Volume 10 No 1
June 1995
THE JOURNAL OF THE LOWLAND AND BORDER PIPERS SOCIETY
IN THIS ISSUE - Bellows Technique - - Papers from the 1994 Collogue - Scottish Step-dancing - - Piping Competition + Music - Harmonious Piper -
Price 2.75 Richmond, "pleasing to the ear". The From Jon Swayne effect has been to slow the tempo and Somerset produce an uneven and jerky rhythm - certainly impossible to dance to. The very interesting article The Journal of the Lowland and Border Pipers Society "Stock Imagery in Piping" by Hugh Quavers - even or dotted? No Cheape in the December issue of traditional musician plays quavers COMMON STOCK calls to mind the Editorial LETTERS either even or dotted, but with subtle book La Cornemuse (pub a The Annual Collogue goes from strength to timings which cannot be shown in Renaissance du Livre, 1983) by Hubert written music notation. This is what strength. This year it will be held in Edinburgh From Hamish Moore Boone, who amongst other things is an (details on b gives traditional musk its ack cover), and it will be spread Perthshire assistant at the Musee Instrumental, over a weekend. One of the reasons for this, characteristic "lift" and "swing". Brussels. This is a survey of bagpipes and a good one at that. is to encourage those In his letter (CS Vol 9 No 2 Dec 94) "for a in Flemish Art, with which many who, having .some distance to travel, balk at Seamus Richmond makes several in- Mr. Richmond considers that tune to be pleasing to the ear, it must members will no doubt be familiar. It making the effort for just a one day event. teresting points regarding be played properly with the correct contains reproductions, in some cases ornamentation and the timing of pipe Gradually the format of COMMON STOCK is tunes. I agree that for the piper with no gracing, with dots and cuts, as is detail, of some 35 works of art, many of taking shape and settling down. Regular fea- background in Highland piping, it shown in the Highland piping collec- which give the impression of being tures are solicited; and in this issue we have the tions", But what is correct? What was most accurately observed, rather than makes life easier if the ornaments are " " correct by " start of a series on Scottish dancing and its shown in the music. I do however think considered W. Gunn in mere "artist s impressions . Included Is 1847 or W. Ross in 1925 was most associated music. Having said that, I should that it is more important to have the a version (from the Musee "incorrect" according to the same W. point out that the article by Maggie Moore has tunes published, with or without Instrumental, Brussels) of the Ross in 1954. nothing whatever to do with the picture on the ornaments (which after all are only one Bloemaert piper which is however front cover. person s personal ideas), than not probably rather less organologically published at all. I would suggest that all ornamentation Planning ahead, it is intended to concentrate be used with great sensitivity as a way sound than the version in the article. The Bloemaert drone the next issue on the subject of Lowland pipes - The hornpipes, jigs, strathspeys and of enhancing the internal rhythm of those with the conical bored chanter. If anyone reels which make up the bulk of the the tunes, and not as a technical ex- arrangement has always intrigued me, has any thoughts on the subject; playing, repertoire, were originally dance tunes. ercise in manual dexterity. and l wonder whether what we see is making, maintaining them etc, I would be If we are to be so bold as to pass the complete instrument. Perhaps the pleased to hear about it. I do know that some judgement on whether a tune is played piper had lost the top section of his pipers have become discouraged at an early "correctly", then surely we must pay (arr W. Gunn (1847) small drone in a drunken brawl, and to stage by their sheer cussedness: others have close attention to the original dance stop it losing air or making unwanted revelled in the challenge of coaxing them into style. noises, he simply placed a stopper in tuneful action. it would be useful, I think, to air the end of the tenon. If it is the whole both problems and solutions and maybe see The ornamentation of pipe tunes has instrument we see, and it is accurately something of what the future holds for this become more and more complex over observed, why the striking dis- most versatile bagpipe. the years and the even quavers in reel similarity between the drones. If the playing have been changed to dotted two drones are intended to be played I have a confession. Some time ago a couple of quavers and semi-quavers. These four line drawings were sent - from North America I examples [opposite page] are all of together, there does not seem to be i think - and in the upheaval of tak ng over The Rejected Suitor. enough difference in length to account Editorship of COMMON STOCK they became for the pitch relationship you would lost. One was called "The Wandering Piper Ornaments. These have become expect between two drones, i.e. octave, c.1840 ; and one was. I think, lifted from an more numerous and more complex in fifth or fourth, unless the widely flar- old catalogue. If anyone recognises what I m order to make the tune more techni- ing bell of the longer drone is only an on about, please execute an encore! I promise cally demanding, thus making the external flare. A widely flaring bell not to lose them next time round! judges task easier and the decision lowers the pitch of a drone by only a Jock Agnew. more clear-cut. The effect on the music small amount in proportion to its has not always been, to quote Mr. 11 Ulting Lane, Langford, Essex CM9 6QB length. If the small drone does play at
2 3 a fifth, then its differing shape may be From Matt Seattle Border pipes, meticulously written of response from the membership and down in the heyday of their tradition, accounted for by the fact that to be in Newbiggin-by-the-Sea that the use of the term Lowland and at the height of creativity of one of balance, a fifth drone needs to be Small pipes is a kind of brain washing I am writing this in defence of the their practitioners. Take it. Or leave it. significantly quieter than its com- before the event. Of course anyone is Lowland and Border Pipers Society. But don t dare deny that it existed and panion. A bell or cavity tends to alter free to use the term if they wish but it There is a perceived need for a flourished on this Earth. In these the harmonics in such a way as to sticks in my throat as a recently coined L owland and Border Pipers Society. I Borders. make the drone subjectively louder, description which has no historical believe that it is a real need, a whereas a plain exit would assist in validity at all. Even if it turns out to be necessary focus for a necessary music. making the drone less obtrusive. a regional colloquial term from maybe I was not in at the beginning, but I am From Douglas Deakin Alternatively, perhaps, the drones are Aberdeenshire it certainly was not now firm friends with many that were, Sussex alternatives. There are two bottom used in the Borders and was never and I hope that since joining I have sections, but only one top. The top previously mentioned by Collinson or made some contribution, however I have just bought what I presume Ray Sloan [see Dec 94 section on one plays a drone on the any of the other historians of the feeble, and tried to honourably dis- charge my self-appointed duty as a COMMON STOCK] would describe first degree of the scale, and on the Border and lowland bagpipes. If the other on the fourth or some other General Irritant. But there is a crisis as an "Expensive Ornament or bundle term was to be used for a completely of confidence within the Society at the of Firewood". I consider my new set of degree of the scale. The unused bottom new instrument then so be it. But to moment, because the Society is being small pipes made by a "Highland Pipe section is plugged with a stopper, as use it for pipes which have a perfectly pulled in different directions. Maker of Distinction" to be a pure indeed appears to he the case. On the satisfactory historical nomenclature Some (a very few) ways to delight. Excellent tone, and very well other hand, Hubert Boone comments then it smacks of some modishness recreate the edifice of Lowland and made. But then perhaps it takes 15 " Our example is probable furnished and unwarranted abuse of the proper Border piping as it once was, or as they years experience before a mere with a small drone the end of which is names for the bellows blown pipes i.e. once were, for the two terms are not customer should be allowed to express closed by a stopper (which can be Lowland, Border, Pastoral and Small quite synonymous. an opinion. mored