ISSN 1352-3848

June 2016 VOLUME 33 NO.1

THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY

IN THIS ISSUE From the Archive (2); Annual Collogue (5); New Compositions (12); (14); O’er the Dyke (21); Brighde Chaimbeul (25); Haky Honey (29); Transposition (31); The Bagpipe Map (40); Sugar Candie (41); Expanding the Duet (42); Na Piobairi Eile (44); Event Reports (50); Forthcoming Events (55) President Iain MacInnes Secretary Colin Macaldowie Chairman: Judy barker Membership Pete Stewart Treasurer Allan Sturrock

THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY

EDITORIAL [email protected]

elcome to what is my thir- pages, a fact made worse by the inca- teenth issue of Common pacity of our usual photographer Gra- W Stock as editor. I confess ham Barnes, leaving me with a selection that it has been one of the most difficult of my own less than professional at- to compile. Some items here came to- tempts at recording the events that gether easily enough; it was a delight, have occurred so far this year (plus for instance, to be able to meet and talk some more superior ones of the com- with Brighde Chaimbeul. Her award, petition from Rona Dawson and Jane and the new step it represents in the Moulder, for which many thanks). status of the smallpipes it achieved, are It was with some pleasure therefore to be warmly applauded. Added to that I realised that I had begun work on which the articles submitted by Hugh this issue almost exactly 35 years after Cheape and Dave Singleton looked as the first mention of a Lowland and if they might generate a feature on the Border pipers gathering first appeared pastoral pipe, but little else was forth- in the press; I transcribed the content in coming and it is an area of bellows December 2011 but I was unaware at piping into which I have not ventured. the time that the Society archive held a So, after an inter-Editor exchange with copy of the original issue of The Inter- Jane Moulder (I sent her an article on national Piper in which the article ap- 17th century English bagpipe music peared; I make no apologies for and she sent me her report on the printing a facsimile. competition) I was left facing 34 blank

The views expressed in Common Stock are those of the contributors and not necessarily those either of the Editor or of the Lowland & Border Pipers’ Society. The contents of Common Stock are protected by copyright. None of them may be reproduced without the written consent of the copyright owner. The copyright in the individual contributions belongs to their authors and the copyright in each edition of the magazine as a whole belongs to the Society. ] Cover image: Brighde Chaimbeul (photo:kirstieedwards.co..uk) had hoped to include a full re- of the Lowland and Borders; it proved port on the International Bagpipe too much. After one or two extended I Conference held at the end of discussions on the LBPS FaceBook February in the National Piping Centre, page it became clear any attempt to Glasgow. It was certainly a varied and describe a repertoire could only lead to wide-ranging collection of papers that contention; at that point my will failed. were presented. The Lowland and Bor- I haven’t completely abandoned this der tradition was to some extent repre- notion however; it may well come sented by a paper given by Paul Roberts round in the next issue, so I welcome amalgamating material which has pre- any thoughts on the topic - ‘what is the occupied him for some years and some appropriate repertoire for the Lowland of which has been published in past or Border piper today? Is this a ques- issues of this Journal; I was also, as were tion worth asking? a good many others, much entertained by a paper from Roger Landes on ‘Self- n a similar topic, I noticed a Othering’, an intriguing concept which question very recently from turns around the cultural scientists’ no- a highland piper new to the tion of ‘othering’, the wilful distancing O bellows pipes asking where he might of certain social groups, to face those find the repertoire for his smallpipes. self-identified social anomalies who One answer was that he should go to create a distinctive identity of their the LBPS website; I confess I felt rather own; the English bagpipe revival was ambiguous about that answer; it is a identified as one such, much to the long while since the Society produced a delight of a good number of its propo- collection and scholarship has moved nents present. We also had papers from on considerably; it is high-time, it seems Bulgaria, Croatia, Portugal, France and to me, for a new ‘choice collection’. elsewhere, plus a well-received intro- duction to from Jack Taylor, which many said had opened ears for- inally, a huge thankyou to those merly closed to that art. who at the last minute came up Unfortunately the promised publica- F with the articles they had prom- tion of the papers seems yet to manifest ised, thereby turning what had threat- itself. You can, however, follow up the ened to be a trial into a pleasure, Bagpipe Map Project, which was launched at the Conference; (see page Pencaitland, May 20 2016 40). had also imagined including in All correspondence, contributions, this issue an in-depth investiga- suggestions for articles are welcome. tion into the status of the music I Send them to [email protected] 1 The International Piper, 12 April, 1981 2 Thirty years on, it’s fascinating to compare the tunes that were played in the LBPS competition in 1986 with those played this year.

Smallpipes Mike Ward The Mousewald Tragedy/The Beggar Man/The Carles o Dysart David Taylor Freedom Come All Ye/Jocky said to Johnny [sic]/Robin Shure in Hearst/Kenmure’s Up an Awa/Coorie Doon/Drink the Water and Spill the Beer[sic]/ The Carles o Dysart Hamish Moore / Drink the Water and Spill the Beer[sic]/ Drops o Brandy/The White and the Yellow Barrel Gordon Mooney Lament of the Border Widow/The Cat that Chased its Tail Iain MacInnes Highland Laddie/Wooed and Married an A’/Hay Ca Thru/Ranting Roaring Willie/Hunt the Hare Andy Hunter The Cockle Gatherers/The Gallowa Hills/ Rattling Roaring Willie Jeannie CampbellO Gin I were a Baron’s Heir/Teribus/Willie’s Gone to Melville Castle/Skinner’s Cradle Song/ The Border

Lowland Pipes David Stevenson Mary Scott/Noble Lord Dacre/The Dawning of the Day Paul Roberts Soor Plums O Galashiels/Drops o Brandy Gordon Mooney Johnny Armstrong/O’er the Border David Hannay Christmas Day in the Morning/Haste to the Wedding. The Piper’s Prayer/I’ll Gae Nae Mair to Yon Toon/The Hen’s March over the Midden

Pipe duet Mike Ward & Andy Hunter Bonny Glenshee/Jamie Gilchrist/ Drops o Brandy Paul Roberts and Gordon Mooney Mary Scott/Keelrow Hamish Moore & David Taylor Lonely Loch nan Eun/Rock and wee Pickle Tow/The Miner’s Greyhound Jeannie Campbell & Andrew Sharp Skye Boat Song/10th Highlanders Crossing the Rhine

Mixed duet Gordon & Barbara Mooney [] Can ye Sew Cushions/The Piper’s Wedding Andy Hunter & Mike Ward [harmonium] Macpherson’s Lament/a Man’s a Man/ Dun- can Gray/Blue Bonnet Iain MacInnes & Patsy Seldon [clarsach] Inverness Gathering/ Little Cascade

3 hile browsing through the ed him with an example of organised LBPS archive for thirty commitment to a particular instru- W years ago I came across a ment, his own motivation to act was a cutting from Piping Today. It has no strong, personally-felt frustration that date, unfortunately, but is in the form a unique Scottish tradition seemed to of an interview with Mike Rowan, have totally died out. So he called the founder of the Society. It opens with meeting of 29 march 1981 to test the this paragraph: interest in launching a revival of the “The flourishing revival of the Low- Lowland pipes; land Scottish pipes, and the establish- “People turned up…The connecting ment of the Lowland and Border factor was that they were all really Pipers Society, can be said to date from excited about the prospect of seeing the afternoon of Sunday, 29 March for the first time a Scottish tradition 1981. That was when a meeting was which had all but gone. It was very held at The Folk Festival Club, Teviot exciting.” Row House, , with the ex- This, of course, was the meeting that press aim of regenerating interest in is reported in the article form The the Lowland pipes.” International Piper, reproduced on Later in the article Mike Rowan ex- page 2.. The piping Today piece how- plains how it started. Having explained ever, went on to say something about that it was his creation of ‘Big Rory’ the consequences. Having acknowl- that had led him to learn the pipes. ‘My edged the role played by Jimmy Wilson piping is atrocious. Duncan Johnstone in providing some kind of link with a had a go at me and made no headway pre-WWII tradition, Mike reflected on at all’ he commented; the way things developed. “But I was excited by the pipes in the “... it’s the smallpipes which have real- first place. I’d go to museums quite a ly taken off… I think the major reason lot and I noticed these Lowland pipes is that they fitted into a totally up and which were quite different from any- running folk music repertoire and thing you could hear at the time in scene.” . The only Lowland pipes The Lowland Pipers’ Society that were in museums. Because I’m pushy, emerged from that meeting, then, was I asked to see the curator and thus met conceived very much as the revival of Hugh Cheape. He told me about Gor- a Scottish tradition. In a future issue I don Mooney who’d made a set of alu- hope to follow the path that led to the minium Lowland pipes.” ‘B’ being introduced, and to consider Mike had attended Northumberland the way the ‘tradition’ has reached its Piping Society (sic) which had provid- current condition.

