note before a cadence, give the following note, after the grace note, the time, to link phrases together.
5. When playing a 'he heran' (cantairreachd for ...) always hold the E.
6. If the note has embellishments, accent it! Hold it.
7. Give space longer to a note before and after the cadence, and before and after a double echo.
8. Always hold the A after a birl.
9. Two notes are never the same, and usually the 2nd note is longer than the first.
10. If the note has a doubling on it, you always hold it.
11. When a cut note is the first beat in the bar, make the first note of bar absolutely on the beat.
12. In a Braebach (Piobairreachd) tune, in a crunluath singling, count to 3 before playing the crunluath, and make the following two notes even.
13. In a Braebach doubling, count to two before playing the crunluath movement.
14. In the taorluath movement, play the melody notes in this order: long, longer, longest. Make each note a different length, and make the third the longest!
Piobairreachd
Structures:
Primary
a a b
a b b
a b
Secondary
a b c d
b c
Tertiary
Regular
Irregular
Types of Piobairreachd
Braebach tune
Strong, sing song rhythmic beat
Fosgailte tune
Instead of Taorluoth, play GDF for crunluath
Play the theme note followed by short note followed by eedree
Also, in fosgailte, never play the crunluath a mach (open)
Standard
Ian Whitelaw's Rules for Interpreting Light Music
1. Always hold the first beat of the bar, - some longer than others but always hold the first beat.
2. Play the note with a doubling on it a little longer in order to accent it – not much but be sure you do not skip over the note.
3. Always hold the D after making a D throw in order to accent the note. When the note is cut, be sure to finish the note.
4. About playing two notes that are the same such as A to A or B to B, for example: when the notes are divided by a movement / grace note, always give weight to the second note.
5. Always hold the note after playing a taorluath – not before.
6. When playing a G,D,E movement, the accent or weight goes on the note with the F grace note.
7. When playing a 3 note run, accent the third note. The run is a fancy way of playing the last note. The third note is the one that gets the attention and the weight.
8. When playing two long notes, whether they are dotted or just long notes, give the weight or accent to the second note. This is also referred to as an “after beat.” It's very useful in the playing of 2/4 marches and reels.
9. Always hold the A after the birl. The birl is an embellishment of A. Sometimes the music directs to cut the A after the birl and go to High A, - this is fine because the birl is still accenting A.
10. Always separate the doublings from the tachums.
11. When playing a cut note at the beginning of a bar, hold the note prior to it slightly so that the cut note falls exactly on the beat.
1. Always hold the first beat of the bar, - some longer than others but always hold the first beat.
2. Play the note with a doubling on it a little longer in order to accent it – not much but be sure you do not skip over the note.
3. Always hold the D after making a D throw in order to accent the note. When the note is cut, be sure to finish the note.
4. About playing two notes that are the same such as A to A or B to B, for example: when the notes are divided by a movement / grace note, always give weight to the second note.
5. Always hold the note after playing a taorluath – not before.
6. When playing a G,D,E movement, the accent or weight goes on the note with the F grace note.
7. When playing a 3 note run, accent the third note. The run is a fancy way of playing the last note. The third note is the one that gets the attention and the weight.
8. When playing two long notes, whether they are dotted or just long notes, give the weight or accent to the second note. This is also referred to as an “after beat.” It's very useful in the playing of 2/4 marches and reels.
9. Always hold the A after the birl. The birl is an embellishment of A. Sometimes the music directs to cut the A after the birl and go to High A, - this is fine because the birl is still accenting A.
10. Always separate the doublings from the tachums.
11. When playing a cut note at the beginning of a bar, hold the note prior to it slightly so that the cut note falls exactly on the beat.
Cheers, Scott
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The Little Spree (Piobaireachd)
Hi Taylor,
Per a question you asked on Thursday:
I think it makes sense to learn 2 versions of Canntaireachd - from the Yellow Tutor for its pieces (and range of Canntaireachd syllables), and from PM Donald MacLeod for his online tutorials.(?) When more Canntaireachd versions come along (then re-think?) ... and even toward 'mastery learning' (something we haven't focused too much on thus far) for these two versions, for singing with bagpiping :) (very applicable to playing too the Great Highland Bagpipe when your pipes arrive) ... the thing is to become fluent in singing bagpiping as well as playing? :)
Have blogged about real real time music-making with Amazing Grace here -
https://scott-macleod.
How's April's birth date developing? And how are you in the process? Congratulations to both of you. Please let me know your thoughts about next lesson sessions.
Cheers, Scott
Hi Taylor,
It just occurred to me last night after our lesson that THE THE THE way to learn Piobaireachds' non-mensural beat per Ian Whitelaw - is to SING it as Canntaireachd. I hear for ex a 'non-mensural beat' in Donald MacLeod's singing of the third line of the ground of The Little Spree ... Funky beat yes, but it seems to be there non-mensurally
(& even drunken - and one could explore this further in new ways creatively:) .
More Canntaireachd next week with The Little Spree, if you're free?
Cheers, Scott
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