วันพฤหัสบดีที่ 29 มกราคม พ.ศ. 2552

If Setting The Gain Correctly is So Important, Why Dont Mic Preamplifiers Have Meters?

When you first learn how to use a mixing console, you will be shown how to set the gain. Your instructor - either in audio school or in the workplace - will emphasize the importance of this and kick your ass every time you get it wrong, until you can't do anything other than get it right.

Setting the gain correctly optimizes the signal level for further processing in the mixing console. EQ, inserts, auxiliary sends, routing, fading, solo and mixing all depend on having the right signal level for optimum performance, and the gain control is precisely where you set that.

But outboard microphone preamplifiers commonly only have rudimentary metering facilities - perhaps only a single 'clip' LED - or no metering at all! So how can you possibly set the gain correctly?

The answer is that firstly the preamplifier needs to be correctly designed with plenty of output level available. For example, the Manley Labs Mono and Dual Mono microphone preamplifiers can supply up to 30 dBV of output before clipping. That is one hell of a voltage in audio terms - around 30 volts, compared to normal operating level of around one volt.

It's probably fair to say that there is no way you are ever going to clip this brute of a preamp, whatever you are driving. So if there is no possibility of clipping, there is no need for metering.

Where you do need metering is in the equipment you are driving with the preamp, probably your recording system. So the procedure for setting the gain with the Manley preamp is to choose the lowest setting of gain, and also set the 'input attenuate' control to its lowest setting (the attenuator controls the level of signal going into the preamp circuit). Then reduce the amount of attenuation while watching the meter on your recorder. When you are getting a good, healthy signal level with a reasonable margin before clipping on your recording, you have the right settings.

If if the level from the mic is too low to reach a good indication on your recorder's meter, increase the gain as far as necessary but no further.

Setting the attenuator and gain controls in this way will optimize the noise and distortion performance of the preamp.

Now since this is a tube preamp with variable 'character' according to the gain setting chosen, then once you have mastered setting the gain in the technically correct way, you are free to break the rules...

When you see smoke coming from your recorder, that's when to stop!

David Mellor, <a target="_new" href="http://www.record-producer.com">Record-Producer.com</a>

วันจันทร์ที่ 26 มกราคม พ.ศ. 2552

How to Use the Entire Piano Keyboard

There are 88 keys on the piano keyboard. Most pianists use about 1/3 of this number most of the time. Why?

Well, if you're playing sheet music, the answer lies in how the composer used the piano. If you're creating your own music, the answer lies in experimenting with the possibilities.

Now, most of my own music is played near the middle of the keyboard. It's not planned that way but this is the area of the piano I naturally gravitate towards when sitting down to play. Of course, I do and have used most notes available on the piano and it would be a shame not to. But I allow the music to tell me where it wants to go. If I sit down with a predetermined agenda to play high notes, then I am not listening to my intuition.

Although I have to admit that in Lesson 5: "Winter Scene" I wanted to create a crisp wintry sound so I started further up the keyboard with the left hand and played higher register notes in my right. But most times, I will let my intuition guide me and 9 times out of 10 begin at the middle of the keyboard.

There is nothing wrong or uncreative about this at all. In fact, it doesn't really matter where you begin because once started, the heart and mind work together as one bringing you the ideal music. It is the only true music that could come out of you because you listen to what your heart wants to play. If you play a few bass notes to begin with fine. Want to start at the high end of the piano, OK.

The key here is authenticity. Some compositions and improvisations sound contrived because they were - that is they were thought up. There really is nothing wrong per se with this approach - as long as you let the music guide you. For example, you may decide you want to do as I did and create a certain mood piece. However, once you get the general idea for the music, let it guide you to where it wants to go - that is, listen, listen, listen for what is coming next. This approach never fails and will most always yield good results.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

How to Use the Entire Piano Keyboard

There are 88 keys on the piano keyboard. Most pianists use about 1/3 of this number most of the time. Why?

Well, if you're playing sheet music, the answer lies in how the composer used the piano. If you're creating your own music, the answer lies in experimenting with the possibilities.