4 The competition this year took place on April 16th, once again in the National Piping Centre, Glasgow. This time last year, I found myself Armstrong won the duet for pipes writing that the event had been proba- class with a set of variations on the bly the least supported that I have Keel Row played on a cornish double attended over the past twenty years. pipe and a Scottish triple pipe. Julian After that low attendance, there were reminded me that he had won this class those who thought this year was a previously playing the Cornish double make or break occasion. It turned out pipes; on that occasion he was dueting to be a make; attendance was probably with himself; the rules were subse- as good as it has ever been, with a total quently changed to ensure that a duet of forty entries across all the classes on required two people. Given that that the day, including nine in the Smallpipe rule is abided by, five chanters seems open. to be acceptable. What’s more there were some real Equally innovative was the entry in surprises. Julian Goodacre and Callum the duet for pipes and other instru-

LBPS Chair Judy Barker with Julian and Callum at the prix-giving

5 ment class, where Donald Lindsay, and a gaining second place in the Scot- playing the smallpipes he himself had tish smallpipes open solo class. In all of printed, was joined by Shane Connelly these classes Donald was playing the playing a txalaparta, the marimba like colourful 3D printed extended-range wooden tuned percussion instrument pipes has has designed and produced. from the Basque country. This instru- It was very reassuring to see so many ment usually requires two players; new faces both in the audience and on Shane played solo on a ‘txalaparta-lite’ the stage. Congratulations to all who which was nevertheless a unique con- took part; even in a competition as tribution to the history of this class.. relaxed as this one, playing before an Donald and Shane were beaten to the audience you know probably contains first place by Andrew MacIntyre & Don- better players than yourself is always a ald Gorman with a superb performance nerve-wracking experience, but you on pipes and fiddle, but Donald made only get better at it by doing it. Come up for this by winning the Pipe and and give it a try next year! Song class, the New Composition class

Donald Lindsay and Shane Connelly playing the Duet for Pipes and other instru- ment class - the pipes are red,blue, green and yellow… (photo from Jane Moulder)

6 SEASONED PIPERS - Nigel Richards Trophy Judge: Stewart Gaudin 1st Jeannie Campbell Sherrifmuir / Teribus / Nicky Tams / Coulters Candy 2nd Harry Gray The Music o’ Spey / The £10 Fiddle (both Scott Skinner) / The Ballintore Fancy (Terry Tully) 3rd Allan Sturrock Tweedside / Andy’s Boardwalk

INTERMEDIATE - Julian Goodacre Trophy Judge: Stewart Gaudin 1st Peter Duggan ions by PD) / Habanera from Carmen (arr.PD) 2nd John Kelly My Home Town 3/4 March (J.MacLellan) / Westlin Winds / The Back of the Change House 4/4 (Robert Walker) 3rd Anne Duncan A Mhoire Mhin-Gheal (Ishabelt MacDonald) / The Bon- nie Las o’ Bon Accord (Scott Skinner) /Now Westlin Winds (Burns)

NOVICE - Heriot & Allan Quaich Judge:Fin Moore Joint-1st David Ingram The Banks of Locheil / Old Hag at the Churn Joint-1st Andrew Millie The Water is Wide

NEW COMPOSITION - Trophy Judge: Callum Armstrong 1st Donald Lindsay Chanter 2 2nd George Greig Lullaby for Eve 3rd Pete Stewart Between the Woods and Frozen Lake

OPEN SOLO FOR - Colin Ross Trophy Judge: Stewart Gaudin Joint 1st Fin Moore High over Bunachton / Paul K’s / What a Tocher, A Las- sie 2nd Donald Lindsay Soor Plooms o Galashiels / Mrs Murray of the Abercarny Brenda Stubberts / The Merry Blacksmith / 3rd Rona Dawson The Banks of Allan Water / Soutars of Selkirk / I’ll gang nae mair tae yon toon 7 DUET FOR PIPES AND OTHER INSTRUMENT - Dunfermline Tassie Judge: Iain MacInnes 1st Andrew MacIntyre & Donald Gorman (Fiddle) Mrs Jamieson’s Favourite (Charles Grant) / Craigellachie Brig (William Marshall) / Over the Isles to America 2nd Donald Lindsay & Shane Connelly (Txalapata) 250 to Vigo 3rd John Bushby & Malcolm Bushby (Fiddle) Cut and Dry Dolly The New Way

PIPE AND SONG - Jimmy Wilson Memorial Cup Judge: John Bushby

1st Donald Lindsay Wantoness 2nd Allan Sturrock The Farmers Toast - - DUET FOR PIPES - Mains Castle Medal Judge: Iain MacInnes

1st Julian Goodacre & Callum Armstrong The Keel Row 2nd George Greig & Rona Dawson Morpeth Rant / Rusty Gully 3rd Caroline Barden & Anne Duncan Terribus / Because he was a Bonnie Lad / Tweedside

DUET FOR PIPER AND SINGER - Judy Barker Trophy Judge: Callum Armstrong

1st Stewart Gaudin & Bruce Kennedy The Licht Bobs Fancy 2nd Pete Stewart & Sadie Maskery Stopping by Woods (Stewart) 3rd George Greig & Allan Sturrock The Rose of Allandale

OPEN SOLO LOWLAND AND - Hamish Moore Cup udge: Iain MacInnes

1st Fin Moore Moladh Maureen NicCoinnich / Thornton's Jig 2nd Andrew MacIntyre Up wi the Soutars o Selkirk / Robin Shure in Hairst / Over the Border 3rd Pete Stewart Perlin Peggy’s Bonny / The Wood of Fyvie / Cock up Thy Beaver / The Ale Wife and Her Barrels

8 THE OVERSEAS PERFORMANCE CLASS Judge: Stewart Gaudin

1st Peter Walker Saw ye N'er a Bonnie Lass / Kiss her under the Coverlet 2nd Bob Cameron The Bees in the Blossom 3rd Andrew Fredricks The White Cockade / The Escape of Old John Webb / Chester THE MARTIN LOWE TROPHY Awarded by the Judges only for the greatest contribution to the performance of Lowland and Border music on the day of the competition

Andrew MacIntyre ______CS

Clockwise from top left: Julian Goodacre and Callum Armstrong; Caroline Barden; George Greig and Allan Sturrock; Masaki Kato (visiting from Germany, a former stu- dent at the Conservatoire)

9 Jane Moulder, editor of Chanter, the journal of The Bagpipe Society, happened to be in Scotland on the day of the com- petition and managed to visit; we asked her to give us her impression of the event.

don’t know what’s happening at The jovial environment of the Con- the moment, but it’s been nearly ference’s Saturday night was in stark I 30 years since I last visited Scot- contrast to the feeling in the Hall on land and now I’ve been there twice in my second visit – the annual competi- the last three months – and both times, tion of the LBPS. I have to admit at I have called in at The National Piping this point that I was not there for the Centre in Glasgow! Also, both visits whole day having succumbed to the have had, unsurprisingly, as lure of the Kelvingrove Gallery and the main focus but the two events I Museum in the morning to soak up a attended were very different in charac- bit of Mackintosh and the Glasgow ter. Boys! However, I arrived just as the At the end of February I went to the afternoon session had got underway International Bagpipe Organisation’s and stayed through to the prize giving biannual Conference which was hosted at the end. by the Piping Centre. The conference My visit to Scotland was as a guest of featured bagpipes from across Europe Julian Goodacre. He had invited me, and included piping traditions from along with some other makers, to a Portugal, Malta, Bulgaria, Italy, tour of his workshop. The purpose Ukraine and Poland amongst others, as was to give us all the rare opportunity well as those a little closer to home. of getting together to discuss various Julian Goodacre and Pete Stewart techniques and tools and maybe pass launched their valuable interactive in- on tips and ideas to each other. So the ternet resource, The Bagpipe Map, and visit to the Piping Centre and the LBPS Paul Roberts investigated pastoral bag- competition was a bit of a bonus to the pipes in 17th century . Whilst, trip. I am a member of The Bagpipe to keep the Scottish flavour of the host Society (and editor of the Society’s venue, Jack Taylor presented a clear journal, Chanter) and I had never been and fascinating explanation of piobai- to an LBPS event before. However, I reachd. Actual pipe-playing was re- am certainly no stranger to music com- served for the “come all ye” session on petitions as I used to work for the the Saturday night, where the atmo- British & International Federation of sphere in the main hall was relaxed and Festivals, the umbrella organisation of informal. the amateur competitive festival move-

10 ment. At this point though I have to to me but it was obviously standard confess that I did not come prepared fare to the LBPS. With that in mind, I as a proper journalist, so no notepad would have liked to have heard the and pencil and therefore I cannot say introductions by the various players who I saw perform or recount which who, on the whole, seemed to quickly pieces of music I heard! However, I and quietly whisper the titles of their can easily recall the various impres- pieces to the judges rather than an- sions the event made upon me. nounce them loud and proud to the Firstly I was struck by what a friendly Hall. This meant that I couldn’t men- and supportive event it was despite the tally note the pieces I liked for further competitive nature of the occasion. exploration when I got home. Whilst There was obviously a wide range of traditional music must continue to be standards from the experienced player played, I personally would have like to and skilled performer through to the have heard more of the potential cross- novice, first-time entrant. Nerves are over into new or non-Border reper- a very funny thing and they seem to toire and techniques. I therefore strike even a seasoned performer with- particularly enjoyed the somewhat un- out warning and on a couple of occa- usual combination of txalaparta (a sions the judges allowed more than Basque percussion instrument) and 3D one attempt at a piece when the first printed multi-coloured small pipes (a try did not go as smoothly as the en- nice mellow sound) as well as the trant would have liked. I got the feel- groundbreaking, and truly impressive, ing that the audience as a whole were duo of triple chanter smallpipes and positively willing the new duet entrants double chanter Cornish pipes from to complete their piece without it fall- Callum Armstrong and Julian Gooda- ing apart. Likewise, with a more expe- cre. rienced performer, whose The event was moderately well at- accompanied song did not go to plan, tended, although I understand that it the audience was equally supportive. was considerably better patronised On this occasion though, even the than the previous year’s. That said, it cheers of encouragement couldn’t per- seemed that everyone knew each other suade the competitor to finish his piece. and so the event had the air of a private My own bagpiping repertoire is main- party which could have been a bit in- ly from the 16th century and modern timidating should a complete newcom- day Europe and I have never really er have wandered in to compete. explored the material of the Borders – However, I have no doubt that they other than a bit of Dixon, of course! would have been duly welcomed and So much of the material was very new supported as everyone was very friend- ly. I don’t think the LBPS competition

