L3F1 MUSIC

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The Best Dozen Albums Of All Time

These albums were happening along the time that I was happening. I was really into real R&B and I still am. These type of tunes were very truthful - there's an honesty that went with them. Those artists communicated to people, they were about the times and what was going on in our country at the time. You listen to those tunes, you know what was happening at that time. They were great musicians because they played from the heart.

It wasn't a lot of polish on those records. Motown was great in its way but down in Memphis we didn't have the polish, we didn't try to do it that way. Motown they had their methods of recording and we just came right from the hip, with honesty - whatever it took, we did it. Like Rufus Thomas used to say, "Up north it's Motown, but below the Mason-Dixon Line your ass is mine!"

The Essential Collection
Artist: Ray Charles
Release Date: 2002

I first found out about Ray way back in the '50s. I just saw a guy with sunglasses on and I thought that was cool. He sounded kind of gospel at first, with the call-and-response, but he kind of revolutionized that stuff with the electric Wurlitzer piano - it was a different sound, I'd never heard anything like it. Or seen anything like it - the body of that piano of that piano looked like papiér mache. He's got these tunes on there, like "What'd I Say" and "I Got a Woman" and "Georgia on My Mind," "Baby Won't You Please Come Home," that are just so very emotional. That came through, it communicated. He has some standards on there, he has some funk and R&B and even some country. Unfortunately, Ray is not with us but this album could introduce him to the younger generation. And some of his long-time fans might find certain tunes here that they'd been searching for.

When A Man Loves A Woman
Artist: Percy Sledge
Release Date: 1966

I was playing in Bowlegs Miller's band when that song came out. We used to be on the road a lot and "When a Man Loves a Woman" would be all you'd hear on the radio. The music is simple, the lyric line is simple, the whole tune is very repetitive but it drives the point home: When a man loves a woman - really loves her - all these things can really happen. And he kind of empowers the woman by saying that. It's like a covenant. It's a classic. That song didn't really influence me musically, but it opened me up to falling in love.

Shaft
Artist: Isaac Hayes
Release Date: 1971

I just had to put this in. The collection of tunes - a lot of hits came out of that. I like "Love Theme," where Shaft is making love to his woman, and also "Café Reggio." And "Soulsville," that plays during the montage of shots when Shaft is walking through Harlem - people can still relate to that song, because the ghetto is still like that. "Do Your Thing," people will always relate to that. "Bumpy's Lament" came after one Saturday night when I worked until dawn on the score in LA and in the morning I drove home down La Cienega and there was all this paper blowing down the streets from what happened the night before; as soon as I got home I wrote that tune. Shaft is still relevant, still alive - and part of what keeps it alive is sampling. Hip-hoppers sample a lot of my things so the music stays in people's minds after all these years. The subject matter of the tunes is still current, and the sound is still there because of the sampling.

Remember Me
Artist: Otis Redding
Release Date: 1992

Otis is important because he was such a powerhouse back in the day. He was exciting to see and his sound was unique. Even his voice was unique. Most of the pop world remembers him from "Dock of the Bay," about when he went out to Monterey to play for the hippies at that festival. Otis could really milk a tune out. He had a begging thing to his voice. He would get every ounce of emotion out of one word. Whatever Otis does, he makes it his.

Funky Chicken
Artist: Rufus Thomas
Release Date: 1997

Rufus believed in singing humorous songs. He could take a nursery rhyme and make something about it - in fact he did that with "Old McDonald Had a Farm" - parts one and two! Rufus came out of vaudeville, and he honed his craft there, so he was doing humor from the jump, like "The Preacher and the Bear" or "Itch and Scratch." And he had some funky rhythms in there, like "Boogie Ain't Nuttin' (But Gettin' Down)" and "Turn Your Damper Down," and if you ever heard him a do a slow tune, he had a nice vibrato. People need to hear some raw R&B with some humor in it and Rufus provided that. He was a communicator. It made you feel good, really made you feel good.