Now, most of my own music is played near the middle of the keyboard. It's not planned that way but this is the area of the piano I naturally gravitate towards when sitting down to play. Of course, I do and have used most notes available on the piano and it would be a shame not to. But I allow the music to tell me where it wants to go. If I sit down with a predetermined agenda to play high notes, then I am not listening to my intuition.

Although I have to admit that in Lesson 5: "Winter Scene" I wanted to create a crisp wintry sound so I started further up the keyboard with the left hand and played higher register notes in my right. But most times, I will let my intuition guide me and 9 times out of 10 begin at the middle of the keyboard.

There is nothing wrong or uncreative about this at all. In fact, it doesn't really matter where you begin because once started, the heart and mind work together as one bringing you the ideal music. It is the only true music that could come out of you because you listen to what your heart wants to play. If you play a few bass notes to begin with fine. Want to start at the high end of the piano, OK.

The key here is authenticity. Some compositions and improvisations sound contrived because they were - that is they were thought up. There really is nothing wrong per se with this approach - as long as you let the music guide you. For example, you may decide you want to do as I did and create a certain mood piece. However, once you get the general idea for the music, let it guide you to where it wants to go - that is, listen, listen, listen for what is coming next. This approach never fails and will most always yield good results.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

วันอาทิตย์ที่ 25 มกราคม พ.ศ. 2552

Music Mini Course: Learn The Basics Of Reading Music On A Keyboard Instrument

Welcome to the wonderful world of music. As you begin reading this Music Mini Course it is fun to realize that you are also participating in a very important cultural aspect from around the world which has been going on for centuries. Did you know that pianos in some form have been around for over 500 years? Some of the first instruments of this kind were created in the late Medieval Period and were called clavichords. They had a very light, metallic sound because the small hand-pounded 'hammers' were made of very light weight metal-like material. These hammers struck strings of varying lengths to create different tones or pitches. The next cousin to the clavichord was the harpsichord invented by Cristofori in Italy around 1450 A.D. This keyboard instrument had a mechanism in it called the plecktrum which 'plucked' the strings and produced a slightly stronger sound than its predecessor. Whether you are playing an acoustic instrument, which is the closest relative to the history just mentioned, or an electronic keyboard, you are now participating in a centuries old musical art form.

SOME PRACTICAL CONSIDERATIONS: PIANO OR KEYBOARD?

Does it matter if you apply the information in this course to a keyboard or a piano? Certainly not. The only real difference is that a full size piano has 88 keys (counting both the white and black keys). Keyboards come in several different sizes. Some have 60 keys, some even less. There are also 88 key electronic keyboards and digital pianos that produce very realistic acoustic sounds. Whatever size your instrument may be, remember that the ARRANGEMENT of the keys and the ORDER of the KEY NAMES is the same on both instruments. Rest assured that your basic knowledge of the fundamentals of music can be done very effectively either on a keyboard or a piano.

Musical Terms

Begin your musical study by becoming familiar with these very important musical terms:

BAR LINE - A vertical line which separates notes into groups

DOUBLE BAR LINE - A set of two (2) vertical lines which stand for the end of a piece of music

REPEAT SIGN - Double bar with two dots at the end of a section or piece of music which indicates that section will be played twice.

MEASURE - The distance between two bar lines.

TREBLE CLEF - The S-shaped symbol which stands for notes played with the right hand. This is also referred to as the G cleff since this inner curve of the symbol rests on the G line.

BASS CLEF - The reversed C-shaped symbol which stand for notes played with the left hand. This clef is also referred to as the F cleff since the two dots beside the clef surround the F line.

STAFF - The five lines and four spaces of both the bass and treble clefs.

QUARTER NOTE - Musical symbol with solid note head and stem which gets one count of sound.

QUARTER REST - Musical symbol resembling a sideways W which gets one count of silence.

HALF NOTE - Musical symbol with hollow note head and stem which gets two counts of sound.

HALF REST - Solid half block sitting on third line of the staff which gets two counts of silence.

DOTTED HALF NOTE - Musical symbol with hollow note head, dot and stem which gets three counts of sound.