11 could have been more polar opposite LBPS and have had second thoughts than The Bagpipe Society’s, somewhat about attending and entering the com- tongue in cheek, competition on the petitions, I would urge you to think opening night of the Blowout. How- again – have a go – as I’m sure you’ll ever, it was good to have visited the enjoy the experience. LBPS and to find out more about an- other branch of the wonderful world Jane Moulder of piping. If you’re a member of the April, 2016

______CS

1st Donald Lindsay Chanter 2nd George Greig Lullaby for Eve 3rd Pete Stewart Between the Woods and Frozen lake

Chanter 2 Donald Lyndsay

12 Lullaby for Eve George Greig

Between the Woods and Frozen Lake Pete Stewart

13 Pastoral or New Bagpipe from 1780 ---- Can it find a place in 2016 ? Dave Singleton considers the question

Quite some years ago, I think it was turned out the assumption was correct 2001, I joined the LBPS and asked for and it was not such a good match. all the available back issues. Jock Ag- new sent me the collection in the Au- Eventually, I actually ordered a set gust of that year and I began to read around late 2007. The maker actually avidly from Vol 1, and some weeks sent me a copy he had made of the later I came across the Seaforth Pasto- Mackie chanter and some reeds that he ral bagpipe article in Vol 8 No1 of June had made, saying “it would take some 93. The instrument was fascinating; it time, so I could borrow this chanter to was also beyond my imagination that play around with”. such a pipe could have disappeared into oblivion for so long. Where could one find them? were there any makers? Thus started my fascinating journey It soon became obvious that there towards reproducing the claims of that were very few makers interested, in bygone era, easy jumps over the oc- fact there as many in Europe as there taves, high e (E6, given A=440Hz and were in America. the bottom note of the chanter being I soon found that interest was at best C4), open or closed fingering and an lukewarm, nevertheless, new Pastoral almost chromatic coverage. sets could be found if one searched long enough. Of the European makers, So --- Where to start. a couple had inclined towards the Cor- nemuse du Centre France, giving a quite French sound – not really fitting I had already made the decision to get a “Gentleman’s Parlour musical gath- my hands “dirty” and start making ering” as one would likely find in the reeds for the Mackie chanter while I 18th century. The others had inclined was waiting for my set. their products towards the Uilleann Hey ho, hey ho and off to work … market, with the accepted timbre of and so it began, in my naiveté, I took that genre. The modern timbres are the top off the biggest tin of worms I also a tad “harsh”, so they would prob- could ever hope to find and threw ably be difficult to meld with other away the lid. instruments of the aforementioned era. The simplest course of action seemed On listening in 2015 to an Uilleann to be to try all the various types of piper playing with a harpist as a duo, it reeds I had, from bassoon to oboe,

14 cornemuse du centre to kitchen pipes, nique an uneasy nearly in tune bottom even smallpipe, Uilleann and a practice octave could be coaxed out of the chanter, in the Mackie chanter. Some Mackie chanter. The early staples were success in the first octave was achieved a useful tool but were too flexible and but that was not really the goal, al- tended to change shape when a reed though these tests seemed to concur head was placed on them. Some solid with the general consensus of the in- materials, copper and brass, seemed a strument being in Eb. more logical approach to the next se- Using some reeds made by Chris Bay- ries of staples. ley (UK) I actually managed to get The idea that the staple might be some sort of a scale sounding. The completely unsuitable was consolidat- pressure, however, was far from ed by reading the work of a French “friendly”. orchestral player in 2010. He had writ- One of the major problems seemed to ten a few detailed articles on reeds and be that to have the three D’s in tune staples. Not only that, he had also a (well, somewhere around Eb at the program to calculate the staple re- time) was nearly possible but the rest quired for a given bore. This chap had of the notes were more cacophony all the articles to help me, even the fact than harmony, some more than others that it was all in French was not really – the others were playing in the next a problem. Mr. BB. Ninob (not his real dimension. That the octaves were not name, as he did not want to jeopardize matching each other was frustrating to his job with his orchestra) continues to say the least, and the pressure in the update his findings and developments second octave certainly exercised my to this day. arms. Obviously more research was required, the internet provided (thank- Using the program data for an oboe fully) lots of detailed information on with a few modifications I began to Oboe staples, how the staple can affect fabricate staples and test the results the timbre, pitch and fingering. against the program results. Any likely An unlikely source of material for my candidates were made into a staple, and first staples came from the drinking a yoghurt pot reed head added. straws of a renowned beefburger Most of the staples made before 2010 chain! Simply cut on a taper and sealed were based on measurements found on with Teflon tape, they made ideal ta- the internet and some actual measure- pered round staples, and using a reed ments by makers who shared snippets, from a Kitchen pipe in D made by Paul those being all on the European side. Beekhuisen (NL). Using this tech-

15 communications with two gentlemen in the USA, namely Mike Sharp and Sean Folsom. It came to light that Sean had been interested in the Pas- toral pipes (PP’s) since the mid ‘70’s, when he had seen an original of Geoghegan's "Tutor for the New or Pastoral Bagpipes". But that’s a story that I’ll will let Sean tell in his own words.

Figure 1 Staple collection “Way back in 1975, I was a caretaker for a lot of stuff from my friend the On the left in the photo, made from Uilleann Piper Dennis Brooks, who drinking straws, then the copper and went off to that Spring. In brass, and on the right, “spun” staples amongst his papers, was an original and a plastic reed head blank copy of Geoghegan's "Tutor for the All the reeds made up to then had a New or Pastoral Bagpipes" that Den- reasonable first octave, a messy second nis had got from a rare book dealer in octave and at the top of the second London. Dennis had pointed out this octave the pressure required was so treasure to me, so I stored that inside excessive, it was a health hazard that the house, instead of an outside storage stopped serious development. One shed, where most of the other stuff tends to forget that fluid dynamics still went. We had already had a number of operate with air! Bag and bellows discussions about the origins of Irish makes for a simple pneumatic amplifi- Pipes, etc. and at that time, I never er, and my bellows arm suffered as a thought I would ever see or play such consequence. a Pipe, in my lifetime. So in 1990, when Over the next couple of years I made I met Sam Grier with his Pastoral Pipes a large number of staples, from copper (Sam reeded the chanter with a cane and brass sheet, both soldered and GHB practice chanter reed, as his un- unsoldered (Fig 1). These started at cle & grandfather had done & it had a 33mm in length, and with a variety of very low volume) that's when I really tapers to try to get some more notes in got interested in this subject. tune. Most of the pipers that I knew, in any of the different scenes, Irish, Scots, After the close of 2011, a chance NSPs, didn't care, especially about any- remark led to my being able to open thing "Historical". This disinterest

16 had said that he had measured up 15 different sets out of what he said was 70 surviving sets. Thus, in 1998 Jon sent me His drawings of one of the 2 Pastorals that came through Sotheby's. I had a friend, Edwin Ellis, who did turning but was not a pipe maker per se, but was willing to do the boring & turning if I got the wood, so I did. Then there was the reamer question, so I had another friend, John Gallagher, make the 2 chanter reamers, because, as I found out, Fred Ord hadn't really followed the plans that Colin Ross had done, but made an "In the Ball Park" copy of the Chanter in Morpeth. At last, in 2003 Brad Angus used the reamer to make the regulator, plus the 4 keys (& mount them), the end cap etc. I debuted the finished set (Fig 2) at the SF Pipers Club Tionol in 2003, & was mildly surprised that it drew very little interest. The Really Interested Figure 2 Sean's pastoral set Party was Mike Sharp who saw me playing it at a gig, later that year. seemed to be really odd to me, but I'm the one who's odd, perhaps. It appeared that Mike Sharp had So counting on the fingers of my one bought the reamers from Sean and was hand, of people that I knew who were producing copies of the Seaforth Pas- Interested: Sam Grier, Brian McCand- toral pipes (CS vol. 8 no. 1). less, Jon Swayne, & Fred Ord (RIP) at Quote from Mike that time. “I did indeed buy the reamers from So in 1993, I got a PP chanter from Sean, but that didn't happen immedi- Fred Ord, through Colin Ross & put it ately. We worked together for a while into a practice set. In 1997, I met Jon trying to make a faithful copy of a Swayne at North Hero & asked him pastoral pipe based on the Seaforth set for help with getting plans together so and information from other sources as I could have a finished set, and Jon well. After a time I had a full set of agreed to send me something, as he

17 tooling for making every part of the I collected the chanter for the set I had Seaforth set. I have a whole shelf full ordered, and it was not possible at that of custom mandrels for making all the time to reed it successfully. So sadly I different tapered ferrules, numerous gave up chasing that particular dream custom drills and various other bits and sent it back to its’ maker and can- and pieces.” celled the order.