for tuning purposes?) and pipes. I know there is a desire to find a Some are self-confessed musical I have no experience of Ray pierced by a lateral hole. This common name for all these pipes but hooligans and proud of it. In Lowland Sloan s pipes. They may well be as technique will be found later in the this is as futile a search as for a and Border piping there may come a good as my pipes, although I fail to see how they could be better. Northumbrian small-pipes." (My general theory for the origin of the time for iconoclasm, but not yet - we have yet to establish our icons. I was fortunate to see and translation) universe. Let us talk about Lowland Most just want to shut up and hear my pipes before purchase. La Cornemuse also contains a pipes and then go on to say exactly Perhaps had I seen Ray s, I might have reproduction of Henry Terbruggben s play their bagpipes. what the pipe is instead of the term So why can t I shut up? Because I preferred them. Has he considered fetching Le Joueur de Cornemuse in "Cauld wind" which is semantically a have found what I have been looking offering a Video to prospective the Ashmolean Museum, Oxford, in term which makes me shiver. My for. What I have been looking for since customers who don t happen to live in which the pipes bear more than a suggestion for the "Ambient air long before I knew I was looking for it. or visit Northumberland? " passing resemblance to a set of temperature pipes is more neutral, as A credible repertoire for Border mouth-blown small-pipes. is the term "Dry air" or "Dry wind", but bagpipes. An incredible repertoire for From L.W.Cowell why bother to change when the Border bagpipes. This is specifically a of David Naill Co. Somerset. Society s name is perfectly adequate. Border rather than a Lowland repertoire, but you are all welcome to I read with great interest From Colin Ross If the committee decide to rename the share in it, from both sides of the comments from Ray Sloan. But one wonders if a little Monkseaton Society on a simple majority as indi- Tweed, Lowlands, Highlands, Borders and beyond. But beware; it is a Border honesty from him would not come cated in the Newsletter, then I hope it Highland pipe music amiss. Can I say how distasteful it is for me to is repertoire, not with a two thirds response at least played on cauld-wind pipes, and you Enclosed are a few snippets read about these "cauld wind pipes" in from the membership. I fear that will may with truth and without dishonour you might like to look at [i.e. copy of the Newsletter, and also incidentally in not be the case and if so I will be the say; this is not for me. an order from Ray Sloan and a letter information you have sent me in the first to resign from the Society. Very well. I am looking for con- to Piping Times. The order included past. It seems to me that it is a However I wait to be proved wrong and verts. I do not want to gather a coterie the requirement for a drone stock foregone conclusion that the Society s that the overwhelming majority of the of admirers and clones. I am only ferrule to be supplied with the in- name will be changed despite any lack members will v ote for status quo. saying; here is a body of music for scription "Made by Ray Sloan .. "]. 4 . I PIPING AND SONG J Some of the papers presented at the 1994 Collogue would, It was promised " in the last COMMON STOCK, be published. This paper by Andy Hunter . I N B " , cannot hope to convey the enjoyed at Dunkeld, with Andy G singing and the audience joining in. H . T H B B E , T I , G . H . I . , "P , , " ... O I H M I G F . I T H P H L I B . I , . A S C : . T A C E , L N , O ! B Y B L A-C ( ) L A B , M C . F S D S (L O ) H S S . I , B B (2 ) , G H B B M (O M ) " " . T , ("C - I H W 0 A (R ) 1715 1745." 1816), G E , S . T I - , ; I - , . . . , " I , F L S , . I . . I G ( / ) , G ? M F , H L . L S . T H , , , W B H L S , I -H 18 19 , , L M D. C , U , , . , - A "T R S ". R , M B ." B S , I ( , I ) S . F S H . T C , G S F K C H . I .... H S " I L S H G . , .... H , S , I S , F G G S . T S ... G , ,
6 7 F , I K J , G T I , D . G , H , , S , G . . . ....) E O , M , , W F , S , G H . T , H H I , , R , S , . O "W I B . T " H ." S G - H O M ( I H H H . B L ). W F G B H F , B . T R S G T , B F D H G S . . I S "T ... [A E T S B ]... , , , . W . B , . T I . , , , I . I . T . B 30 I A , MS M G. J R - - I H , T , ... I H , , I , , C H . W , A H , A M , S , , , S "J D W , "J B " . T L . I ." W M P ...W ... J ... G I B S I . : N .92 B ...P T B B " ABOYNE GAMES T : T T H . "T A I K A , "C T " I I I ". T B I A G F , I G H G , A 112 "C I A - /P ". A , W T , I . M I , 8 9 N M FRANCIS MARKIS U H At the 1994 Collogue Jock Duncan of Pitlochry talked of Francie Markis and The T Wonderful Boy of Byth , together with something of the music and the times in which they S lived. The following is an extract from that talk /but see also COMMON STOCK Vol I No.1 Dec 1983: and Vol 5 No.1 March 19901. M I A Francis Markis; character extraordinary; buffoon; strong man; athlete; singer; H , musician. He fell heir to the title from his father; inherited it if you like. When his S father came from Morayshire to take over the tenancy of Middlehill which was on the state of Cumine of Auchry, he passed through the weaving village of New Byth S S L to see his sister who resided in the place. T ! B William Jameson was a tali outstanding figure which one would call swashbuckling A nowadays. This distinguished looking gentleman caused quite a st ri in the quiet village among the women ofthe place, the men would have been away working some T S , P C on the land - others at the various crafts - masons, vrichis and the like. W P P P W One was heard to comment that this braw man was not unlike the Marquis of T Huntley - and there the name stuck. Middlehill was in the parish of Montquitter which means (derives) place for snar- W , ing the deer . Also known as Cuminestown mainly as it was built by the Cumine A Lairds. A M A Francis was born and brought up at Middlehill where he got the rudiments of learning. Maybe he didn t learn very much there but apparently he always knew the B S M right side of a penny and paid on the spot for any requirements he needed. H Cuminestown school at that time (in the 1820s and 30s) taught English, mathe- B matics, reading and writing, latin, French, Greek and Music. Maybe that was where B be obtained his lore of music and the incentive to learn the instruments which gained him a reputation as a quality performer in a country not short of Musicians. M He must have received tuition of sorts for be could read music with ease. A A M , The North fast had more of a fiddle tradition than a piping one, and the Piping one A "J M F " more of the cauld wind variety rather than the great Highland bagpipe. However it appears to be that this position reversed after the turn of this century and the cauld N M wind pipes faded into total obscurity. A B B S Music teachers were in abundance during Francie Markis time and some com- T bined their art with teaching dancing. I list here a number of composers that produced manuscripts of that era and N 1 11 before. T S , D George Skene Bagpipe style sets and reels B , . William Forbes Francis Peacock (Scottish Airs). He produced his major work titled Sketches (F C V 5 N 2 1968) relative to the history and "Theory but more especially the practice of Dancing as a necessary accomplishment for the youth of both sexes. He was a dancing master I0 11 who taught that noble art in parallel with teaching music. Let us see what he wrote At the scythe however, which was the tool used to cut corn, he was again in a league on the subject of step dancing: I once had the pleasure of seeing, in a remote part of the country, a reel danced by a herd boy and two young girls, who surprised me of his own. At that time hairst squads were hired to cut the grain. Some were for a much, especially the boy who appeared to be about 12 years of age. He had a variety six weeks harvest duration. Others were hired on piece-work per acre cut. This was of well chosen steps and executed them with so much justness and ease, as if he the method Francie preferred as it gave him scope for his ability. An acre a day was big day for most people, but he usually did twice that, and on one prodigious meant to set criticism at defiance ... Our College draw hither, every year a number occasion cut three. He was supposed to have remarked that three acre a dae was of students from the Western Isles as well as from the Highlands, and the greater part excel in this dance, some of them indeed in so superior a degree that I myself nae childs play. have thought them worthy of imitation. Each step had a Gaelic name. I have not heard how many people gathered and bound the cut corn