WHOLE NOTE - Musical symbol resembling a circle on the staff which gets four counts of sound.

WHOLE REST - Solid half block hanging from the second line on the staff which gets four counts of silence.

CHORD - Two or more notes played at the same time.

BLOCKED CHORD - Two or more notes from the same chord played at the same time.

BROKEN CHORD - Two or more notes from the same chord played in sequence.

INTERVAL - The distance between two notes on the musical staff.

FINGERING - Refers to which finger number is used to play a particular note (See Chapter Two: Fingering)

CURVED FINGER - Refers to playing with a rounded finger and on the tip of each finger. This is the best position of the fingers for playing piano or keyboard because it develops finger strength and independence.

INTRODUCTION TO THE WHITE KEYS

There are only seven (7) letter names used on the piano: A B C D E F G. It is interesting to note here that no matter what instrument you play, whether it is piano, tuba or violin, ONLY the seven letter names above are used in the entire realm of music! There are two very easy ways to visualize and remember the names of the white keys on your piano and keyboard. Remember, the note names on an electronic keyboard are the same as on the acoustic piano.

C D E F G A B C D E F G A B C D E F G A B C D E F G A B

Understand that the 'CDE' note groups are always located directly underneath the two black note group. The letter name 'D' in the white key always located directly in between the two black key note groups. ANY TWO BLACK NOTE GROUP on the piano has the letter name 'D' as the white key located in between them.

KEYBOARD EXERCISE:

Go to your keyboard NOW and start to play all of the C-D-E groups from the lowest (bottom left) to the highest (top right) on your keyboard. Say C - D - E as you play each key. The F - G - A - B note groups above are located directely beneath each three black note group on any piano or keyboard. Simply locate any three black note group on your piano or keyboard and realize that the F-G-A-B white keys are located directly beneath them. Directly outside of the three black note groups are 'F' on the left hand side of the three black note group and 'B' on the right hand side of the three black note group. Just fill in the outer 'F' and 'B' with G and A and you are done!

KEYBOARD EXERCISE:

Go to your piano or keyboard NOW and find all of the F-G-A-G white keys underneath each three black note group. As above, play slowly and evenly saying the letter names as you play the F-G-A-B groups from the bottom of the piano or keyboard (low left hand end) to the top of your piano or keyboard (top right hand end). Congratulations! You now know ALL of the white key names on the piano!

TREBLE AND BASS CLEF NOTE NAMES

Both the Treble and Bass clefs each have five lines and four spaces. Learning the actual note names of each line and space (the spaces between each line) is very simple. Please memorize the sentences below for the Treble Clef Line and Space Notes: Treble Clef Line Notes (starting from the bottom line and moving up) E G B D F Every Good Boy Does Fine (the first letter of each word helps you remember the order of the notes)

Treble Clef Space Notes (starting from the first space and going up): F A C E Just remember that the treble clef spaces spell the word 'FACE'.

Bass Clef Line and Space Notes are as follows: Bass Clef Line Notes: G B D F A Great Big Dogs Fight Animals Bass Clef Space Notes: A C E G All Cars Eat Gas

Now you know all the names of the white keys on your piano or keyboard. You have also learned the actual letter names of each line and space on both the treble and bass clefs. You are now on your way to the next level of piano education. Be sure to memorize the information above and you will be ready to begin to learn to read music notation on the piano or keyboard.

Jan Durrant, Publisher and Music Teacher
<a target="_new" href="http://www.MakingMusicNow.com">http://www.MakingMusicNow.com</a>
<a href="mailto:muz@MakingMusicNow.com">muz@MakingMusicNow.com</a>

How to Create a Multi-artistic Piece - Part II

In the last article, the creation of a theme, its development, and the use of a libretto were discussed. As one may recall, the theme is the kernel of a production, which dictates the nature of the piece. And in relation to the theme, is the thematic structure that serves as a guide as to how the production will manifest. Ultimately this information is transferred to a libretto. In contrast to the previous article, the strengths and weaknesses of the arts will be addressed. Before one can choose the various media for their multi-artistic production, one must understand the arts in part and as a whole. There are three general categories that the arts can be classified, which include the auditory, visual, and linguistic. Although some art forms can be placed in two or more categories, such as poetry, fundamentally it is made of words, but can be executed vocally.