Absolutely The Best
Artist: Ike And Tina Turner
Release Date: 1998
Tina is from Nutbush, Tennessee, less than twenty miles from where I was born. She is the most exciting person to see on stage. And Ike, people forget that he is one of the forebears of rock & roll - Sam Phillips had him at Sun Studios very early on and Ike had a thing called "Rocket '88," one of the first rock & roll tunes. And he put a lot of that experience to use with Tina. "I Idolize You" is one of their earlier tunes and they use the Ikettes very well on that one. Same with "Work Out Fine" - that's also a good use of the backup singers; they use reverb in the vamp really well there, too, like Phil Spector used to with that "wall of sound." Spector did "River Deep, Mountain High" with them and Tina just made it her own, it's a masterpiece. Same with the Stevie Wonder tune, "Living for the City." Ike was a great producer, too - you might not agree with his methods but he got results, know what I'm sayin'?

Seventh Wonder
Artist: James Brown
James always took advantage of what was going on at the time, like the hotpants fad. On tunes like "Cold Sweat" and "I Got the Feelin'," those rhythms and the way they combined with the horns, he just had it down. One of his great ballads that dominated the airwaves was "It's a Man's World" - it's a minor key thing on the piano, and another tune that glorifies the woman. The world would be nothing without a woman or a girl. James always knew the right things to say. On "Papa's Got a Brand New Bag" he was saying he's got something new - whatever he does the best, well, now he's got a brand new one. That was one of the great things about James, was that he kept evolving. My daughter sang with James for six years. She would always tell me she learned a lot from Mr. Brown. He had such command, especially live - when he'd play, people went crazy. That's what you hear on these tunes.

McLemore Avenue
Artist: Booker T. And The M.G.'s
Release Date: 1970
They cover some songs from the Beatles' Abbey Road album and the cover is a reference to the picture on the cover of Abbey Road, except they're crossing McLemore Avenue, which was the street that Stax was on. At Stax, we used to listen to everybody and we were really moved by the Beatles. We used to listen to some of those breaks they did, like on "Day Tripper," and that would find its way into our music. The way they did their rhythms was influential, like on "Here Comes the Sun," that rhythm was offbeat, but still on the beat like some jazz tunes. When the Stax group went to England, it was a huge hit - Booker T., Otis, Sam & Dave, we started a great kinship with British music and British audiences. A year or so later the Beatles were supposed to come to Stax but somebody let it slip out and it spread like wildfire and girls camped out and everything, and they had to cancel.

Only The Strong Survive
Artist: Original Soundtrack
Release Date: 2004

D.A. Pennebaker and Chris Hegedus made a documentary about some of us Stax people that came out a couple of years ago, and everybody was still great. That whole film was a slice of the '60s and '70s. R&B had a huge reigning position in popular music then. You hear the tunes on this album, you can hear that. This is the unadulterated R&B - it's right there in the chords and the rhythms and subject matter - the things that went on in the hood, the thing that people loved about the hood, it's all in there. In the live show, people stretch the tunes out a bit - they want to capture the whole essence of the moment, maybe talk about what they saw go down backstage and the whole scene. You have a live audience and you have to work your audience. It's not like a record - it's a beautiful exchange. You get so much from the audience and you take your time and do it... do it 'til you're satisfied.

Best of the Staple Singers
Artist: The Staple Singers
Release Date: 1990

That music just makes you feel real good. The Staple Singers came out of true raw gospel and they were a family and they had their harmonies the way a family would have. It was raw and it was pure - "I'll Take you There," that bass line, it's raw, man. And Mavis, her vocalizing, oh man, she made those different sounds, guttural sounds down deep down in the throat, or she could improvise and scat. Pops played his guitar with that tremolo, the way you sing in church. It took me back to the old country days when I was a kid in church - you'd tap your feet and it would kick up little clouds of dirt on the floor. That's what it makes you want to do. Thank God Stax had the know-how to capture that and present it to the world. They came along at a time when the Civil Rights struggle was in full bloom and they were thinking about better days. It was about brotherhood, which was needed in those times.