Ensuing conversations brought to As for making reeds for pastorals, light that Sean and Mike had been no-one, at least of those of whom I trying for some years to reed these had communicated with about reeds, copies with little satisfaction. Mike had confirmed they had actually suc- kindly offered to send me a chanter to ceeded in reeding an un-adapted or see what progress could be had be- un-modified pastoral chanter. I had cause I offered to try to “reed the sent emails to all the interested parties beast”. It should not be a long job, I could find, and with the exception of was part of the conversation between Mike and Sean, very little interest was the involved parties. This turned out shown in getting these pipes back to to be a serious misjudgment in hind- working order. I also included Mr. sight! McCandless in my search in the US Mike sent me a copy of the Seaforth after I found his web site, which had chanter early in 2012, and I have been photos of a number of sets, but as he messing about with materials, reading, failed to reply I cannot comment as to researching and testing ever since. the timbre, volume or how his sets play. Initial staple-reed pairs set the pitch at close to Eb (A=465hz-ish) with the first octave in reasonable tune with itself. The second octave was “uncom- fortable” to listen to and again the pressure was too high, but the three d’s did match “ish”. Cross-fingered notes were good Figure 3 One of the Cane reed heads enough to curdle milk but not to play in melodies. Many more variations of It was shortly after this time that I staples and reed heads would be need- sent the Mackie chanter back to the ed if this was going to work. UK and later that year I began to One small problem came to light, the believe that my set would be a non- need to work out how to turn mandrels starter. This proved to be the case after for the staples, in silver steel, to be able

18 to planish to a finished and reproduc- ing enthusiast named Markus Gäbel. ible set of dimensions based on the On the site he had a photo introduc- calculation program I had come across tion and description of how to “spin” on the internet. Turning was included staples on a lathe. in an apprenticeship served but that Ah ha!! So that’s how that worked – I was half a century ago. After getting no longer needed to use sheet metal, I terrible results on my lathe trying to could make them from hobby tubing turn the steel to a 3mm tip over 40mm of various diameters. Early in the year starting at 4.3mm. I turned to a band (2013) I made some progress in getting sander and an electric screwdriver and an even scale in Eb and actually sent a holding the mandrel blank in the couple of batches of staples to Mike screwdriver and gu-estimating the an- Sharp and Sean Folsom remarking that gle, I was pleased to see it worked a I had a scale but the pressure at the top treat -- great stuff, I could now create end was “unhealthy”. The results gave a mandrel blank in 15 minutes, mea- a good degree of success over a scale sure it up and fine tune it using my of Eb, after Mike had some mandrels lathe, to an accuracy of 0.01mm. ground up to the appropriate dimen- sions I had sent over. I made up a copper staple based on Mike’s mandrel and then went on to create some reed heads in plastic and in cane to test out things.

The new staples worked well with a Figure 4 Copper staple (soldered) plastic reed head (PS#6) which gave 2 octaves and some cross-fingered notes but the E’s were wide of being pleas- This allowed me to start producing ant, but that could be cured by internal staples a lot faster and with guarantee reaming of the bore. Another solution of reproducible accuracy, well, as much was to create a staple with a bulge or a as could be accepted with planishing waist at the appropriate place. Further and soldering. I seem to remember the staple having a fairly substantial diameter at that I was still surfing the internet globally time. The feedback from Mike and including sites in French and then in Sean inspired me to go for a semi-tone German, as I still had the belief that I reduction by re-designing the staple (as did not have enough knowledge of the is common in Bassoon circles, they can subject. Eventually I found a web site change a Bocal, the long curved staple, in the German language run by a pip- to go up or down a semi-tone) to bring

19 down the pitch to concert D. That was but some of the maths involving calcu- in early 2013. I started to re-read all the lus just left me drinking more coffee. articles I had found on reed making for For me that meant more staples and Oboe, Bassoon and Pipes, and watch reed heads. Eventually I began to un- whatever videos were available and try derstand what was going on and I set to fully understand the implications of to work over the next year(s) to put any staple-reed pairing. ideas that the three of us came up with, I tried to get to grips with the dynam- into practice. ics of fluids and impedance involved

End of Part 1 – In Part 2 - A trip to the US and a possible answer

My thanks go out to all those kind enough to share information on any of the subjects mentioned, in particular Mr. Ross Anderson, Colin Ross (reed making book) and Mr. B. Ninob, whether by printed article or on the internet and not to forget my good friends in the USA, Sean Folsom, piper extraordinaire and Mike Sharp pipemaker and smallpiper.

Dave Singleton, March 2016

Some of the internet links that have published valuable information

http://www.cl.cam.ac.uk/~rja14/music/index.html Ross Anderson’s Music Page http://la.trompette.free.fr/Ninob/Ninob.php A must for all reed instrument makers http://daye1.com/reeds/ David Daye’s reedmaking pages http://www.seanreidsociety.org A mine of useful information http://pipers.ie Uilleann resources (star site) http://lbps.net Lowland and Border piping resources https://www.youtube.com/watch?v=Wk40az5c3Ms (Rohrblattbau fur Historische instrumenten - star video) https://www.youtube.com/watch?v=l73wqJALQYo (Uilleann pipe maker) http://hautboy.org Early Oboe site http://theotherpipers.org/index/ Alternative pipers of North America

20 O’er the Dyke - 100 years in the life of a Border tune

One of the most accessible of the being in an ambiguous mode, hovering tunes in William Dixon’s manuscript is as it does between F major and D aeoli- the one he titles ‘Ou’r the Dyke & till an. her Ladey’. (The term ‘dyke-louper’ was After Dixon, the title re-appears twice used in the Lowlands and Border re- in 18th century collections, one Scottish gions not only for beasts prone to and two Northumbrian, suggesting that jumping over dry-stone walls but also the tune itself was known across the for ‘a person of immoral habits’). lowland and border region. It does, The title’s appearance in Dixon’s man- however take on two distinct forms, uscript is not its first, however. There is both of which appear on both sides of a version in the Balcarres lute book the border. which is perhaps thirty years before Here is Dixon’s setting as it appears in Dixon. This Scottish version is however the manuscript: rather different to Dixon’s, not least for

Ou’r the Dyke and till her Ladey; Wm. Dixon Manuscript, 1733 p.66

21 Here is Dixon’s setting transcribed tion that the quavers might be swung and transposed to A; in his edition (or in early 18th century baroque Matt Seattle made some reasonable terms, played inégale). At the beginning editorial amendments to the transcrip- of the 18th century, when the com- tion; here I have retained the tune as mon-time was rare, it may Dixon pricked it down. perhaps have been regarded rather as a The tune itself is straightforward ‘Scots measure’. (Playford has a ‘New enough; today we might classify it as a Hornpipe’ in 4/4 in his 1668 collection, common-time hornpipe, and it re- though it is an old tune, and the Balcarress sponds well to Dick Hensold’s sugges- Ms also has one, The Galloway Hornpipe.)

22 Here is my transcription of the tabla- Dixon’s 3-finger major mode. Never- ture in the Balcarres lute book, which theless, through structure and melodic originated in the Lindsay family in shape they have much in common in at the very end of the 17th century. addition to the title (the Balcarres’ Here the title is ‘Over the dyke and compiler often shows this kind of gen- kisse her ladie’. It is pentatonic with a tility. shifting modal centre compared to

‘Over the Dyke, and kisse her ladie. mr Becks way’; Balcarres Lute Book c.1700 The tune appears twice more in 18th both lie within the keyless Northum- century collections. Although they are brian smallpipe range, they are written very similar to each other and thus in the six-finger key rather than Dix- appear to be derived from a common on’s 3-finger key, giving them a rather- source, they are rather different to different harmonic pattern but never both Balcarres and Dixon. Though erasing the relationship entirely.

‘O’er the Dyke’ from James Aird’s Airs, Book 5, Glasgow c.1800

‘O’er the Dyke’; A transcription from John Peacock’s Favourite Collection of Tunes, Newcastle, c.1800, the original is in G 23 Perhaps the mist intriguing of the str. 1 is almost identical to Dixon’s. three post-Dixon versions is that in However he goes on to consider the William Vickers’ fiddle manuscript, dat- Balcarres setting suggesting that the ed 1770-1772. In his 2008 edition of the ‘prevailing mode is similar [to Vickers manuscript, Matt Seattle chose to original] casting some doubt on wheth- change Vickers’ key signature of one er Vickers’ key signature needs chang- flat to one sharp, adding the following ing.” Personally I feel that Vickers note: “definitely the same tune as [Dix- original one flat produces a more con- on’s] No. 25 but further investigation vincing tune. It seems likely that Dix- (there are similarly titled tunes in Scot- on’s version has been adapted to fit the tish lute sources) may reveal more flex- pipes from something like the Balcarres ibility.” In his 2011 edition of Dixon’s tune. Whatever the source for the Aird Manuscript he added, speaking of Vick- setting (and it approaches Dixon’s more ers’ tune, “this is odd as it stands but if closely if you start at bar 3) it appears one changes Vickers’ original key signa- that Vickers had somehow retained the ture from one flat to one sharp then his original modality.