The labels applied to the categories are general. But each category consists of several genres. The auditory arts consists of music, vocals, speech for the sake of speech, samples, loops, and all other similar art forms. Just as diverse as the auditory arts, the visual arts consists of videos, paintings, movies, movement, dance, the commercial arts, and all similar art forms. Not as diverse as the auditory and visual arts, the linguistic arts consists of poetry, prose, and literature. From these descriptions, the question of how do these arts connects remains. And the answer is simple. If one were to arrange the arts into a linear spectrum, one will see that the arts go from the abstract to the tangible. Or the linear connection between the arts can be seen as going from the general to the specific. On the two extremes of this linear spectrum are the auditory and linguistic arts. Between them are the visual arts.

The auditory arts are by their very nature abstract. For example, music can only express emotion. Music is not capable of producing a tangible object. A composer can only express an abstract idea through music. Because of the abstract qualities of music, a listener can only feel music. To prove this notion that music is abstract one would only need to ask listeners what the music was expressing. As a result one will get varied answers. In addition to music only expressing emotion, it is the only current media that can impact the body as a whole. Moreover, a listener can turn their backs, close their eyes, and, in some rare cases, cover their ears towards the musical source, and still experience music. Due to these aspects of the auditory arts, they stand on the one extreme of the art spectrum.

Contrary to the auditory arts are the linguistic arts. Unlike the auditory and visual arts, the linguistic arts are capable of expressing a very specific and tangible ideas. For example, if one were to see an image of a man standing atop a hill, many would interpret this in a literal sense. Contrary to this example, if one were to hear or read the following: "Atop a hill an Afghanistan man stands looking over a valley," many would have a more definitive idea than the previous example. As one can see from the previous examples, the latter most likely invokes a definitive feeling as compared to the visual description. This is the beauty of the linguistic arts. They can invoke specific ideas that reflect the current times. And quite possibly, linguistic arts can invoke a deeper emotional response than the other arts.

In between the auditory and linguistic arts are the visual arts. Philosophically, the visual arts can express abstract and tangible ideas. Hence, because of this notion, the visual arts stand between the auditory and linguistic arts. Ultimately, visual arts balance the auditory and linguistic arts. As a demonstration of the visual arts capability of producing tangible ideas, one could look at many paintings from the 19th century and earlier. The subject material in these paintings could be touched and experienced by many. For one to see the abstract nature of the visual arts one does not need to look too far. The 20th century has produced many paintings and other visual medium that express abstract ideas. For one to experience a Jackson Pollack painting, one would have to of been in the process of creating the painting or one would have to physically touch the painting. As one can see from these two descriptions, the visual arts can express tangible and abstract ideas.

In the end, the multi-artistic theory that has been discussed represents the underpinnings to the various arts. With this artistic concept and the understanding of a theme and its development, as discussed in the previous article, one can produce a multi-artistic piece without failure. Creating such a piece is simple. It is a matter of choosing a theme, developing the theme, and finally choosing the art forms to express the production. So what are you waiting for? Start creating your production now. Grab a pen. Get a piece paper. And begin. That is where it all begins.

Andrew Hanna is the CEO & Production Manager of At Hand Productions, Inc. At Hand Productions (<a target="_new" href="http://www.AtHandProductions.com">http://www.AtHandProductions.com</a>) is a leading Philadelphia concert and theatrical production company. Andrew Hanna has 20 years of composition experience and 16 years of saxophone performance experience. His compositions range from duets to large theatrical productions such as My Journal, Requiem for the Now, and Prophecies of War.

วันเสาร์ที่ 24 มกราคม พ.ศ. 2552

Five Secrets to Playing in the New Age Style

1. Learn how to Improvise

Learning how to improvise is the key to playing in this style. Period. You must learn to experiment and take musical risks - within certain frameworks of course. You're not going to bang on the keys and expect to make music. This is not the kind of risk I'm talking about. Students thrive best when given a certain set of rules or guidelines to move around with.