Mr. Big Stuff
Artist: Jean Knight
Release Date: 1971

That tune "Mr. Big Stuff," that's what it's all about. Just listen to those horn lines - Stax was always known for its horn lines. You know, Jean was different. She wasn't fat but she was full-figured and yet her voice had a sound to it that was very feminine. In a lot of her songs she's someone who was trying not to get beat out of something, a feisty character. Like in "You City Slicker," she's a country girl and defending against this city guy, or on "Call Me Your Fool If You Want To" - she just doesn't care what people say about her. Those tunes she chose, they meant something to her, like "Why I Keep Living These Memories," it's obvious those were good memories and she was going to keep going back to them.

Ultimate Isaac Hayes: Can You Dig It? (Disc 1)
Artist: Isaac Hayes
Release Date: 2005

This is a great collection from the early Stax days, very comprehensive. It contains so many poignant tunes and shows how I became Black Moses and the #1 seller at Stax. It's how I got to where I am today - the beginning of the journey. These tunes depict the times and express true soul music, too. As well as songs that I myself wrote, there are things I wrote with my writing partner Dave Porter ("Help Me Love"), duets (myself and Dionne Warwick on "By The Time I Get To Phoenix/Say A Little Prayer") and something I also became famous for: reinterpeting other artist's songs, like Burt Bacharach's "The Look Of Love" and "I Can't Help It (If I'm Still in Love With You)" which was originally a country song by Hank Williams. There are some film themes in there, too: "Shaft" (of course!) and "Theme from the Men." Also check out "Title Theme from Three Tough Guys" which was recently used in Kill Bill: Volume One and Two.

About the Author

Information on badminton grip can be found at the Badminton Tips site.

Guitar screw hole question?

I have done something to the screw holes of my Fender Strat that cause the screw to just come out. I'm not so worried about the tremolo cover because when I repaint it I'm just gonna wood fill those holes and paint over it, but the strap holes just come unscrewed? Any ideas on how to fix this?

The correct way to fix this (IMHO) is to drill the holes large enough to fit short pieces of small diameter hardwood dowel, which can be glued-in with any general purpose wood glue. once the glue is set, you can then screw the strap buttons into the centre of the dowels. However, if you are not confident in your DIY skills and the holes are not too badly enlarged, You could try putting epoxy resin (Araldite or similar) in the holes, then refit the strap buttons.

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Vadim Gierko - Romance (tremolo cover)

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Uilleann Pipes

Etymology

The word uilleann comes from the Irish (Gaelic) word uille with genitive of "uilleann", meaning elbow, emphasizing the use of the elbow when playing the uilleann pipes. However, the pipes were originally called "Union pipes," the first printed instance of this at the end of the 18th century, perhaps to denote the union of the chanter, drones, and regulators. Another theory is that it was played throughout a prototypical full Union of England, Wales, Ireland, and Scotland. This was only realized, however, in 1800, with the Act of Union; the name for the bagpipe slightly precedes this. Alternatively Union pipes were certainly a favourite of the upper classes in Scotland, Ireland and the North-East of England and were fashionable for a time in formal social settings, where the term Union pipes may also originate.

The term "uilleann pipes" came into use at the beginning of the 20th century. William Henry Grattan Flood, an Irish music scholar, proposed the theory that the name "uilleann" came from the Irish word for "elbow". He cited to this effect William Shakespeare's play The Merchant of Venice published in 1600 (Act IV, sc. I, l. 55) where the expression "woollen pipes" appears. This theory originated in correspondence between two earlier antiquarians, and was adopted as gospel by the Gaelic League. The use of "uilleann" was perhaps also a rebellion against the term "union" with its connotations of English rule. It was however shown by Breandn Breathnach that it would be difficult to explain the Anglicization of the word 'uillin' into 'woollen' before the 16th century (when the instrument did not exist as such) and then its adaptation as 'union' two centuries later. See Folk Music and Dances of Ireland, Cork, The Mercier Press, 1971, p. 77. A much more likely explanation is the fact that many bagpipe bags of that earlier type were made from goatskins which still had the fur attached.

History

The first bagpipes to be well-attested to for Ireland were similar, if not identical, to the Highland pipes that are now played in Scotland. These are known as the "Great Irish Warpipes". In Irish and Scottish Gaelic, this instrument was called the pob mhr ("great pipe").