‘Oer The Dyke and At Her’ William Vickers’ manuscript, 1770 (the first two notes in bar 1 should be quavers)

‘Oer The Dyke and At Her’ transcribed into A Rob MacKillop has recorded the Balcarres version and 80 other tunes from the Balcarres Book: https://scottishlute.files.wordpress.com/2011/12/24-over-the-dyke-and-kisse-her-ladi.mp3 24 For the first time in 10 years or more, the prestigious BBC Radio 2 Folk Award was presented to a piper… and that’s just the beginning

t’s Wednesday, 27th April. I’m about to listen to the BBC Radio I 2 Folk Awards because two of my very good friends, who I’ve known all their lives, have been nominated for two awards. I’m a bit late turning the radio on, and when I do I can’t quite believe what I’m hearing. The distinc- tive sound of Hamish Moore Small- pipes, and what are they playing? Surely that’s William Dixon’s Hacky Honey? (I should know, I played the tune in last year’s competition). It took a while for it to sink in that I was listening to Brighde Chaimbeul, and that she was about to be awarded the BBC Radio 2 Young Folk Award. Quite an achievement for a 17 year-old whose piping began on Skye, (inspired by hearing Rona Lightfoot play), with a few lessons from a Greek neighbour, learning Mackintosh’s Lament. world music in Boston USA; she was The pipes were not her first instru- twice a finalist, along with her sister ment, she told me when we later met; Steaphanaidh, in the BBC Radio 2 she had been playing previously. Young Folk Awards. Steaphanaidh Although the pipes took over, she is herself is currently studying harp at the still studying piano as her second in- Royal Northern College of Music in strument at St Mary’s Music School in Manchester. Brighde’s younger broth- Edinburgh, where all four of her sib- er, Eosaph, 13, and sister Ciorstaidh- lings have been or still are, pupils. Sarah, 15, are also keen traditional mu- Thought her mother is a sculptor and sicians and regularly join Brighde in the her father, Aonghas Phadraig, is poet school’s Traditional Group. journalist and actor, all her siblings have studied music, the eldest, Mairi, All five of them grew up on Skye has just completed a course in jazz and speaking Gaelic; Brighde told me that

25 she learnt English when she went to “I originally wanted the C set in order school. Iain Speirs and Niall Stewart to play the piece Martin Bennett had became her teachers at school. “I am written for Smallpipes and string quar- really lucky and grateful” she told me, tet and percussion. I’m playing that “for the quality of teaching that I have with string-players from the School.” received over the years”. In fact, Hamish told me the story of Her list of prizes at under 15 and those C pipes; they had been originally under 18 competitions is impressive, made by his father back in 1984 and featuring particularly the U18 aggre- Fin had fettled them back into playing gate at the Northern Meeting in 2014 order. Hamish said his father would & 2015. have been really proud to hear Brighde “I really enjoy pibroch – I’ve always win that award playing his pipes.” found it easier to play than competi- “So what’s next?” I asked. “Well, this tion MSR, but I really like playing the summer part of the Young Folk Award smallpipes - tunes are so natural, not is to play at three festivals in England, competition-style.” including Cambridge and Towersy, I asked her how the smallpiping start- and then I’ve been asked to play at ed; “I met Fin and Hamish Moore at a Piping Live in Glasgow.” festival three or four years ago and I “ That’s the LBPS concert? I’m really started lessons with Finn two and a pleased to hear you can do that.” half years ago. Hamish had a set of At this point in the interview I sud- pipes that he was loaning out on a kind denly remembered the most important of grant scheme.” question I had to ask - “Are you the “How did you come to play William athlete Brighde Chaimbeul? When I Dixon’s music?” I asked, thinking how googled you I couldn’t believe there far it was removed from competition were two people with your Gaellic MSR. “I heard Martyn Bennett play name in Edinburgh.” ‘Saw Ye Never a Bonny Lass’ on his “Yes, I did do sprinting for a album Hardlands, and learnt to play it. while“until I was 16 - you have to be Then one day Fin by chance took out there, really committed, four times a the Dixon book and I said ‘so that’s week - it was tough - I don’t think I had Dixon.’ So we went through some of the right mindset to keep going” she the tunes, and Hacky Honey was one added jokingly, “basically your whole of them. And then I heard Chris Nor- life is spent making yourself feel sick.” man and David Greenberg play it.” One other thing I had to check with “You were playing a ‘C’ set of small- Brighde that she was, or at least would pipes on the award-winning perfor- be by the time this was in print, no mance, is that right?” longer 17. “They do like saying I’m 17”

26 she said, but I am now no longer eligi- in Helsinki. There’s a lecturer there ble for the under 18 classes.” called Petri Prauda who has had pipes “You’ve reached the end of your made based on examples in Finnish schooling, bar your exams, so what will museums. I don’t know whether I’ll get you be doing in September” into that course, but I certainly want to explore global piping.” “People who have won this award in the past have done really well, and I do feel the pressure to do the same. I’m Congratulations to Brighde and I look auditioning at the end of this month forward to hearing more, even some for the folk music course in the college more Dixon perhaps…

27 28 29 Hacky (Hawky Hony) William Dixon 1733; This is my transcription of the MS, with its different titles (see pages 28/29; the parenthesis is the title as it appears in Dixon’s index); William seems to have omitted strain 6, thereby disrupting the symmetry of the odd and even strains; because this made it difficult for me to learn I have taken the liberty of adding this missing strain.

30 Pete Stewart offers an introduction to the mysteries of transposing music written in different keys for pipers who find themselves newly facing the world of music beyond the . ome years ago, in response to a hunt down the first parts of this tutor; number of occasions on which (http://tinyurl.com/hzlnmff). I have S I heard pipers stumble to an- left in place here several references to swer questions like ‘What key are you matters covered in the earlier sections. playing in?’, I compiled, in association The original tutor was based around with one or two pipers who had found three tunes from Machlachlan’s The themselves in such a situation, a brief Piper’s Assistant; chosen because each tutor on the basics of keys and their is written in a different key. Here I relationships. It has lain unattended on have extracted the later section of the the LBPS website ever since.. tutor which introduces the notion of The original ‘tutor’ made no assump- ‘transposing’, converting music written tions about previous knowledge of this in one key so that it can be played in matter, and therefore probably con- another. This is a challenge that pipers tains material familiar to many. If you may increasingly face as their reper- are a complete newcomer to non-pip- toire is expanded by playing alongside ing music theory, then you may want to other instruments. o you have the makings of an understanding of what key you are playing your GHB, smallpipe or border pipe chanter in. But what happens if you S decide to play on your A chanter music written out for instruments in other keys – D, G, C, F Bflat; fiddle music, for instance, might be in any of these or other keys. This music will at first look alien; we are going to explore how to come to terms with it. First, consider the three key signatures we have worked with: Fig 1 Fig 2 Fig 3

And to the scales they relate to, in reverse order G A B C# D E F# G D E F# G A B C# D A B C# D E F# G# A

31 It is clear there is a pattern here; each scale is related to the one before and after by the interval of a fifth. If we extend this sequence in both directions we will eventually find ourselves in a circle (‘the circle of fifths’) However, for our purposes we need only deal with four or five of the twelve; going down from D & G by fifths introduces C and F scales; we will work with these four since they are the ones you are most likely to meet. Going down a fifth form G brings us to C; to retain the ‘major’ scale intervals (tone-tone-semitone-tone-tone-tone-semitone-tone] we must lower the fourth note, F, by a semi-tone, ie. Remove the sharp from the key-signature, which is now ‘empty’ C D E F: G A B C Similarly, moving down another fifth, we reach F. Lowering the fourth (B) here requires the introduction of a ‘flat’ symbol - b, and this sign will appear in the ket signature.

F G A B C D E F Equipped with this understanding, we can now return to the tune Robertson’s Quickstep (Fig. 4) as written out, in the key of D, in McLachlan’s collection.

Fig 4

The notes of this tune are such that we can play it on a GHB chanter; however, here is another version of the tune which we cannot play on the GHB chanter.

Fig. 5

32 A fiddle player will have no difficulty playing from this music; they will, however, be playing a fifth lower than before, in the key of G. For a piper to play along, they will need a different chanter, one whose ‘six-finger’ note is D, rather than A. A GHB piper could play this D chanter reading from the GHB music, ‘pretend- ing’ they were playing in the usual way; the only difference would be that what they were now playing would sound a fifth lower. However, the task our piper has set themself is to learn to play the A chanter [or, indeed, any other pitch of chanter] from music written for some other instrument [an English bagpipe collection, say, published for chanters in D]. Fig 5 is an example, and this is another, The 42nd Highlanders Farewell to Gibraltar [from Maclachlan’s Piper’s Assistant], in the key of D rather than A.

Fig 6 How does our piper learn to read and play this? Basically they must understand pretty well the material we covered in the previous sections, how the chanter scale relates to the key signature. Then they must tackle the manner in which the tune is built out of the scale and how this relates to the fingering of the chanter. Once the structure of the tune in one scale can be grasped, then it will become possible to transfer this structure from one scale to another. It’s worth reassuring ourselves that this task is made immensely easier because we have only nine notes to deal with in any one scale or structure; imagine having to learn how to apply this to all 12 keys and all seven octaves, as a pianist would have to do. Before proceeding, perhaps we should identify the notes that appear in this music that GHB pipers may not have met before. I have labelled them as they appear in the second four bars of the tune;

F# E D C-natural C-natural

Fig. 7

33 Structure play music written for an instrument The next task is to analyse how the that can also play an octave C#-c# - I tune is built. It is done by putting shall not deal with that possibility now together blocks of notes, blocks which – it will cause complications which you themselves consist of small patterns. should beware of; basically a smallpipe Pipers who have experience of playing or a GHB chanter cannot reproduce a number of tunes will be aware that such music without modification, they often find themselves playing the though most border pipe chanters can.] same little patterns repeatedly in differ- So, we have two octave blocks, one of ent tunes; if you have not had this which, by referring to our key signa- experience, then you are going to get it ture, we have identified as forming the now, because we will begin by looking ‘boundaries’ of our scale. It so happens at these ‘blocks’ as they occur in the that in this tune we also have an exam- tunes we have considered so far. ple of the other octave, notes v & vi of The most fundamental of these bar three ‘blocks’, and among the shortest, is the C-c, the equivalent in the ‘octave’. If we understand the infor- key of D to the smallpipe mation contained in the key signature G-g octave. we can identify what this octave should be even if it does not actually appear as So, by understanding the key signa- a ‘block’ in the tune. ture and relating this to the notes of the Look at notes iv,v & vi in bar 1 of Fig. tune, we have identified, first our ‘six- 7: [ bar 1 is the first full bar.] finger’ note, and then our ‘seven-fin- ger’ note, as well as their relative oc- In this case the octave is taves; that’s four notes out of nine, indeed the basic one of the nearly half-way and all we’ve done is ‘key’, D major; the block is look at the key signature and two notes the beginning and end of the scale of … D. We can consider this as the ‘outer Now, in our discussion of the rela- frame’ of our tune’s structure [al- tionship between keys we identified though we will often step outside this the interval of a fifth as being crucial, it outer frame]. bearing the next closest relationship to One of the benefits of using the pipe the root after the octave. chanter to learn this stuff is that there We can see this interval are only two possible octaves available; in our D tune bar 2, on the GHB chanter these are A-a and notes iii & iv. A-D. G-g. In our tune here they are D-d and C-c [You may find yourself wanting to