For example, in the lesson "Reflections in Water" you are given a few chords and a specific scale to make music with. In other words, I give you a set of limits from which you play the game of improvisation. This will free you up from the thousand and one choices you could possibly have. In fact, if you didn't have a set of limitations, you probably would end up banging on the keyboard because while it is important to be free and spontaneous, it is equally important to understand how the game is played.

2. Develop the proper attitude

This one ties for first place. In my opinion, what stops most students from learning all they can from this style is the attitude that they either aren't good enough, or are not ready to learn how to improvise and play piano. Please don't think that. No one person will ever know all there is to know about any one subject let alone piano playing. You will always be growing but you must start somewhere and you must start from SIMPLE means.

Here's a quote that sums it up best: "In the beginners mind there are many possibilities, but in the experts mind there are few." This means that you have an advantage over so called experienced piano players. Your attitude should always be one of receptivity. That is, never force anything to happen because when you force you are already setting yourself up for failure and disappointment.

3. Forget what you were taught

Perhaps you were taught that you must learn your scales first and that you must learn how to read music before you can do anything else. I'm here to tell you that I can't read music, yet somehow, I've been able to put out two CD's of original music! In fact, if anything, reading music will slow you down creatively! If you want to create your very own music, you must forget what you were taught about music in general and focus on learning how to improvise first and compose second. Both of which can be taught!

I think I read every book at the library on composition and improvisation and what helped me out the most was a very slim volume on chord changes using 8-bar patterns. By playing the chords in a set framework (8-bars) I was able to see how to use repetition and contrast to create with. And of course, I listened to the people I loved and learned a lot from just listening. So forget about what you were taught and start thinking about what you want to accomplish and you can do it!

4. Learn chords

You've heard it before. Learn chords and you can make music. Just learn the 144 chords and voila - you can do it all. Don't believe it! You need to learn chords, but you don't need to learn one hundred chords right away. No. You need to learn probably about 3 chords or less to begin improvising in the "new age" style. And if you think that you need to learn more than this at the beginning you are wrong.

Of course you can learn as many chords as you want but what's the point if you never use them? It's like learning a new vocabulary word each day for the sake of massaging your ego. Nice, but unnecessary.

5. Learn how to use Chords

Let's assume you've learned a few chords. Now what? What are you going to do with your new chords? You are going to use them to create music with and the best way to do that is to choose a key or mode to play in. This automatically limits your choices.

For example, let's say I sit down and start improvising and I start using a C Major 7 chord. I like what I hear but a problem arises - where do I go from here. Now this won't be a problem if you say to yourself. "OK. I started on C Major 7. Let's just stay in the Key of C Major and see what happens." Now, you are ready to go forward because you do not have a thousand and one confusing choices ahead of you. Do you see how this can free you up? You've limited yourself to using just 6 chords from the C Major scale.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

Formal Highland Attire: The Correct Wearing of the Kilt; the National Dress of Scotland

We don't simply wear a theatrical costume; we wear the national dress of Scotland. While some people might think that any proposed definition of what is "correct" in traditional Highland dress is in some way a gross infringement of their right to express their individuality, others may be interested to know just what the standards are, even if they choose to exhibit variations on the theme. Voluntarily observing the rule and custom of the Scots in the matter of dress is one way to strengthen and to reinforce the genuine and traditional of the Highland culture that we claim to celebrate.

BLACK TIE

Formal Highland attire is in order whenever the invitation on an announcement reads "Black Tie" or "Evening Wear" requested. For men, this means the Highland equivalent of a tuxedo. Burns Nights, St. Andrews Dinners, and Dining In ceremonies are all formal affairs. This includes a kilt, either white hose or other solid primary color kilt hose, tartan kilt hose, red and white, red and black or blue and white diced kilt hose and flashes, white tux shirt (with studs and cufflinks, if appropriate), black or solid colored bow tie and one of the formal style kilt jackets such as the Prince Charlie, regulation doublet, or Argyll jacket. The Argyll jacket is particularly appropriate for an individual who doesn't want to spend a fortune on several different coats as it can be properly worn for both day and evening wear. All of these are worn with waistcoats. A dirk may be worn on the right hip with a Prince Charlie or regulation doublet with the hilt between the tashes (Inverness flaps).