behind the Isaac Cooper of Banff, Dancing Master, employed a helper musician. Taught point of his scythe; usually that is a job for two people, one who gathered and Harpsichord, violin, Violoncello, Clarinet, Psaltry, Pipe and Taperer, German another who bound and stacked, but then Francie was no ordinary person. Girls Flute, Scots Flute, Fife, Hautboy, Irish Organ Pipe, and the Guitar. He published were predominantly used in harvest time for gathering and binding too. In fact several collections. He held large classes throughout the region which would no many harvest squads from Aberdeenshire took a harvest contract down in the doubt have included New Byth or Cuminestown. His best known tune was Miss Lothians first, mainly because the harvest was a few weeks earlier down there. I Herries Forbes Farewell to Banff . have a song, The Lothian Hairst, which depicts such a thing. Francie Markis eating feats are also legend. He could literally eat enough for ten in Francis Markis day there were strong fiddle societies at many of the villages and men and sometimes he was invited along to functions to play his music and also to musicians were in great demand to play at functions not only to meal and ales and dances generally hut to play at Lairds halls and at society events. But generally they provide a spectacle of his enormous appetite at work with everything from fowls to to follow. got more pleasure in making music among themselves in their aln home environ- salted herring on the table, with breed and kebback ments. Francie never married, and indeed was a loner although for a number of years Francie Markis was an abstinent man all his days, and always kept himself in the there was a sister who kept house. Attendance at the Kirk was a requirement by all best of order not like Bill Duguid who held classes at the Muirs schools. A and nobody that attended Byth Kirk dressed better topped by a lum hat than Francie Markis. There a precentor conducted the hymn and psalm singing which at tremendous talent admired by J. S. Skinner, he suffered from misuse of demon drink. Once at a function, a recital at Fyvie, he was offered a nip out of a half bottle. that time and for a period of twenty years was performed by my own grandfather Bill took the bottle to his lips and downed the lot. Proffering the empty bottle back Lamb who was in Bogenlea of Byth farm nearby. he said I suppose you didna want ony . Francie had a nephew, Joseph Sim, who became a well known fiddle player and was Francis Markis grew up a tall handsome man endowed with a tremendous strength reputed to be very competent in the pipes as well. best known as The Wonderful and vigour. At every big farm toon in the summer time feats of strength and athletic B oy of Byth he was equally at home on the concert platform as he was playing for competitions took place. Throwing the 561b weight, pulling the swingletree being dances with his Joseph Sim band. Francie taught his nephew both fiddle and pipes amongst the most popular. At all events Francie was unbeatable culminating in his but both arc best know for their fiddle playing and Francie on the cello was participation at Galas and Picnics far and wide, and winning every event he regarded by other musicians as faultless. entered. Some Galas and Games ruled him out defining them as local events, but Francie got round that by entering all the same by running beside the participants He was immensely proud of his nephew. When the 12 year old Joseph Sim was fully clothed and winning just the same. playing on the stage at New Byth hall on his first appearance - this was a solo performance - he remarked to several people in the audience isn t he a wonderful He moved to beside the moss of Byth himself when he took a croft at Fisherie. At boy; isn t he a wonderful boy! and there the title stuck for a lifetime. that time mosses and whins were being trenched and drained to form viable farm land and sometimes the Lairds of the time gave them the land rent free to do such a Sometimes he played with the Joseph Sim hand but in earlier years he had a band task for so many years and then they charged a rental. of his own. It wouldn t have been a regular dance band but would have been just got together to play at meal and Ale functions as described in the sang or cornkister At this work Francie Markis excelled. He hired his services far and wide - whether Mains of Badentyre. he took his own squad or was part of another I do not know. I think he was Corkisters depicted life on the great farm loons. his one tells about the hairst fees probably a loner and took on the job on piece per acre. That implied turning the soil two feet deep, putting the top turf at the bottom. Removing the stones in - people employed for the duration of the harvest and the celebration feast in the puddocks with a horse to later build the stone dykes that finally enclosed the fields. barn followed by a dance, where the fiddlers are seated on the Mill feeding bench. Of course the drains had to be dug and they were stone lined as well. At those tasks Usually the event was held in the loft (corn) by at Badentyre it appears that the Francie was adept, especially at the spade and pick work - those specially made barn must have been of suitable dimensions. implements were smiddy made twice normal size to cater for his excesses. 13 12 The feast was usually supplied by the farmer and his good lady and this one was no different and it was NINE NOTES THAT SHOOK THE WORLD the harvest hands and the farm employees including the house staff (kitchie deem etc) that invited the Until now some of us have been groping towards a credible repertoire for guests who were girl friends, men friends, the Border pipes. All very well, and a fine occupation for braw lads and canny acquaintances and so forth from lasses. A general consensus has been that the Border repertoire was similar to round about. The auld kirk drink the Ceol Beg of the Highland pipes: dance tunes and airs, but of Lowland was also supplied by the farmer rather than Highland origin. This may still be part of the picture, but I can but at the time there were a few unorthodox stills in the vast now confidently say it is not the whole picture in the light of what I have mosses abounding the area of Byth found. and the Waggle hill. Before I recite a bit of the ballad of Badentyre I Surely not the legendary Border pibroch? will return to The wonderful Boy of Byth : at a recital in Byth which No. I don t know if there ever was a Border pibroch, but I do know that this took place in 1912, J. S. Skinner is real, it happened in time and space. It is not pibroch, but it is no less was the principal guest, hut in substantial than pibroch. The Sistine Chapel ceiling in nine notes. I have the conversation to the other participants repertoire of a Border piper noted down in the 1730 s, contemporary with listening to the various performers the great man was heard to remark Will Allan, Jamie Allan s father. According to Roderick Cannon this is the that he couldn t play a slow air like the bagpipe find of this century. Wonderful Boy. The person who told THE WONDERFUL BOY OF BYTH " me this also said that J. S. Skinner I am publishing this as a substantial book with characteristic blether. You wrote down any new tune he listened to and the following year they would hear it can ignore the blether. But the music is dynamite, and that s all you re paying played by him with doublings and triplets and other embellishments thrown in. for. As well as throwing new light on many of the tunes we already have in our Border repertoire there is a considerable number of tunes which are This is from a collection of sangs recorded by Hamish Henderson from Willie completely new to us, and some music which we would consider alarmingly Mathieson in Turra in 1952. Willie, in his seventies then, had attended and in fact modern if we didn t know it was two and a half centuries old. The chanter hairsted at the famous toon of Wester Badentye in the 1890s so knew the famous Francie Markis first hand. So, the last four verses only; scale is the standard nine notes but they are used in a way which has been lost to us. This is, I believe, the firmest foundation that we have ever had on An when the crap is as secured fae winters frost an sna which to build a Border repertoire and idiom for today. The scale of the tunes We ll get a ball when Francie comes wi his fiddle bra . indicates that they would originally have been played on the conical bored And lads and lasses roon aboot will fill the barn fleer Border chanter, but they also sit beautifully on our modern Scottish small Oh mony s the happy nichts been spent at Wester Badentyre. pipes, and in my opinion suit the instrument better than anything else.