34 It is as if the A stands in the middle of the scale, between the D and the d. Between the A and the D in this sequence we find an F#. The interval between the D and the A we know is called the ‘fifth’; that between the D and the F# is the ‘third’, since the F# is the third note in the D major scale. So these simple mathematical ratios have built us a further subdivision of our octave; we now have D-F#-A-d Let’s look again at this tune in A:

We can see here that the ‘block’ we have identified [bar 2, notes i- iv] is constructed from the notes A-C#-E-a, our six-finger, four-finger, two-finger and open notes. We can therefore translate this fingering into D-F#-A-d in our D major music. Together with our two octaves this gives us the knowledge to identify 6 of our nine notes. Finally let’s go back to the C-c octave and look at the first four notes of bar 4 of the ‘D’ version:

The notes here are C–E-G, they have the same relationship between them as the D-F#-A group has [being the 1st, 3rd and 5th of the C octave], they translate into G-B-D on the GHB chanter and they make our total of recognisable notes up to 8. You will have noticed that bars 3 and 4 here are ‘identical’ to bars 1 and 2 - ‘identical’ that is, in their structure, though they are a tone apart. Now let’s look at the last three notes in bar 1 and the first four in bar 2 [and their equivalent in bars 3 and 4] We can recognise here our octave and 5th and 3rd; but what about that note iii? It’s a B, the equivalent in the key of D of the ‘F’ in key of A on the GHB..

35 I am going to say little more about this note here except to observe that the sound of the notes D F# A B d B A F# will be familiar enough to anyone who has ever listened to a 1950’s rock and roll band. The B is a ‘6th’ and is the equivalent in the key of D to the F# in the key of A. So now we have identified all our 9 notes using the key signature and the simple intervals of 5th and 3rd.

The art of transposing The whole art of transposing music for bagpipes can be described in two simple processes; first, to familiarise oneself with the relationship between these ‘struc- tural’ intervals and the fingering that produces them and second, to identify these structural intervals in different keys. Fig. 8 charts these structural units in each of the keys pipers are likely to meet in most instances: the familiar ‘key of A’ is at the top and the chart works down in fifths, and next to each shows the ‘seven-finger octave’ equivalent to that which a GHB or smallpipepipe chanter:

Fig. 8

Here are the last two notes of the first bar and the first four notes of the second bar of our tune in each of the keys we are considering, together with their associated 7-finger sequence from bars 3 & 4 [I have included the natural symbols as they would appear with the key signature appropriate for each key]: this pair of sequences contains all the notes on the GHB chanter.

A

D

36 G

C

Try taking other short sections and playing them from each version. Same sound, different notes… And here are all four versions

A

D

G

C

For completeness’ sake, here are the other two tunes we have been considering, in all four keys: These are real challenges, since the ‘original’ keys involve scales that begin in different places – needs some thinking about; to help, I have ordered them so that the familiar GHB version is first

37 Robertson’s Quickstep For this tune, the original is in the ‘3-finger’ key. If French or other European pipe music is what you want to play, then you will have to master this challenge, since much of the music is written in this way. As we have seen, this kind of tune can be played on an A chanter although it is written in D. But the challenge is to play it on the GHB or smallpipe chanter when it is written in G or C or even F. As usual, the trick is to identify the octave interval the tune includes, and treat that as the ‘6-finger’ note; the difference is that whilst this octave forms the ‘frame’ of the tune, it is not the octave we should expect from looking at the key signature. Thus, the first example, our original, marked ‘D’, contains an A-a octave, and is thus written for an A chanter; the second example ‘G’ contains the octave D-d, and is written for a ‘D’ chanter - and so on. Notice that for a ‘C’ chanter this tune is written and played in F.

[‘A’ chanter] D

G

C

F

38 Stormont Lads The third tune is even more of a challenge, since it is written in the 7-finger key; the trick here is slightly more complex, since we must identify both octaves, treating the upper one as our 6-finger note, since the top note of the upper of the two octaves will be our highest available note. GHB tunes of this sort are rare; moreover, they can only be considered to be in the key I have allocated them because they do not use (or use only in a passing way) the four-finger note, which lies outside the major scale in each key. However, as this example reveals, it does allow the ‘extra’ 9th note (high B on the A chanter) to be played without any pinching or other device; what is more, the border pipe chanter should allow the four finger note to be lowered by a semi-tone, allowing into the repertoire a wide range of music from both Scottish and other traditions. However, though much of this music may come already written in G (and hence requiring no transposition), it may also come, from the fiddle sources, for instance, in A or D. In this case the challenge in transposing is rather different, though the principles remain the same - identify the highest octave and treat the upper note as if it were a high A.

[A chanter] G

C

F

Bb

This has been a rapid canter through the challenges of transposing music from one key to another. Practice, as ever, will serve to make the technique more familiar. As a guide, it is suggested that, once you have read this article and gained an insight into the principles as they apply to all keys, you concentrate on reading music in just one of the keys, probably D or G, since these are the keys you are most likely to meet when playing with other instruments. Once this has become familiar and you have a grasp of the principles involved you will find that it becomes easier to treat music written in other keys in the same way.

39 he Bagpipe Map Project was The map is an interactive one; you are officially launched at the Inter- invited to register to make contribu- T national Bagpipe Conference tions. Or you can simply search the in Glasgow on 28th February this year map for images in your locale or in by Julian Goodacre and Pete Stewart. places you plan to visit. The project aims to map all the carv- The map currently holds details and ings and paintings of bagpipes and images of over 130 pipers, . with more bagpipes from before the 19th century waiting to be added. that are currently publicly accessible in Future developments may include the British Isles. mapping literary references, branching out into Europe and even into other instruments. This map is an ongoing project which relies for its growth on a community of contributors. If you know of, or hap- pen to encounter on your travels, a carving or painting of a piper that is not yet included here then you are welcome to join this community and make a contribution: See the ‘Help Build the Map’ page for details.

The map can be visited at All Saints Church, Milford-on-Sea, http://thebagpipemap.co.uk 13th century 40 Sweet as Sugar Candie n the previous issue of Common Stock, we included an article on the various versions of two tunes, Sugar Candy and Lasses Pisses Brandy. Omitted from I that collection was this setting of Sugar candy from the second volume of david Young’s Macfar;ane Mansucript. I have included it here transposed from the edition made available online by Ronald MacDonald (rmacd.com/music/macfarlane-manuscript/collection/) One interesting feature of this setting is the appearance of demi-semi-quavers in three of the variations, yet another example of the fact that these tunes were pklayed rather slower than we might expect if these passages were absent. Whether this was true of all tunes in the genre is a topic for discussion. Those who enjoy playing wide-ranging tunes are invited to add this to their repertoire

41 PIPING DUO PLAYS PRIZE WINNING PIPE QUINTET

n our current cultural climate year in the light of any misunderstand- immodesty is usually frowned ing or misinterpretations of the rules. I upon; one should not 'blow ones The reason that the current rules are so own trumpet' in public. Actually this specific, is, I admit, because in 1992 I phrase adapts rather neatly for the spotted that at that time it was not mouth- blown bagpipe world; to 'blow stated that the duet had to be played by ones own chanter'. But attempt to adapt it two pipers and so I cheekily entered the for a bellows-blown bagpipe and one class as a solo piper, but played a duet creates the rather slightly risqué con- on a Scottish smallpipe double chanter. cept of 'pumping ones own chanter'. Is this I played The Mill, The Mill O! and The neologism polite? Anyway, at the risk Keel Row. I played well, I played lots of of blowing against the current cultural two note chords on my double chant- climate, I have decided to cast my er, I was not disqualified and I won 1st modesty to the cauld wind and write a Prize! few crisp words clearly intended to This year I played strictly by the cur- 'pump my own chanters' and to bask in the rent rules and entered the duet class glory of the triumph of Callum Arm- with a second piper; Callum. We strong and myself in winning the played well, we played lots of chords Mains Castle Medals in the duet class and we won 1st prize. But the differ- at this years LBPS competition in Glas- ence this time was that some of the gow on the 16th April. chords we played on our chanters were I have entered in many different class- five note chords. es of the LBPS competitions over the I was playing my set of Cornish dou- past 30 years. In the duet class of 1991 ble pipes in C, which has no drone and & 1998 Brother John and I were placed two chanters, so it can play a variety of 2nd and in 1999 we came 1st. Those two note chords. Callum was playing who have taken part recently will know his usual Scottish smallpipe, but this that the rules for the duet class clearly time he was playing it with a triple state that it is for two pipers, two sets of chanter in C. The chanter was brand pipes, one of which must be Border or Scottish new and the first one I have ever made small pipes. In the early years I was and I had only completed it on involved in organising the competition Wednesday 13th. It is a challenge to and we often had to adjust the wording drill three parallel bores in one piece of for the rules of a class for the following wood and I was certainly not relaxed