While the warpipe was alive and well upon the battlefields of France, the warpipe had almost disappeared in Ireland. The union or uilleann pipe required the joining of a bellows under the right arm, which pumped air via a tube to the bagpipe under the left arm, with bellows. The uilleann or union pipes developed around the beginning of the 18th century, the history of which is here depicted in prints of carvings and pictures from contemporary sources. At about the same time the Northumbrian smallpipe was evolving into its modern form, early in the 18th century; a tutor of the 1750s calls this early form of the uilleann pipes the "Pastoral or New bagpipe." The Pastoral pipes were bellows blown and played in either a seated or standing position. The conical bored chanter was played "open," that is, legato, unlike the uilleann pipes, which can also be played "closed," that is, staccato. The early Pastoral pipes had two drones, and later examples had one (or rarely, two) regulator(s). The Pastoral and later flat set Union pipes developed with ideas on the instrument being traded back-and-forth between Ireland, Scotland and England , around the 18th and early 19th century.

The earliest surviving sets of uilleann pipes date from the second half of the 18th century but it must be said that datings are not definitive. Only recently has scientific attention begun to be paid to the instrument and problems relating to various stages of its development have yet to be resolved.

Tuning

The instrument most typically is tuned in the key of D, although "flat" sets do exist in other keys, such as C, C, B and B, and a few sets in E have been tried. These terms only began to be used in the 1970s, when pipemakers began to receive requests for pipes that would be in tune with Generation tin whistles, which are stamped with the key they play in: C, B, etc. The chanter length determines the overall tuning; accompanying pieces of the instrument, such as drones and regulators, are tuned to the same key as the chanter. Chanters of around 362mm (14 1/4") length produce a bottom note on or near D above middle C on the piano (where A=440 Hz, i.e. modern "concert pitch"). The modern concert pitch pipes are a relatively recent invention, pioneered by the Taylor brothers, originally of Drogheda, Ireland and later of Philadelphia, Pennsylvania, in the late nineteenth century. Concert pitch pipes typically have wider bores and larger tone holes than the earlier "flat" pitch sets, and as a consequence are a good deal louder, though by no means as loud as the Highland pipes of Scotland. They were developed by the Taylors to meet the requirements of playing in larger venues in the United States; today they are the most common type of uilleann pipes encountered, though many players still prefer the mellower sound of the earlier style narrow-bore pipes, which exist in pitches ranging from D, through C, C, and B down to B. Pipemakers before the Taylors had, however, built concert pitch pipes using the narrower bores and smaller fingerholes of the flat pipes. Some of these instruments seem to have been designed with lower pitch standards in mind, such as A=415. The Taylors also built many instruments with higher pitch standards in mind, such as the Old Philharmonic pitch of A=453 that was commonplace in late 19th century America.

The D pipes are most commonly used in ensembles, while the flat-pitched pipes are more often used for solo playing often a fiddler will "tune down" their instrument to play with a piper's flat set, but the inflexibility of other instruments used in Irish music (accordions, flutes, etc.) usually disallows this. It is noteworthy that Irish music was predominately solo music until the late 19th century, when these fixed-pitch instruments began to play more of a role. Like pipe organs, uilleann pipes are not normally tuned to even temperament, but rather to just intonation, so that the chanter and regulators can blend sweetly with the three drones. Equal temperament is almost universal with the fixed pitch instruments used in Irish music, which can clash with the tuning of the pipes.

Instrument variations

Starting out The "practice set"

Because of the instrument's complexity, beginning uilleann pipers often start out with partial sets known as practice sets.

Starter or Practice Set

A practice set consists of only the basic elements of pipe bag, bellows and chanter, with no drones or regulators. The chanter is available in keys ranging from the "concert pitch" D chanter in half-note steps downward to a B chanter, the latter of which regularly is referred to as a "flat set" (as are any sets below the key of D).

In order to play the uilleann pipes effectively, students must learn to pump the bellows steadily while controlling the pressure on the bag and playing the chanter simultaneously. Therefore, beginning students often play on practice sets until they become comfortable with those basic mechanics. Despite their name, however, practice sets are used not only by beginning players but also by some advanced players when they wish to play just the chanter with other musicians, either live or in recording sessions. In these instances, the practice sets can be tuned to equal temperament if needed.

