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PostPosted: Tue Sep 10, 2002 3:34 am 
No doubt we both adapted to sound as close together as possible, I may have gone closer to Touhey's version on the pipes on that occasion.

On the issue of C's, the last of the Micho notations I have done so far is a hornpipe, it's a straight forward D tune but it has two distinctly expressive long c nats in it. You can hear very distinctly how he blows the note to the pitch he wants.

If you look at the notations of Micho's playing on Bill Ochs' website, you'll see Bill talks about micro-tones. I don't know how concious the use of this device was.I always think his speech and singing used the same sort of intonation and outbursts of breath. To an extend a personal thing so, I suppose it was the way he heard things, allthough you should try to listen to these things in the wider context of the music eg piping of Willie Clancy, the fiddleplaying of Junior Crehan, Bobby Casey, Martin Rochford and the like who all employed and intonation that was consistent in itself but often quite different from the intonation you'd expect when coming to the music from the outside with an ear conditioned by listening to, say, classical music


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