42 when drilling the finger holes. Any what we did... and we were awarded 1st pipe maker will confirm that there is prize. no shortage of possibilities for making You can listen to what it sounded like mistakes when drilling the 9 finger on the LBPS website. If you cannot holes on a single chanter. And the understand how Callum manages to potential possibilities are doubled play these chords it is quite easy to when drilling the 18 holes needed on a explain what he is doing, but incompre- double chanter. So it was trebly stressful hensible to understand how he actually drilling the 27 finger on this chanter! manages to do it. Like the rest of us Having drilled them I handed it to mortal pipers he is playing a tune by Callum and within an hour he had lifting up and putting down his fingers made great progress reeding it up and on the chanter, as required. Fingers up, doing fine-tuning. Our design for plas- fingers down....fingers up, fingers down! This tic reeds is remarkably stable and it was is essentially what we have to do to play not long before he was exploring the a tune. And all pipers know that the possibilities of three note chords. In tricky bit is always to move the correct fact, to use a hopelessly inappropriate finger at the correct time! However on metaphor, he took to it like a duck to a a double chanter, and even more so triple chanter! when playing on a triple chanter, one That evening we began experimenting has the possibility to slide each finger playing it with various pipe combina- from side to side to create the required tions and found that it sounded grand chord. It is so simple.... but not so easy. when played with my C Cornish dou- And before you or Callum ask me, I ble pipe, which plays an octave lower. am currently not prepared even to Over the next two days he finalised the consider making a quadruple chanter. tuning and we decided that it would (Well perhaps, maybe....) not contravene the rules if we played a th quintet at the competition. Which is Julian Goodacre May 17 2015

Triple smallpipe chanter in C. Made of damson wood with lilac mounts.

43 Hugh Cheape sent us this review of a review of his book Bagpipes, first published in 2008.

he publication of the National Museums Scotland’s Bagpipes in 2008 attracted a review published in the journal of Na Píobairí Uilleann. The T review was very fair and made points about the inadequate-to-poor coverage of Ireland’s piping culture. This called for a gentle response and for a reassertion of the counter emphasis in the book on a wider ‘Union Pipe’ tradition. These were Na Píobairí Eile – ‘the other pipers’ – of my title here. Though more than seven years have passed since the review and response, the salient points, I believe, are still useful for current research. They may be relevant for any enterprise that takes forward the musicology of bagpipes, in the context, for example, of the Edinburgh University Collection of Historic Musical Instru- ments’ ‘Collecting Cultures Project’ of 2008-2013 which has laid up a wealth of fresh evidence for piping ‘organology’.]

The extended review in An Píobaire radio interviews and a television inter- Vol. 4 No. 47 of the recently-published view for the BBC Gaelic Service. The Bagpipes. A National Collection of a Na- worst radio interview was with ‘Radio tional Instrument, was generous and 5 Live’, involving a barrage of silly scholarly. The commentary and atten- questions tending to ridicule Scotland’s tion to detail call for a reply, in the love-affair with piping and the wretch- interests of mutual understanding and ed interviewee being cut off when his of cordial and fraternal relations. 15 seconds time-slot was spent. The The initial response to the book when best interviews were with Belfast and published, as your reviewer has de- Derry, outstanding for their courteous scribed, was disappointing in light of and intelligent questioning and the its serious intent and, on a personal time made for comment and discus- level, of the amount of thought and sion. There was a more recent inter- effort that it had absorbed. There was view with ABC in Australia, similarly indeed a number of rather banal news- marked for its intelligence and courtesy. paper articles which narrowed the fo- Your reviewer’s health-warning on cus of a relatively wide-ranging work to the book’s effect on Irish blood-pres- the single nuanced conclusion about sure concerns me as author in that I how the wish ill of no man, but believe at the might have evolved around about same time that Irish constitutions are 1800. There were also four or five too powerful to be hurt by any possible

44 slight. For all the book’s faults in its player community and, in my experi- treatment of Irish culture (as generally ence, are lost to sight - even their titles perceived), I would stand by a brief being unknown to folk who take an summary (page 105) and the integrity interest in our musical culture. In order of material evidence: therefore to keep the book reasonably priced and also maintain quality and a quota of illustrations, it has been pack- Modern perception of the Union Pipe aged within the compass of just over has defined and described it in terms of 150 pages. Together with a CD of Ireland’s culture and the Uilleann bag- pictures, sound files and around pipe of today. By contrast the instru- 150,000 words (forby the word-count ment’s surviving ‘material culture’ of the book itself), it comes in at the suggests that the Union Pipe has been extraordinarily modest price of £15.99 a shared and Neo-Baroque tradition - or about €20. I would like to think and that an integrity has been ignored that I am master of my facts but I am or laid aside in sustaining modern per- not a master of my marketing and, for ceptions. The mindset of today may this and much more (like patience and still regard the North Channel as an encouragement), I am deeply grateful edge or a boundary, rather than a ‘high- to my publisher Lesley Taylor and her way’ with the same community living team in NMS. on both sides of it, and such a view makes the recognition of shared cultur- al traits more difficult. The Union Pipe To bring this book to all communi- has crossed and re-crossed the Sea of ties, much has to be sacrificed in order Moyle - Sruth na Maoile - and its points to sustain and address adequately the of departure and coming to land are theme of the work. Inevitably perhaps still difficult to define with certainty. mistakes creep in (for which I am re- sponsible), but also expectations may be frustrated. Perhaps the most impor- Bagpipes has been published by the tant statement of the book is the quali- National Museums Scotland, and I am fying comment in the opening page of most grateful to your reviewer for his ‘Acknowledgements’ (page iv) that: comments on its quality. A work of ‘This work makes no claim to be a this length and complexity requires definitive history of the bagpipe in compression to bring it within the Scotland; its aim is different. In offer- reach of pipers and the public. This ing some account and analysis of the work compares significantly with the musicology of the bagpipe in its Euro- notoriously high price of recent bag- pean context, its aim principally is to pipe books of major importance which ask questions posed by the surviving are far out of monetary reach of the material culture of the instrument.’

45 highly, we have been remarkably care- less about its history. My contention is that the documentation of old instru- ments was poor to non-existent, be- traying the same age-old condescending attitude and thin com- mentary, with the casual and humiliat- ing exclusion of the bagpipe from the scholarly arena of musicology. A sim- ple but too-typical example of my complaint was the musette belonging to Bonnie Prince Charlie described as ‘old Irish bagpipe’ (pages 10-11), a label curiously and often applied without further investigation to any bellows bagpipe. Of course this may also be a pale reflection of an eighteenth-centu- ry usage. There has been no ‘national collection of the national instrument’, but a collection has now been amassed Patrick O’ Farrell, as depicted on the within the public domain and critical title-page of his Collection of National comment offered on it. This is, within Music for the Union Pipes, printed and published in London in about 1804. these constraints, the comparatively Dressed as a ‘stage Highlander’ narrow focus of the work. It should at least offer precepts, guidance and This amounts to a report on the ‘or- prompts for further work, based on ganology’ of the bagpipe in Scotland, the 2,100 records now available. on what is available in museums for Chapters 2 and 3 evolved as tentative public and hopefully free scrutiny. This (but not dogmatic) answers to the gen- has never been done in Scotland be- erally elementary questions about bag- fore; the primary evidence assembled, pipe origins sent to the National the well-thumbed secondary literature Museum and agonised over by me for laid aside - what I have dared to dub almost 30 years. In suggesting that the the ‘grand narrative’ of Scotland’s past bagpipe becomes established in the - and the investigator turning to first sixteenth and early seventeenth centu- principles. ry Highlands, I do not believe that the At the beginning and end of the book, bagpipe was unknown before then, a wry look is taken at Scotland’s love- only that this was the era when its affair with the bagpipe. If we valued it status expanded and grew. But by con-

46 trast then with Ireland, there does not ‘See, if Ailean was here, he wid tell ye!’ seem to be such early linguistic evi- I had hoped too that I offered a stern dence for the instrument in Scotland. I enough precept (page 61): ‘Neverthe- am not sure that I repeat the equation less, for the understanding of Highland of the name MacCrimmon with ‘Mac- piping, its historical context, as well as Criomhthain’ (page 68?). I have ad- broader issues of cultural roots and dressed this topic in more detail in the mores, we ignore Ireland at our peril.’ Transactions of the Gaelic Society of Inverness This, dear readers, was my own health- (volume 62) and still believe that the warning to the good folk of Scotland name ‘belongs’ to Ireland, a point con- after following your reviewer’s pub- tributing to the thesis of Chapter 4, lished researches through the years. ‘Traditional Origins of the Piper Dy- Chapters 5 and 6 ‘are of particular nasties’. The reviewer must be correct interest ... to Irish readers’, as your in suggesting that the members of the reviewer avers. They are however professional piping dynasties were aimed principally at Scottish readers aligning themselves with the high sta- who have never been given much ac- tus learned orders, bringing us back of count of their ‘Irish pipe’ tradition, course to the cultural well-spring of indeed have been starved of every de- Ireland. In the same context, it is the tail. I, who had taken an interest in ‘differences’ between Ireland and Scot- Scotland’s Irish pipe tradition, could land, and their Gaeltachts, as teased not have reasonably waited for Ireland out by Kenneth Nicholls and Wilson to supply chapter and verse. After all, McLeod, that could help to explain the evidence resided in Scotland itself. phenomena such as the classic form of Bagpipes, and the thesis on which it is Ceòl Mòr. The issue of ‘Irish piobai- based, gives considerable space to this reachd’ was addressed in some detail in cultural, political and historiographical my thesis, looking for instance at piec- myopia. I would beg Irish readers to es such as ‘MacNeil is lord here’, but learn from this blight in the interests of had to be left out of a book on the mutual understanding. Many other de- material culture and national collec- tails concerning Ireland are of course tion. There is, I hope, sufficient in the inadequately covered in the book and book to alert folk to the topic, (for your reviewer may fairly take the au- example pages 47, 60 and 86) using thor to task. He has tried to strike a among others the researches of Brean- balance, and the balance involves ad- dan Breathnach and drawing them mitting Scotland to any Union Pipe firmly to the attention of Scots. The debate in the first place. This is the work of Allan MacDonald is of course question posed by the mass of materi- implicit. And I feel like the old sean- al, especially if it bears Edinburgh, chaidh who at this point would say: Glasgow, , Newcastle and