We hae nae fancy programmes nor yet a dandy Hall Projected publication date is November 1995 to coincide with the LBPS But we hae mirth and music at Francie Markis Ball. Collogue - if the LBPS is to metamorphose into something else at the AGM, Upon the feeding bench at the mill the fiddlers they are seated, And noo and then throughoot the nicht wi auld Kirk they are treated. one of the original aims of its founders will at least have been realised. If you are interested just get in touch. If you subscribed to The Border Bagpipe Book Aboot the middle o the night tay is handed roon I ll be writing to you anyway. I hope you will be interested, because I believe Nae fancy tables jist a joug and biscuits white and broon. that this music is stunning and needs players who will give it their best Syne Lordle wi the aid Scots sangs nae heard in Music Hall, efforts. It wants to be played. Please let it into your life. And Francie Markis gars us lack wi Billy Johnston s Ball.
Syne up an tae the Dancing for twa three oors an mair, And morning s nae far awa when we gang doon the stairs. DRAGONFLY MUSIC Lang may old Francie play and sing, fang may he fill the (leer. MATT SEATTLE, 10 GIBSON STREET, NEWBIGGIN-BY-THE-SEA, Lang may the farmer hae the hairst at Wester Bedentyre. NORTHUMBERLAND NE64 6PE Phone / Fax (01670) 818540
14 15 BELLOWS TECHNIQUE Ann Sessoms, who plays both the Scottish and Northumberland small pipes, provides some important hints and instructions for more effective use of the bellows. [See also "Interview" COMMON STOCK Dec 1991. Ed.] When I attended the Workshop Day at St Anne s Community Centre in May 1994 it seemed to me that many participants were making inefficient use of their bags and bellows. My suggestion of an article describing bellows technique met with enthusiasm, so I will set out my approach to winding bellows-blown pipes in the hope that it will be of use to players. The basic fault lies in trying to control the air flow solely with the bellows, whereas the hard work should be done by the (usually) left arm pressing on the bag. Highland pipes can be played as bladder pipes - the bag is kept as full as possible with frequent additions of air, and the elasticity of the sheepskin bag maintains a constant pressure. However, not only is the bag of bellows-blown pipes made of nonelastic calfskin, but constant pressure cannot be maintained with bellows alone. There is an unavoidable drop in pressure, also volume and pitch, every time the bellows are opened. Also, the tendency is to play at too high a pressure and wear the reeds out quickly. EMPTYING THE BAG Therefore the first step in learning to play bellows-blown pipes is learning how to apply pressure to the bag. The bag serves as a reservoir of air, and the sole purpose of the bellows is to replenish this reservoir. The hard work of pushing air through the reeds is done by the arm pressing on the bag, and the bag must be squeezed in such a way that it is free to expand when air is blown into it by the bellows and can be emptied in a smooth and controlled manner. The end result, when done well, is a varying volume of air being kept at a constant pressure. It is best to learn how to fill and empty the bag before trying to coordinate the bellows and the bag, and to close off the drones and play only the chanter at first. Strap the bellows under the right arm (If you play left-handed pipes, reverse left and right), place the bag under your left arm, and attach the blowpipe to the bellows. Open the bellows fully and close them fully as many times (usually three to five) as needed to fill the bag to about 90% of its capacity, and squeeze the inflated bag with the elbow. The main effort will come from the muscles of the upper arm and will be Robert Wallace, P.O. Box 341 directed straight into the body. Stand or sit upright with the shoulder relaxed. Imagine that you are touching your elbows behind your back and Stepps, Glasgow G33 6DZ Scotland you should get the correct movement. This movement is the same as that Phone/Fax: (041) 779 1750 used on the bellows, only more forceful and over a shorter distance. If you are having trouble or are unsure if you are squeezing correctly, place Agent for all D. Naill products small ball (75-100 mm diameter) between your upper arm and the side of your body. Hold it there while moving your forearm about, and you will get .the feel of how you should press on the bag. The instinct of many people
16 17 new to bagpipes is to hug the bag to the chest with the forearm. This is only a short delay before the next use of the bellows. It is best for technique is appropriate with some bag shapes, but not with the standard novices to feed the air into the bag reasonably quickly in order that there is small-pipe or Lowland-pipe bag which is tucked under the arm, as it makes a significant gap after each use of the bellows. This ensures that the flow the shoulder and elbow rigid and unable to control the bag. of air Is controlled by the left arm on the bag rather than by the bellows. As a starting point, fill the bag fully, empty it for a slow count of 6, open the Keep the sound going as long as you can. You will empty the bag to a bellows fully on 7, empty them fully on 8,9,10, then relax the right arm so greater extent than you would during normal playing, but it is important to that the bellows are partly open. The time taken for the various actions will practise maintaining a steady pressure on the bag before you try to be adjusted according to the size and efficiency of your bag and bellows, coordinate bag and bellows. When you can no longer maintain the sound, and as you learn to judge when you have used a bellows-full of air. stop; then refill the bag with the bellows, using full strokes of the bellows. Do not attempt to refill the bag while the pipes are sounding. Initially just try to keep the sound continuous. If the sound stops when you open the bellows, either you are not pressing on the bag effectively or you The sound will start strong and then start to fade away. The first goal is a relax your left arm when you open the bellows. The left arm must be smooth sound, without rapid changes of pitch. A jerky sound indicates that pushed out by the expanding bag, not lifted actively. When you are first your arm is tense. Try the exercise with the ball again until you can hold learning, there is an inevitable increase in the volume and pitch of the the ball in place while the forearm is relaxed and moving about. Once you sound as you fill the bag. This is caused by more air going into the bag have achieved a smooth sound, try to keep the pitch constant. When you than there is room for; either air has been added too soon, or you have not can keep the pitch constant, open the bass drone and tune It to the chanter, Allowed the bag to expand. Be aware of this Initial surge but do not try to then try again for a steady sound. The pipes will use more air and you will eliminate II immediately; it will lessen as you become more proficient. not be able to keep them going for as long. Repeat the process with two, Even if you are doing everything correctly, it takes time to learn to balance then three drones. the rate of addition of air with the rate of expansion of the bag. However, it does eventually become automatic. PLAYING PRESSURE Determining the correct playing pressure is a problem for many beginners, The most difficult thing for people learning to play bellows-blown pipes is especially if they do not have the guidance of an experienced player. Small keeping the shoulder relaxed while they press on the bag. The bag must be pipes and Lowland pipes are played at a far lower pressure than Highland allowed to push the arm out as air is added. If you keep your arm rigid and pipes, and playing them at a high pressure wears the reeds out very quick- do not allow the bag to expand, the bellows will push the air straight out ly, and if extreme will stop the reed from working. Reeds are made, and through the chanter, and the reservoir of air in the bag will not be topped set, to play at a range of pressures, so a good rule of thumb is to find the up. If you find yourself using the bellows twice in rapid succession, this is pressure where you get the best sound from your reed. If this pressure likely the reason. Another possibility is that you are waiting too long to use does not suit you, you could try adjusting the chanter reed with the bridle, the bellows. However, most beginners tend to use the bellows too but reeds are delicate, easily damaged, expensive to replace, and usually frequently