For the ladies, formal Highland attire means either a hostess length kilted skirt with a fancy lace trim blouse or an evening dress (either long or tea length) with an optional tartan sash and brooch. Some evening dresses incorporate or are entirely made of tartan. In Scotland, it is traditional for younger lassies to wear white evening dresses with full skirts and tartan sashes for Scottish Country Dancing. As they become older, they graduate to black dresses. The ladies should wear their tartan sashes on the right shoulder unless they are a clan chief or a colonel of a Scottish regiment, or the wife of a clan chief or colonel of a Scottish regiment, who then wear it on the left shoulder. The exception to this rule is Scottish country dancers who wear the sash on their left shoulder for safety's sake. The rules for a lady's sash apply for both day and evening wear. Women do not wear bonnets with evening wear.

WHITE TIE

White tie for men means the formality equivalent of "tails". This requires a kilt with tartan or diced hose, white pique shirt and vest with white studs and cufflinks, and a Prince Charlie or regulation doublet, with a white bow tie. The Argyll jacket is not appropriate here. Another option, and there are many for this level of formality, would be one of the white collarless shirts with lace jabot and cuffs with one of the more formal type coats such as the Sheriffmuir or Montrose doublet. The sporran should be like that worn with black tie, except that the day/evening sporran is not considered appropriate for this level of formality.

For ladies, &quot;white tie&quot; means long evening gowns with the option of a silk tartan sash and brooch.

Kilted Skirts

Unless in the uniform of a pipe band women don't wear kilts, they wear kilted skirts, either soft pleated or knife pleated. The lighter worsted wool falls more easily into easy soft pleats and hangs better. You can just pull the gathers or soft pleats together and place a waistband on it. Length is largely a matter of taste and varies with occasion. You can put a zipper in the side or a button or even eye & hook closing (left side). If you want to wear it for evening dress you can make it floor length (or formal). As with a man's kilt, matching up the setts in knife pleating can be very tricky, but must be done properly to look good. Some ladies wear a vest or velvet jacket of dark, complimentary colors, with a plain white long sleeved blouse under it. Lace ruffles can be snapped or sewn in the sleeves and allowed to come gracefully down half way on the hands, and a lace jabot at the neck flowing out over the vest or jacket. Most items of male Highland attire are generally not considered appropriate feminine attire, including sporrans (the possible exception would be a sporran worn as a shoulder bag, which can be most tasteful and attractive), dirks, sgian dubhs, kilt hose and flashes, etc.

Military Decorations

With formal wear, miniature military medals are worn on the left lapel of the coatee or doublet. Ribbons, campaign ribbons, unit citations, or full-size medals are never worn with formal Highland attire. The exception to this rule is the Congressional Medal of Honor, which is worn around the neck in its full-size form for day or evening wear. Non-military medals and/or ribbons are not worn. It is absolutely incredible to me that this needs to be said, but experience has repeatedly shown it to be necessary and worth repeating here. The wearing of military medals or ribbons to which you are not rightfully entitled is considered the penultimate in bad manners, deeply offensive to a great many people, and may provoke the most negative of consequences socially. In Canada and the UK it can even get you arrested.

Plaids

A full plaid may be worn over left shoulder and under right arm, pulled firm to the body. The edge of the plaid should be 11&quot; from the ground at rear of the leg with fringe hanging down below this level. The lower edge of the plaid should be horizontal and parallel with ground. The leading edge of plaid and front face of plaid is secured by plaid brooch high on the left shoulder. While very striking, a full plaid is also very hot, and wrapping and securing it properly requires quite a bit of practice, and generally cannot be done without an assistant. A more common alternative, the fly plaid, may be worn on the left shoulder, usually under the epaulette and pinned with a plaid brooch. The upper edge of brooch should not be above the top of the shoulder, with the design properly aligned. An Irishman might elect to wear a brath instead of a fly plaid; essentially the same square yard of cloth but folded into a rectangle, draped over the left shoulder, and pinned with a kilmainham (penannular brooch). Plaids are always in the same tartan as the kilt and preferably purchased at the same time, as there can be differences in color from one bolt of cloth to the next, even from the same mill.