"Half set"

A half set is the next stage up from a practice set. As with other forms of bagpipes, uilleann pipes use "drones", which are most commonly three pipes accompanying the melody of the chanter with a constant background tonic note. The pipes are generally equipped with three drones: a) the tenor dronehe highest sounding pipe which is pitched the same as the lowest note of the chanter, b) the baritone drone which is pitched one octave below that and c) the bass dronehe lowest sounding pipe, two octaves below the bottom note of the chanter. The Pastoral pipes had four drones, these three plus one more which would play a harmony note at the fourth or fifth interval. These drones are connected to the pipe bag by a "stock". This is an intricately made wooden cylinder tied into the bag (as any other stock) by a thick yarn or hemp thread. The drones connect to the stock, as do the "regulators" (see "Full Set" below). The stock and drones are laid across the right thigh. This is distinct from other forms of bagpipes, in which the drones are usually carried over the shoulder or over the right arm.

The drones can be switched off. This is made possible by a key connected to the stock. The original design of the stock was a hollow cylinder, with two metal tubes running through it to both hold the regulators, and independently supply air to them. Thus the regulators could be played with the drones silenced. In the late 19th century it became more common to build the stock from a solid piece of wood, with 5 holes bored through it end-to-end. This was less susceptible to damage than the earlier design. The piper is also able to switch on and off various drones individually (applying slightly more pressure to the bag and tapping the end of a drone), which is generally used to aid in tuning (a technique used in almost all bagpipes which have drones) or all of them at the same time using this key. This makes the instrument more versatile and usable not only as a half set, but also to allow playing the chanter by itself. The drones use a single-bladed reed (the actual part creating sound), unlike the double reed used in the chanter and the regulators. These drone reeds were generally made from elderberry twigs in the past cane began to be used in the late 19th century.

"Full set"

A full set being played by Cillian Vallely

A "full set", as the name implies, is a complete set of uilleann pipes. This would be a half set with the addition of three "regulators". These are three closed pipes, similar to the chanter, held in the stock. Like the drones, they are usually given the terms tenor, baritone, and bass, from smallest to largest. A regulator uses keys (five on the tenor and four on both baritone and bass) to accompany the melody of the chanter; these keys are arranged in rows to give limited two note "chords," or, alternatively, single notes for emphasis on phrases or specific notes. The notes of the regulators, from highest to lowest (given a nominal pitch of D) are as follows: Tenor: C, B, A, G, F#. Baritone: A, G, F#, D. Bass: C, B, A, G. The tenor and baritone regulators fit into the front face of the stock, on top of the drones; the bass regulator is attached to the side of the stock (furthest from the piper), and is of complex construction.

Another method of using the regulators is to play what are referred to as "hand chords": when the melody (usually in a slower piece of music such as an air) is being played on the chanter exclusively with the left hand, the right hand will be free to create more complex chords, using all three regulators at once if so desired. Many airs end a section on a G or A note in the first octave, at which point a piper will often play one of these hand chords for dramatic effect.

The difficulty of playing a melody, pumping the bellows, keeping constant pressure on the bag and playing the regulators at the same time, precludes most pipers from using the regulators much; some pipers have played for years and years yet have little ability to use them. Some pipe makers also add another regulator with one key to play an E (a tone above the chanter's lowest note); this allows a whole tune to be played with the regulators, which was occasionally mentioned in old accounts of pipers. Sometimes this E key is added to the tenor regulator, or, more rarely, the baritone. Another addition is a "double bass" regulator, giving the notes F#, E, D, below the bass regulator. The regulators use the same double-bladed reed as the chanter. A final occasional variant, the three-quarter set, omits the bass regulator. The pipes evolved from one regulator, to two, to three, which became a de facto standard in the early 19th century.

Chanter

The chanter is the part of the uilleann pipes that is used to play the melody. It has eight finger holes (example given of a D pitched chanter): Bottom D, E, E, F, G, A, B, C, C, D' (also called "back D"). To achieve the "bottom D" the chanter is lifted off the knee, exposing the exit of the chanter's bore, where the note is produced. The chanter is set on the right knee thus closing off the bottom hole. Many players use a strip of leather placed over the knee, called a "popping strap," which provides for an airtight seal. More rarely, a simple gravity- or spring- operated flap valve attached to the bottom of the chanter achieves the same end. Generally, for all other notes (except for special effects, or to vary the volume and tone) the chanter stays on the knee.