rather than not frequently enough. best left alone. If you have this problem, you could try actively relaxing your arm as the air To increase the playing pressure of a reed, squeeze the bridle at the sides, goes in, since it is essential to refill the bag. This is only an interim thus widening the opening at the tip of the reed. This will also lower the measure. Even though you are relaxing the pressure, try to keep the arm in pitch of the reed and make the tone stronger and coarser. To lower the contact with the bag so that you can get the feel of its being pushed out as playing pressure, squeeze the bridle on the flat surface of the reed, the bag expands. It might also be useful to return to the exercise with the narrowing the opening at the tip. This also raises the pitch of the reed and ball in order to make sure that you can press on the bag with the elbow weakens the tone. A small change will make a large difference, so go while moving the forearm about. You should soon be able to squeeze the gently. bag and still allow it to expand. COORDINATING BAG AND BELLOWS When you are reasonably proficient at maintaining a continuous, steady Once you are adept at emptying the bag, try filling the bag with the bellows sound, open the bass drone and tune it to the key note of the chanter. The while the chanter is sounding. Again, shut off the drones until you are pipes will now take more air, and the bellows will need to be used more reasonably proficient. Remember that the purpose of the bellows is to frequently to compensate. When you feel comfortable playing with one replenish the air in the bag. If the bag is not fuller at the end of the bellows drone, add the second and then the third. The next step is to finger the stroke than it was at the beginning, something is amiss. chanter while using the bellows. Again, shut off the drones at first. Play scales, then fingering exercises of increasing complexity and, finally, tunes. Some players empty the bellows quickly and wait some time before using When you can play tunes accurately, with expression, at a steady pressure, the bellows again; other players feed the air into the bag slowly and there you will have mastered the pipes. 18 19 THE DRONE ZONE Scotland in the seventeenth Century. On the whole these are vocal or fiddle tunes, but an example likely to be familiar with pipers is Soar Plums Of Matt Seattle has undertaken a series of articles on Bellows Blown bagpipes and Galashiels.) their associated music under the umbrella heading of Drone Zone . This is the second such, the first appearing in COMMON STOCK No. 9 of June 1994 When writing harmonies for pipes the most obvious limitation is the range. If you entitled "Wider Choice of Notes for the Lowland Piper". take a tune written within the 9-note range and harmonise it in the same range you will inevitably get passages where the harmony crosses the melody, and those The Harmonious Piper amateurish consecutive identical chords where the melody moves one way and the harmony the other, in effect cancelling any movement in both parts. You The subject of this Drone Zone is harmonies on the pipes, a topic which I had not might achieve a harmonious sound this way, but if the actual tune gets lost in the thought of tackling myself, but which was suggested to me by our esteemed mush there is very little reason for doing it. There are ways of avoiding this. The editor. Although I have done some harmonising of traditional tunes, this has most obvious is to write a harmony for another instrument which does not have usually been for fiddles or other instruments with a more extended range than the same limited range or, as has been done by Moebius and the Quintette des the 9-note chanter scale. What are the procedures and problems involved in Cornemuses, for bagpipes of different ranges. In both the latter cases however arranging for bagpipes, and can we produce a worthwhile result if we are mindful the problems of writing harmonies for a 9-note range are avoided because all the of the pitfalls? pipes in question have a larger range, usually 12 notes, plus the option of extra chromatic notes within their range. John Goodacre s writing for the Goodacre I shall start by stating some of my own opinions regarding harmony, which are Brothers however makes use of instruments with smaller ranges but at different not in any sense a set of rules, but may be useful as a point of departure, or as pitches, and this is potentially a useful blueprint for players of Scottish small something to disagree with. Melody can be thought of as horizontal and harmony pipes, where the availability of two instruments in A and D (for example) is not as vertical (a visual analogy from the standard Western way of notating music). likely to go beyond the bounds of probability. While it is possible to have several horizontal lines proceeding at once (polyphony), in the West our ears have come, through centuries of practice, to Enough blether. Now let us arrange a tune. I ve picked a good hornpipe which expect these horizontal lines to make some vertical sense as well, in other words hasn t received a lot of attention from Border pipers. It has survived in a few to form recognisable chords and for there to be a sense of harmonic direction, or Highland pipe settings, but being a 3-time or double hornpipe is very likely to be to put it another way, a chord progression. This is not to rule out other ways of a Lowland tune in origin, although it doesn t really matter one way or the other. doing things, or to say anything negative about musical cultures which do not First, here is the tune, written in the usual pipe scale in A. operate in this way, but it is a plain point of fact that a considerably large body of bagpipe music, and particularly Border bagpipe music, is constructed on chord sequences, and has been since long before the 12-bar blues became a standard medium for blues, jazz and rock musicians. The most characteristic type of chord sequence in bagpipe music is the double tonic sequence, or rather a variety of double tonic sequences, which I hope someday to explore as fully on paper as I have in less tangible form. The basis of a double tonic sequence is simply that a tune is built on two chords, and one chord fits with the bagpipe drone(s) and the other one doesn t. This pattern, once established, can be repeated, hence the familiar practice of variation writing by pipers which I have discussed in my Border Bagpipe book. It is my broad contention that tunes of this kind do not require additional harmony. Although it is of course possible, and may occasionally be effective, to compose harmonies to this type of tune, everything really necessary is already there in the melody and its relationship with the drone(s).
So what of other pipe tunes? These may be song airs, or dance tunes which have a chord progression other than the double tonic. (I will mention here briefly a Generally I like harmony not to get tangled up with the tune, in other words to type of tune which has a very weak sense of harmonic direction, that is tunes stay completely above or below it in pitch. On this occasion I ll allocate the tunes based largely on a pentatonic scale, of which there were a great many current in to small pipes in D and write a harmony for A pipes to go beneath it. For
20 21 purposes of avoiding severe brain contortion I ll now transpose the tune up a 4th to D (the key signature will be 1 sharp, the mixolydian mode of G, in other words The arrangement, written at actual pitch, appears below. The piper playing the D with a flat 7th). melody on D small pipes can read from the first example to get the accustomed eye-to-finger relationship (thus neatly bypassing the brain).
The Herd of The Glen
D small pipes
I have to be careful because the scale of the tune is not now the same as the scale A small pipes of the harmony; we have C natural above and C sharp below. The advantage of this is that with the harmony I can make a dominant chord in the drone key of the tune, not possible if both pipes are pitched the same, and in this case the melody strongly desires the dominant chord at each cadence - bagpipe music does not have to end on the tonic ( home ) chord. The chord sequence I ll be using has been sketched under the tune, it s rather obvious and uses I, IV and V chords in the key of D, the notes of which can all be played on an A chanter with the flat 7th. (The A chord in bars 2 and 5 of strain 2 is more a passing chord to show the harmonic thinking involved than one which would be used for actual accompaniment.)