Sporrans

For formal wear the sporran should be a formal type with a silver-mounted cantle-top and fur pouch or a full fur and animal mask type (the animal masked sporran is one of the few all-purpose sporrans that can be worn with the most formal dress or the most informal wear). There is also a day/evening combination sporran that looks best when worn with the Argyll jacket, but looks a bit out of place with the more formal Prince Charlie. Sporrans are worn centrally over front apron of kilt, the cantle one hand's breadth below the waist belt buckle. The sporran should square the area between the hips and the knees and swing at a natural arc from the hip. Sporran straps go through the belt loops at the back of the kilt, and over the buckles at the sides (the belt is generally not worn through the belt loops, but over them and the sporran strap), with the pointed end of strap pointing to right hip. A military horsehair sporran is generally not worn except with a military or regulation doublet. Leather sporran straps are worn with horsehair sporrans (leather sporran straps also don't wear on the kilt quite as badly as chain straps). Hair sporrans are not trimmed to length. When a gentleman is dressed in Highland attire and dances with a lady, he should move the sporran to his left hip. For Scottish country dancing, you may want to take up your sporran belt a couple of notches. The sporran should also be moved to an unencumbered hip when sitting down to the table. This removes the sporran from harm's way so you don't spill on it and makes your lap unencumbered for a napkin. In general, it's just considered good manners.

Belts

For evening wear the belt should be of black leather and the buckle silver; generally belts will match the leather and hardware of the sporran. The belt is worn outside of the kilt's belt loops, it's top edge flush with the top of the kilt's waistband. It should be very snug, allowing only an index finger to be inserted between the belt and kilt. The buckle should be centered on the body, level from front to back, and both runners should be drawn up tight on both sides of the buckle. The belt should not cover the buttons on the rear of the doublet or tunic. Belts generally aren't worn together with waistcoats.

Hose & Flashes Argyll and diced hose are considered formal wear. Solid color hose are appropriate for almost all occasions. The color of hose and flashes should compliment both kilt and each other. If you want dressier hose but can't afford Argyll in your tartan, get a pair of the fancy cabled kilt hose with the ornate knitted hose tops (not the puffy &quot;popcorn tops&quot; of cheap pipe band hose). The top of your hose should be three fingers breadth below the outside bone at your knee, and level side to side and front to back. The leading edge of front flash may be vertically lined up with the front of the leg (in line with the center of your shoe), or just forward of the side of your leg, with no gap between the flashes. If wearing diced or Argyll hose, the leading edge of the front flash should bisect the top &quot;diamond&quot; of the pattern (which should be centered on the front of your leg). The sgian dubh is worn tucked inside the hose of right leg in the front-right portion of leg bisecting the flash. The handle should protrude only and inch or two above the top of the hose top. Staghorn sgian dubhs are not appropriate for evening dress.

Shoes

For formal wear, black gillie brogues or shoes with gilt or silver colored buckles are worn. With gillies the laces should not be wrapped up around the leg like a ballarina's slipper. Gillie laces are given two or three turns in the front, wrapped around the ankle, given two or three twists, then brought forward and tied off in front or the outside of the ankle. White spats are only worn with military and pipe band uniforms.