One characteristic of the chanter is that it can produce staccato notes, because the piper seals it off at the bottom; with all of the finger holes closed, the chanter is silenced. This is also necessary for obtaining the second octave; the chanter must be closed and the bag pressure increased, and then fingered notes will sound in the second octave. A great range of different timbres can be achieved by varying the fingering of notes and also raising the chanter off the knee, which gives the uilleann pipes a degree of dynamic range not found in other forms of bagpipes. Pipers who use staccato fingering often are termed "closed-style" pipers. Those who use legato fingering more predominately are referred to as "open-style" pipers. Open piping has historical associations with musicians (often Irish travelling people) who played on the street or outdoors, since the open fingering is somewhat louder, especially with the chanter played off-the-knee (which can, however, lead to faulty pitch with the second octave notes).

A type of simultaneous vibrato and tremolo can be achieved by tapping a finger below the open note hole on the chanter. The bottom note also has two different "modes", namely the "soft D" and the "hard D". The hard bottom D sounds louder and more strident than the soft D and is accomplished by applying slightly more pressure to the bag and flicking a higher note finger as it is sounded. Pipemakers tune the chanter so the hard D is the in-tune note, the soft D usually being slightly flat.

Many chanters are fitted with keys to allow accurate playing of all the semitones of the scale. Four keys will give all the semitones: F natural, G sharp, B flat, C natural. Older chanters usually had another key for producing d3 in the third octave, and often another small key for e3, and another for D#' (as opposed to the E fingerhole, which could be slightly off-pitch). Most uilleann chanters are very responsive to "half-holing" or "sliding", which is the practice of obtaining a note by leaving a fingerhole only half covered. This is why many chanters sold in Ireland are sold without keys. With this technique and some practice, many pipers can accurately play the semi-tones which would otherwise require a chromatic key to be installed. The exception to this is the C natural in the second octave, which cannot be cross-fingered or half-holed, and requires the key. This is the most commonly fitted key.

The chanter uses a double reed, similar to that of the oboe or bassoon. Unlike most reed instruments, the uilleann pipe reed must be crafted so that it can play two full octaves accurately, without the fine tuning allowed by the use of a player's lips; only bag pressure and fingering patterns can be used to maintain the correct pitch of each note. It is for this reason that making uilleann pipe chanter reeds is a demanding task. Uilleann pipe reeds are also often called "the piper's despair" for the immense difficulty of maintaining, tuning and especially making the double reed of the regulators and, most importantly, the chanter.

See also

Types of bagpipes

List of All Ireland Uilleann pipe champions

List of bagpipers

List of pipe makers

List of published bagpipe music

List of nontraditional bagpipe usage

List of bagpipe technology books

Glossary of bagpipe terms

Tomas O'Canainn

References

^ Brian. E. McCandless. he Pastoral Bagpipe Iris na bPiobairi (The pipers review) 17 (Spring 1998), 2: p. 19-28.

^ H. Cheape. The Union Pipe of Scotland and Ireland: A Shared Tradition. Lecture at the Royal Society of Antiquaries of Ireland (2007).

^ G. Woolf hanter Design and Construction Methods of the early Makers, Sean Reid Society Journal v2 no 4 (2002).

Brian. E. McCandless. he Pastoral Bagpipe Iris na bPiobairi (The pipers review) 17 (Spring 1998), 2: p. 19-28.

O'Farrell's Treatise on the Irish Bagpipes (The Union Pipes) 1801

External links

Article on uilleann pipes.

The Irish piping organization Na Pobair Uilleann ("the uilleann pipers")

Amateur recordings of the uilleann pipes

Interview with piper Brian McNamara

CraicTunes.ie - Preview & Download Music by Sligo uilleann piper Alan Roberts

Categories: Bagpipes | Irish folk music | Irish musical instruments | Irish words and phrases
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I am China Manufacturers writer, reports some information about golves , ladies driving gloves.

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