What of the harmony itself? There are always more possibilities than one can actually use, but some are usually better than others. Anything is permitted, but this is not jazz, which I m quite happy with on occasion, or atonal serialism, which I m not - some things just don t suit our Ancient and Pastoral music and I tend to go for what may be considered orthodox 3rds and 6ths and their in- Arrangement by Matt Seattle 1995 versions, while keeping in mind the chord progression I want to suggest. There are usually opportunities for a little contrary motion, unisons occasionally seem the best solution, and parallel 5ths and octaves are best avoided unless you specifically want that particular open sound for special effect. The other no-no is parallel motion towards a discord , the term being used in its technical sense to mean anything other than 3rds, 6ths and their inversions. If you pay careful attention to the effect created by these illegal practices you can hear why they are avoided, but sometimes where you are and where you are going mean that on balance you will have more problems than you avoid if you keep strictly to the book . As in the rest of life, sometimes there are very good reasons for breaking rules. 22 SCOTTISH STEP-DANCING down in a largely oral fashion from one generation to the next and Cape Bretoners are particularly proud of their genealogy. The old-style Scottish music and An extract from a talk given by Maggie Moore and published with permission of the step-dancing is intrinsically linked, and the love of them runs in families. In the Scottish Arts Council. /The tempo of the music played for step-dancing was fascinating book, The Cape Breton Ceilidh, compiled and edited by Allistair illustrated by Hamish at the 1994 Collogue in Dunkeld. Ed./ MacGillivray, many interviews with old and young Cape Bretoners give a vivid account of the passing down of the tradition from the earliest Scottish settlers. Scotland was and is famous for its dancing, and the variety of dance styles which are represented here is testimony to the richness of our Scottish dance heritage. Of course, this passing down of talents and skills from generation to generation is not unique to Cape Breton, but is more a reflection of the strength of their Gaelic It is my contention that the step-dancing found in Cape Breton should also be in- heritage. It can equally well he seen in Scotland where there are families which have cluded under the broad umbrella of Scottish traditional dance and that its revival been famous for generations for their piping, or their singing, or indeed their in Scotland in the past few years is an exciting and welcome development. dancing.
The Cape Bretons themselves, and indeed the Gaelic communities in other parts of But what were the dances that these early immigrants took from the old country to Canada, have never been in doubt that step-dancing came from Scotland. Cape Breton nearly two hundred years ago? Understandably they were the dances that were popular in the Highlands and Islands of Scotland at the time of their There are two counts on which I believe the rediscovery and indeed the very ex- departure and so we are able to cross-reference information from Cape Breton with istence of Cape Breton step-dancing is important to us here in Scotland. Firstly it sources in Scotland. Mr Mrs Flett, in their book Traditional Dancing In enables us to take a fresh look at the evolution of dance in Scotland in the last two IScotland, were in no doubt about both the style and popularity of the old Reels. hundred years by contrasting it with the development of the same dance form in the quote: Gaelic communities in Cape Breton; and secondly the more informal and less .., only Reels are truly indigenous to Scotland. Reels of one sort or another were regulated approach that exists within Cape Breton may provide an alternative known in every district of Scotland, in all classes of society, and were particularly model for future dance development in Scotland. popular in the crafting regions; in these latter regions most dancing took place in the kitchens of the croft houses, and Reels, with their compact travelling figures Towards the end of the eighteenth century and during the first half of the and well-contrasted periods of rigorous stepping were ideally suited to the nineteenth century large numbers of Scots went abroad either willingly to seek a restricted dancing-spaces available. [31 [There will be an edited transcript of a talk better life or unwillingly as part of the infamous Highland Clearances. Many Scots by Joan Flett given at the 1993 Collogue in a future edition of COMMON STOCK. settled in Canada, and Cape Breton Island in eastern Nova Scotia received around Ed. 30,000 Gaelic-speaking Highlanders. Except for a small French enclave in the north-west and parts of the eastern Cape Breton, the majority of the island was Today s solo step-dancing developed out of the stepping within the old Reels. It is settled by Gaels, and even today the sheer concentration of Highland names in this fact that defines step-dancing in Cape Breton today and also goes some way to many parts is quite astonishing - MacDonald, MacKenzie, MacNeil, Maclnnes and explain why it had almost died out in Scotland until very recently. many more. Stanford Reid in his book The Scottish Tradition in Canada states that Parts of eastern Nora Scotia, particularly Cape Breton Island, became as Gaelic in You see, at the same time as the old Reels were taken over from Scotland, there was speech and outlook as the Highlands themselves. [11 a body of more formal solo step-dances, which also went over with the early settlers. These included the Fling , Seann Truibhas , Flowers of Edinburgh , I believe it is this phenomenon which has resulted in the survival of much of the old Tullochgorum , Jacky Tar , Irish Washerwoman , and Princess Royal . These culture. dances were taught by the early dancing masters, but their complexity and the requirement to dance the steps in a prescribed order, meant that they had to be That these communities have remained intact for nearly two hundred years is due learnt, and eventually fewer and fewer people danced them. Margaret Gillis from both to Cape Breton s relative isolation from the rest of Canada and to the fact that South West Margaree is perhaps one of the few people in Cape Breton who can still the area did not attract later incomers. Travel within Cape Breton was very dance some of these old step-dances. She learnt them from her father, John Ales restricted up to the 1940s due to the rough roads and lack of motorised transport. (1880-1975), who learnt them from his father, Allan, who learnt them from his Also the lack of electricity meant that they weren t being exposed to external in- father Alexander, who had emigrated from Morin- in Scotland in 1826 and whose fluences on radio and gramophone, and that they had to make their own profession both in Scotland and in Cape Breton was that of dancing master. entertainment. Margaret Gillis said: I think the Powers of Edinburgh was one of the dances in Scotland, and you d have What did these folk bring with them from Scotland as well as their indefatigable the Jacky Tar and all the hornpipes that were danced Individually. There was form spirit in conquering the difficult new terrain? Well, they brought their Gaelic to it, a format. Even the Seann Truibhas was a different dance then than the one language in song and story, their music and their dance. This has been passed they do in Highland dancing today. [21 24 25 The relatively greater freedom in expression in choosing and dancing steps, which daylight , they d dance all night! A lot of people would come by horse and wagon, but was available in the context of the old Reels, became the vehicle for solo dancing my first cousin. Alex Cummings, would walk from Skye Mountain to Ashfield to a also, and as a result solo step-dancing in Cape Breton today consists almost dance and that would be quite a way. They didn t care as long as they could be entirely of extemporised strathspeys and reels. dancing. Dan Norman Cummings, Skye Mountain [21 Whereas in Scotland a different evolution was occurring. The introduction of country dances from England produced a smoothing out of travelling steps and a But what of the music? Well, for fiddlers and step-dancers alike, their favourite greater emphasis being placed on the figures of the dance rather than on the step- tunes are nearly all from the old Scottish piping repertoire. Well-known tunes like ping, which was the fundamental component of the old Reels. An Englishman by the Calum Crubach and The High Road To Linton are played alongside tunes that name of Colonel Thornton, who was touring in the Highlands about the year 1804, are rarely heard in Scotland today, like Moulin Duhh and Put Me in the Big remarked: Chest ; and tunes which in Cape Breton are still being played in their original They were dancing a country-dance when we entered The company consisted of simple two-part state, like Pretty Marion and Caberfeidh , have in Scotland been about fourteen couples, who all danced the Glen ague kick. I have observed that turned into complex