Bonnets

The balmoral is worn with ribbons tied; the glengarry with the ribbons left untied. The balmoral is worn level on forehead 1/2" above the eyebrows, with the cloth top pulled over right side of the head. The cockade should be centered over the left temple. The bow should be centered at the back of the head. The glengarry is traditionally worn canted to the right; 1" above the left eyebrow and 1/2" above the right eyebrow, with point of the glen centered on the head, aligned with the nose (although some regiments wear them square on the head). In Scotland, the balmoral is the more popular style, in various colors, with or without the red &quot;toorie&quot; on top. The glengarry owes its popularity to the Highland regiments and pipe bands. Civilians, officers, and pipers generally wear plain glens; enlisted ranks and drummers wear dicing. The diced (red checked) band indicates loyalty to the House of Hanover, i.e. the royal house of England. Highland civilians generally do not wear dicing. The caubeen, the traditional green bonnet of the Irish piper, is worn level on the head with the cap badge centered either over the left eye (Royal Irish Rangers) or right eye (Royal Irish Guards), with the cloth pulled over to the opposite side, similar to a balmoral. The Irish caubeen is often decorated with a "sheillah"; the harp of Erin, or a shamrock. In the Republic of Ireland, the harp is usually displayed without the crown for obvious reasons. Traditionally the only adornments should be the cockade and your clan crest worn in a strap and buckle form or your own crest if you have one. It's also common for veterans to wear their regimental badges, and sometimes firefighters and law enforcement officers their badges. It is also appropriate to adorn the bonnet with a sprig of your clan's plant badge, or rosemary on Remembrance Day, and rising no more than about 1 1/2" above the top of the badge. It's also customary for pipers to wear the red poppy on their glens for Remembrance Day, as the bass drone tends to brush them off of jacket lapels. The poppy is usually displayed forward of and on the same side as the glen badge (although I know of at least one regiment which has an aversion to anything being forward of their regimental badge; even a red poppy).

Remember that the bonnet isn't a cowboy hat; it shouldn't be the repository of your lapel pin collection. However, a friend of mine wears an old USMC collar pin on his; as it dates from his visit to the Chosin Reservoir, I don't think anyone has ever questioned his right to wear it any way he pleases. Feathers in the bonnet are traditionally reserved only for clan chiefs, clan chieftains, and armigers. Officially the rule is; a Chief wears three feathers, a chieftain wears two, and an armigerous gentleman (one who personally has a right to heraldic arms) wears one. The wearing of bonnet feathers by those who are not chiefs is generally considered presumptuous in Scotland. However, Americans, who have the right to keep and bear arms guaranteed under the second amendment of our Constitution, could arguably wear one eagle feather in good conscience. Feather hackles are awarded to regiments for battle honors or a special reason. Therefore, serious consideration and research should be given prior to hackles being worn by a civilian pipe band, much less an individual.

One last word on hats; uncover when you go indoors. It is considered bad manners to continue to wear the bonnet indoors, especially in someone's home or in church. The only exception is when you are under arms. Examples of this would be carrying a flag or tartan banner in the Kirking of the Tartans, or while playing the pipes. Pipers should uncover when not actively piping.

The Kilt

The inside and outside aprons are securely fastened by buckles, with the inner apron folding to the left, usually secured by one buckle, and the outer apron folding to the right, usually secured by two buckles (buckle the lower one loosely). Ladies' kilted skirts fold the opposite way. The kilt is not meant to be worn like blue jeans, down around the waist near the hips. The top of the waistband should be at your navel; military-cut kilts rise high enough to come to the wearer's bottom ribs. Highland dancers and Scottish country dancers often ask for a very high rise so that when they raise their hands above their heads, tartan is still seen beneath the jacket instead of a white shirt front.

The lower edge of the inner apron should not be visible. If the inner apron consistently shows from beneath the outer apron, you'll need to tighten the strap on your left hip, even if it means cutting away the buckle and moving it back a few inches. The lower edge of the kilt should break somewhere between the middle and top of the kneecap. Above the knee, and it's not a kilt, but a Catholic school-girl skirt. Below the knee, and it becomes a tea-length dress. The apron should be centered and the hem should appear even from front to rear and side-to-side. If you wear a kilt pin, the proper place to wear it is three inches from the bottom of the kilt and three inches inward from the right side of the apron. The kilt pin should only go through the top apron and not be pinned to the bottom apron. Any variation in this general area is considered OK, and if you have a double thickness on the right side of the apron, you might affix it to that area. As with the sgian dubh and the sporran, the kilt pin should be appropriate for the level of dress and the occasion. Keep in mind that kilt pins can become snagged upon all sorts of objects, potentially tearing the outer apron.

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