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Old 10-27-2018, 05:10 AM   #11
Robin73
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Join Date: Dec 2012
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Default Re: How many actually use Binneas

Quote:
Originally Posted by RichmondPiper View Post
A callow youth in those days, I arrived at the workshop with a brand new Kilberry Book. He sniffed and said "You'd be better off with the Sunday Post under your arm". Not everyone would agree, of course.
I've heard the Bobs emphasize differences between their versions and the PS versions on some of their recordings. For example I like their version of "The End of the Great Bridge."

What is a bit surprising though is that they still use the "MacKay" cadences with the long E and short A, as opposed to the older version espoused by Moss et al. Also I believe they play the torluth and crunluth without the "considered-by-some-to-be-redundant" A.

So while they oppose some aspects of the PS settings/style, they don't seem to question some of the aspects which other traditional players objected to at the time of its formation.
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Old 10-27-2018, 09:55 AM   #12
Rooklidge
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Default Re: How many actually use Binneas

Robin, I don't think it is really that confusing as to their motives for keeping some stylistic features and dropping others. The turf battles of the early 20th century among the pipers of the day led to legendary grudges that never died away. Standardization to make judging competitions easier dribbled down to the students of the day until only the "Tinker" pipers, who played for dancing, used older style fingering. When they died off, we were only left with the folks like Moss who were ridiculed by self-chosen elite.


The McLennans, John MacDonald, Willie Ross, Kilberry, etc all played a role on interpreting what was right and wrong; what was the "true" way of playing. Read the account in John Wilson's book about he and Roddie Campbell being admonished by John MacDonald for using the "redundant" loA and so much of that nonsense comes into perspective.


The belief that the playing line through Calum Piobaire (and supposedly the McCrimmons) has maintained embellishment integrity is laughable, or that the styles of Moss, John Ban MacKenzie, or even David Glen are wrongfully interpreted because they were somehow corrupted.


The differences became apparent with the written score, and hasn't let up until recently. Now that the PS has opened its arms, the APC is encouraging scholarly research, and more historical material is available for musicians to judge for themselves, instead of being blocked by gatekeepers such as Seamus MacNeill, there is only good news to come.
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