competition tunes by the addition of a further 2, 4 or even 6 every district of the Highlands has some peculiar cut and they all shuffle in such a parts. But why pipe tunes, when the instrumentation today is almost always fiddle manner as to make the noise of their feet keep exact time Though this is not the and piano? The answer is, of course, that both in Scotland and Cape Breton, it was fashionable style ofdancing, yet, with such dancers, it had not a had effect. PI pipers who traditionally played for dancing. Indeed, the last of the old style pipers, 84 year-old Alex Currie, was till playing for step-dancing as late as the 1970s. Additionally, during the 19th century, the old solo step-dances were being danced regularly in competition at Highland Games and in performances at concerts, and However it is not only the repertoire which has remained largely unchanged but the style became ever more open and balletic perhaps to suit the larger arena. also the style of playing the old tunes. The rhythms and tempo required for step-dancing are very well defined - 8 even beats of the bar in strathspey time and 2 The introduction about the turn of the century of soft-soled dancing-shoes hastened on-beats and 2 off-beats in the bar for reel time, with the strathspeys being played this change in style, so that what we see now in modern Highland dancing is the at 40 bars per minute and the reels at between 52 and 54 bars per minute. It is this direct descendant of the old step-dances. When the 80-year-old James Neill, the speed and unremitting rhythm in strathspey time which produces the excitement respected Angus dance-master, was asked in 1908 about the new fashion, he and there is an almost intangible relief when the musician breaks into reel time. replied: It is more scientific, but it is not so Highland, so to speak The steps they dance are I m sure there will be many who doubt that strathspeys were ever played this way in not the real Highland steps. [41 Scotland, hut there is much evidence for believing that this is indeed the case. Margaret Bennet, of the School of Scottish Studies, made many visits into the So, to recap, what we have had at the beginning of the 19th century was a dance Codroy Valley in Newfoundland, an isolated valley with a strong community of heritage common to both the Gads who stayed in Scotland and those who Scottish descendants. In her book, The Last Stronghold, she describes finding emigrated - i.e. the old Reels and the solo step-dances. In Scotland, social changes, Gaelic singing and story-telling, old style piping, fiddling and step-dancing still especially the context within which dance was being performed, and the proximity being practised in the original intimate setting of the ceilidh or house-party. The to our English and European neighbours, had produced the rich and varied dance strathspeys and reels were played exactly like the Cape Bretoners play them today, tradition which we now enjoy. In Cape Breton, geographical isolation and social and Allan MacArthur (1884-1971) confirmed that he learnt them from his mother stability has led to a much narrower seam of dancing, which was exposed to very Jenny who was born in Moidart in Scotland. few external influences until very recently. I would also like to quote from the 36th edition of Allan s Ballroom Guide, which Until the middle of this century, with one notable exception, the life-style of the gives a fascinating insight into the dancing in Lowland Scotland towards the end of Cape Bretoners remained fairly constant. Their socialising was based on music and the 19th century. The dances included Quadrilles, Circle Dances, Country Dances dancing in the home, and the old Gaelic custom of visiting and having a party or and Scotch Reels, and the following is part of the Hints on Dancing: ceilidh is still very much alive even today. The Scotch Reel, when well danced, has a very pleasing effect, and indeed, nothing can be more agreeable. or lively or brilliant than the steps which are appropriate to From the Cape Breton Ceilidh book there are many quotes which give an idea of the the music. There are two kinds of music to which the Scotch Reel is danced, viz, the universality of the music and the dancing: Reel properly so entitled, and the Strathspey, which is accented in exact When they d have bunch dances or when a crowd would come to the house, there d resemblance to the Jig. The music is so charming and fascinating in its nature, as be a lot of step dancing going on - and square sets and SingleFours. They d gather to set a whole company on their feet in a moment. and to dance with all their might at different houses particularly where there was a violin. till it ceases As I have observed that the dancing should be in strict conformity with Christens Campbell MacKinnon, Gillis Lake. the music, it is necessary to accompany the Strathspeys by steps of more alacrity than those generally used in other dances. There ought to be little or no bending of There d be Scotch Fours and eight hand reels, and the dance would last till the knees used in the steps, as the rapidity of the music and dancing will not admit
26 27 of much yielding of Me limbs. 15] `Ironically perhaps the last twenty years has seen the greatest potential for change In step-dancing in Cape Breton. Concern that there was a generation gap opening up encouraged several well-respected dancers to start regular step-dancing classes. These have proved extremely popular and there is now a new generation of trained young dancers. This has meant that there is a certain degree of formalisation and standardisation starting to creep in, and that the young dancers are perhaps con- centrating more on the intricacies of their newly learnt steps and routines, rather than on the music, and the older emphasis of complementing and marrying ones steps to the particular tune being played.
As a visitor to Cape Breton during the past two summers, I was struck by the depth of the musical tradition and the sense of community which still exists. House parties consist of gatherings of folk where tunes are played for hours, and when the music becomes irresistible people get up and step-dance. The tunes are inevitably strathspeys and reels, which may sound boring, but it doesn t work out that way. Every player has their own individual style, as does every dancer, and it is the sub- tlety and personal expression which comes out in the music and dance, which gives a variety and interest. LOWLAND AND BORDER PIPING COMPETITION
The incredible excitement of rattling one s feet in time to Scottish music played in a A Report by JOCK AGNEW wild and vigorous manner is hard to convey. It was my misfortune to see and hear only the second half of the BIBLIOGRAPHY competition, which now spans a whole day such is the list of entrants. 1. The Scottish Tradition in Canada edited by W. Stanford Reid (McLelland Stewart 1976). I say misfortune, because the standard of playing in the afternoon 2. A Cape Breton Ceilidh compiled and edited by Allister MacGillivray (Sea-Cape Music Ltd 1988) was excellent and the sets imaginative. It was the same, I was 3. Traditional Dancing in Scotland J.P.Flett T.M.Flett (Routledge Regan Paul 1964) assured, with those classes held in the forenoon. 4. Forfar Weekly News (1908) 5. Allan s Ball-room Guide, Circa 1890 (Mozart Allen, Glasgow) The general standard, Hamish Moore announced before the close, continued to improve; and throughout the day he hadn t heard a set of pipes that was not sweet.
Sunshine Cottage With the exception of the Novice class (only one entry; are there no Kirkton Road novices left?) and the Pipe and Song (two entries) the day was well John Rattray attended. As ever the Open Smallpipes class proved to be the most Blairgowrie popular - 11 entries - but the Open Border pipes did almost as well Perthshire with 9; and that is the best ever. Rutzen PH10 7DZ 0250 873831 The tunes were selected from a mix of sources. We heard Irish; Highland; Lowland; English - even Bulgarian. There was some Maker of fine quality Bellows blown Scottish smallpipes. dexterous cross-fingering on the Border pipes which, in one All sets completely hand made by myself. Hand stitched particular case, produced a wild haunting effect. Most Border leather bellows and bags. Maker of chanter and drone chanters had at least one key, and although high b was sounded on reeds in Spanish cane. Blackwood/Rosewood/Boxwood to a number of occasions, none of the players (so far as I could tell) used choice with imitation ivory or horn mounts. the pinching technique to achieve that useful note. Also slide-head Irish D flutes. This year a new class made its appearance; Intermediate. This is designed to cater for those who have never come first in an open in- strumental class at this competition. A useful step between the Novice and the Open.
28 29 THE D OTTIRT1994 CARLIN S And this year a real effort was made to keep the competitors within W tight time limits; on the judges table stood a water-filled plant-sprayer to cool the ardour of anyone inclined to pipe on for ever. It wasn t used; the threat was enough!
RESULTS:-
NOVICE 1. Alasdair Smith. Tunes - Lord Ronald; John Anderson My Jo.
INTERMEDIATE 1. Finn Moore. Tunes - Lady in the Bottle; The Gold Ring. 2.Jim Eaton 3. Tom Carmid
NEW COMPOSITION I. Steve Hall "The Dottirt Carlin" (played by Stewart Gaudin). 2.John Saunders "The Old Man of Hoy" 3.Peter Aitchison - "Westwick Sound" WESTWICK SOUND P A DUET FOR PIPES AND OTHER INSTRUMENT 1.Ian Kinnear Mike Kate. Pipes Guitar. Tunes - O Neil s March; s spey;MacKay s Rant; The Smith s Daughter. 2.Jim Eaton Steve Hall. Pipes Whistle. 3. John Morran Rory Campbell. Pipes Guitar.
PIPE AND SONG I. Judy Barker with "High Germany". 2. David Stevenson
DUET FOR PIPES I. Hamish Moore and Finn Moore. Tunes - Traditional strathspey; The Flagon; Lord MacDonald 2. John Saunders and Manuel Trisect 3. Jeannie Campbell and Rona MacDonald (who, having studied the preferences of judges in previous competi- tions, hid their faces behind voluminous false beards!).
OPEN SMALLPIPES 1.Rory Campbell. Tunes - The Dreams of Old Pa Fogerty; Cloe s Passion; a couple of jigs; William Murray s ReeL 2. Ian MacDonald 3.Alec Sutherland
OPEN BORDER PIPES 1.Jon Swayne. Tune - One Moves. 2.Fraser Fifield 3.John Saunders
30 31 Advertisements OLD MAN OF HHOY J S J PIPES FOR SALE "D" set of small pipes made by John Rutzen in African Blackwood. Fully reeded and in good playing order. For sale or exchange for a set in C. Stewart Gaudin 01290 551274.
Small pipes in A 6t Bb by Cohn Ross. Single bag, interchangeable drones and chanters. Nickel silver ferrules and imitation ivory mounts. In first class playing condition. Includes bellows. 775. Malcolm Robertson, 19 Scooniehill Rd, St Andrews, Fife. 01334 475070.
Bagpipe exhibition/music workshops 6/7/8th July
Day 1. Workshop on Flute, Whistles and Scottish smallpipes. Tutors are Cathal McConnell (Boys of the Lough), Gordon Mooney Barbara Mooney and Alan Jones. At Old Gala House, Galashiels, from 10 to 4. Session afterwards.
Day 2. Tour of the Border area by minibus, taking in many of the places associated with ballads and tunes. Finish at Peebles for a Ceilidh with Dougie Pincock band and friends.
Day 3. Workshops; maintenance classes; sessions etc. Tutors Colin Ross, Ray Sloan, Martin Dunn, Gordon Barbara Mooney, Alan Jones.
Cost (3 days) 30. Day tickets/concessions available. Phone Gordon 01896 822421
32 believe he also has a day job JOURNAL REVIEW which makes me wonder if he ever sleeps. Perhaps there are more THE JOURNALS OF than 24 hours per day in Maryland. THE NORTH There have been several contribu- AMERICAN tions by Alan Jones and pipemaker ASSOCIATION OF Mike MacHarg regularly writes on LOWLAND AND reedmaking and maintenance of BORDERPIPERS pipes.
The North American Enthusiasm for all types of Association of Lowland and Border pipes appears to be unbridled in Pipers was founded in 1989 and it North America. Several writers publishes for its members a have bravely attempted to sort out JOURNAL to provide information the confusion about the names of and music pertaining to the our various bellows pipes. bellows blown pipes of Scotland Considerable interest is being and northern England". shown in the Pastoral/Union pipes, which have not yet really been These lively journals are embraced by our Society. very well produced in A4 size with card covers and plastic ring There are often articles on binders (just right for reading in pipes other than the bellows pipes the bath!). The issue of September issue number 6, for example, has 1993 is their sixth. They have so far a very inspiring interview with Rik published approximately 230 pages Palieri, who has researched and of articles, photos (one issue had a now plays a variety of Polish page of colour photos), music, bagpipes. He has studied piping in reviews, news adverts and much Poland from some of the very few more. My hasty calculation shows remaining pipers and this interview that since the first issue came out gives an exciting insight into what in July 1990 they have published our culture has lost. it is well worth one A4 size per 5.4 days! reading.
The Association also 1 think the North American organises meetings of pipers in the Association of Lowland and Border USA and is run by an executive Pipers is doing an excellent job committee of four (Alan Jones is and that both Societies should Overseas Advisor). I suspect that have as much contact with each the main driving force is Brian other as possible. McCandless, the Chairman and seemingly tireless Editor who, For more Information write apart from editing the Journal, to Brian E. McCandless, 243 West researches and writes many of the Main Street, Maryland 21921, USA. articles, plays a variety of pipes Julian Goodacre and also has started pipemaking.
34 35 M E 24th June the BERWICKSHIRE COMPETITION for Lowland and Border pipes; The Royal British Legion, Langton Gate, Duns. Contact Jim Eaton 0136 17285
6th, 7th, 8th July. PIPES FLUTES AND WHISTLES. To coincide with Alan Jones Bagpipe Exhibition in Galashiels. Sete page 33 for further details or contact Gordon Mooney 01896 822426
LBPS ANNUAL COLLOGUE: 10TH - 12TH NOVEMBER 1995 (Sponsored by Strathmore Water)
GRAND CONCEIT OF SCOTTISH PIPING: 10th at 7.30 pm Old Royal High School, Regent Road, Edinburgh. Tickets 7.00 Gordon Mooney; Border pipes. Angus MacColl; Highland pipes. Martin Bennet; Small pipes. Fred Morrison; Highland Border pipes. Gordon Duncan; Highland pipes. lain Maclnnes; Small pipes. Alan MacDonald; Highland pipes.
THE COLLOGUE: Saturday 11th 9.30 am - 4.30 pm f St Cecelia s Hall, The Cowgate, Edinburgh Tickets 10.00
Singing traditions with the small pipes; Davie Robertson. Topic to be confirmed; John Purser. Musically-illustrated of old bagpipes:- Cornish Double pipes; Julian Goodacre. Breughel Flemish pipes; Jon Swayne. Pictish Triple pipes; Hamish Moore. Illustrated talk on the bagpipes in the National Museum of Scotland; Hugh Cheape. Bellows-blown traditions amongst old Highland pipers; lain Maclnnes. Concert Set - small pipes and song; Anna Murray.
CEILIDH DANCE with The Occasionals 8 pm to midnight. The Carlton Hotel, North Bridge, Edinburgh. Tickets 5.00
ANNUAL GENERAL MEETI NG Sunday_l2ih 11.00 ant. Tron Bar, Hunter Square, Edinburgh (Lower Room). PUB LUNCH FOLLOWED BY A SUNDAY AFTERNOON SESSION. (B B available at the Carlton Hotel - phone 0131 556 7277)
EDINBURGH Sessions 1st Tuesday each month. Tron Bar 8.30 pm
MIDLANDS first Tuesday of each month. Start about 7.30 pm and finish 10 pm. Contact Don Ward 0121 472 1555 LONDON 3rd Friday of every second month (except July). From about 8 pm to 10 pm. Contact Jock Agnew 01621 855447
ITALY The Willy Clancy Cultural Association organises events like sessions, concerts, workshops. Contact Fable Rinaldo, Via Crispi 7A/13, 17100 Savona. Tel 39 10 826359