47 London marks. Somebody must try to contemporary Irish migration to Lon- give an account of it and to offer a don. This was as important for Scot- fresh look. In weighing up the evi- land but scarcely admitted in any dence, I am not sure if I am convinced cultural or musicological account of in every case of what instrument an the eighteenth century. I was also sug- ‘Irish piper’ was playing; for example, gesting that Geoghegan may have ‘im- an early court case in an action for itated’ the style of Hotteterre’s 1738 damages in Stirling involved the prose- treatise on the musette (page 81). I have cution of a Highland piper callit Broun. treated Geoghegan’s work at some His dog had savaged one of the lieges. length (pages 83-87) and tried to do so Personally I would not feel able to without any preconceptions and with describe his instrument with confi- the excitement of discovery of a mint dence. copy (with unique manuscript addi- tions) in the National Museums Scot- land. I have commented that it drew I would not like to think that I had on Playford’s and Oswald’s publica- denied Geoghegan a proper pedigree; tions (page 86). if so, mea culpa. His ‘Tutor’ now has a surer publication date which is highly intelligible given the troubles of the I still believe that we should be curi- times (see Seán Donnelly’s essay in An ous about the so-called ‘Pastoral Pipe’ Píobaire Vol. 4 No. 47, pages 26-27). I (and I use the label with care, see page have connected John Geoghegan spec- 84). I would claim from the surviving ulatively with Ulster or Leinster but material that Scotland played a notable placed him also in the context of a part in this tradition. The book gives

The magnificent set of ivory pastoral pipes now in the Edinburgh University Collec- tion of Historic Musical Instruments (image courtesy of Gardiner-Houlgate Auction Rooms)

48 plenty space (pages 94-101) to the sur- strongest, although we should contin- vival of the tradition in the North-East ue to be curious in Scotland that there of Scotland. No one could expect oth- are so many Scottish (and English) ers to write up this phenomenon. This made instruments and that Messrs is a special enclave of the history of the Robertson, MacDonald, MacGregor Union Pipe which should be of interest and others made their early reputations to Ireland, with a complex background on Union Pipes. Scotland then had its which must be treated sensitively, with share of makers and, curiously, that its ‘... distinctive blend of humanism, a distinctive caste of the ‘gentleman-pip- conservative background of Episcopa- er’ (pages 109-110), all largely written cy, the two music schools of St Nicho- out of the history of piping. Until re- las’ and St Machar’s, an inheritance of cent articles in the Seán Reid Society and a big house ‘court culture’, and a rural other journals, I had seen very little hinterland which has boasted the rich- mention of Scotland’s share in the est ballad tradition in Scotland and Union Pipe tradition. Coming to these beyond’ (page 95). Aberdeen was the matters therefore with as little precon- source of the first published secular ception as possible, I wanted to pro- music in Scotland with the Forbes Can- vide some description of the wealth of tus of 1662, whose Preface claimed the material in the National Museums city as ‘the Sanctuary of the Sciences, Scotland and other museum collec- the Manse of the Muses, and the Nurs- tions (and we passionately hope in ery of all the Arts’. Tendentious per- Ulan Bator), and explain why it is there haps, and we all have our conceits, but and the cultural world from which it they were talking about contemporary came. Europe. And this was the background My guilt or my fault, which I freely of makers such as Naughtan, Sharp, admit, is that I have written a book for Davidson, Massie and others, who en- Scotland and for the piping communi- joyed continuous patronage, and Pas- ty of Scotland. I hope too that I might toral and Union Pipe players of have launched a ferry boat on Sruth na distinction such as Robert Millar (pag- Maoile which can take a two-way traf- es 121-122). fic. In all modesty or humility, I could Your reviewer very rightly asks that a not have expected to have built a balance should be struck, but the ‘bal- bridge. ance’ may well be differently perceived or defined at different times and in Hugh Cheaps different places. This we should be aware of. I hope that I have given the Sabhal Mòr Ostaig overall impression that Ireland’s links Colaiste Ghàidhlig na h-Alba with the Union Pipe are of course the

49 LBPS Annual Teaching Weekend, Peebles, February 19th - 21st

his year’s teaching weekend All three tutors were new to the event was held in a new venue too; Alana MacInnes, David Shedden T (though a familiar one, since and Callum Armstrong. Alana and Da- we have now held two collogues there) vid introduced particpants to several The Tontine Hotel in Peebles hosted fine new tunes - including a Gaelic one of the workshop sessions, and the hymn from Alan and Allan MacDon- other two were held in rooms on the ald’s arrangement as 3/2 march of an High Street, which, had it not been 18th century Lowland song. Callum drizzling rain throughout the weekend, brought something rather different, an would have been an ideal way for par- introduction to the mysteries of im- ticipants to experience some of this provisation, which proved an eye delightful Borders town. opener to many participants.

David Shedden and one of the groups play through a tune in a meditation room. One wonders how long the vibe hovered for.

50 Reclaimed he LBPS CD ‘Reclaimed’ was launched at a gathering in the T Counting House in Edinburgh on Thursday, 21st January. After an introduction from Hamish Moore and Iain MacInnes and a few words from Greentrax Recordings’ Ian Green the packed house was treated to a recital from various artistes featured on the CD including Gary West, Hamish Moore and Mairi Campbell and Fin and Sarah Moore.

This is an exciting new venture for the alongside 'historical' archive recordings Society; produced by Iain MacInnes by artists such as Martyn Bennett and and Hamish Moore, it contains 17 Carlos Núñez. tracks, including specially recorded The CD is now available from the performances by some of the leading LBPS shop; tracks to download are lights of the bellows-pipe revival also available from iTunes.

Fin and Sarah at the CD launch

51 Duck Duck Goose EP Launch Concert

Duncan MacGregor sends a report from Australia

It's Autumn in Melbourne and the from the pulpit (standing in for the ram- evenings are getting darker and cold- parts of the castle). Another surprise was er… the perfect setting for 'Duck the combination of oboe and smallpipes. Duck Goose' to launch their new EP If those barriers between genres are im- portant to you, you could have walked in Duck Duck Goose is Jess Foot on thinking it was going to be an unusual oboe fiddle and cor anglais, and Sarah mixture but as the evening went on it Wade on Scottish smallpipes, English became obvious that it gives Jess and concertina and recorder. Sarah the ability to play around with some very different musical styles. At the launch ain Carlton, VC on Sun- As they mentioned during the evening, day 15th May, they gave us two hours of they can obviously grab Breton music magical music and from the opening for bombard and binou, but the surprise arrangement of Handel’s Water Music was how well the punctuated oboe and there were constant reminders that the the drones of the pipes lend themselves barriers between different genres like to renaissance dances, old English trad, folk, renaissance, baroque and church hymns and Scandinavian folk church hymns, are things we create, songs, where the drone of the smallpipes while the music itself flows effortlessly reminds you of the continuous sound of between them. At least it looked effort- a church organ, or a hurdy gurdy. less - combine technical skill on multiple Beautiful music, pushing a few mental instruments, a shared strong sense of boundaries, great relationship with the musicality, and an obvious pleasure in audience, and tea and cakes on the tables each other’s playing, and you end up at the back; what more could you want? with a really entertaining evening. And you have to love an evening where One of the high points was Rosslyn the pianist stands up half way through a Castle, with guests Louise Godwin (cel- Cape Breton medley, dances a , and lo), Jack Wilson (Cape Breton style piano sits back down to keep playing! & step dance), Matt Horsley (percus- Their EP is available via their website sion), Kelvin Nicholson (flute) to create www.duckduckgoosemusic.com a renaissance band, and Sarah piping

52 Boxwood Festival Colin MacDougall reports on the visit to Victoria, Australia of Nova Scotia duo Chris Norman & David Greenberg

he Celtic Piping Club sup- whistle-players, followed by a session ported legendary musicians with smallpipes. T from Nova Scotia, Canada to bring Boxwood Festival to Queensc- Saturday night saw a fantastic concert liff; on the beach in Port Philip Bay, at the Queenscliffe Maritime Museum, Victoria, Australia, over the weekend showcasing the talents of Chris Nor- of 20th to 22nd November 2015. The man, David Greenberg and Shelley tone was set on the Friday night when Phillips. The Celtic Piping Club's own participants arrived to find someone Sarah Wade joined in for the finale. cooking their evening meal. That After the concert there was another someone turned out to be Chris Nor- inevitable late night session…finishing man, director of the festival and one of after 3 am! the tutors. The meal was followed by the inevitable session involving , bellows pipes, whistles, fiddles and By Sunday it was becoming apparent harps. Chris Norman and his co-host that there were four professional ba- David Greenberg joined in, and we roque violin players who were contrib- particularly appreciated the way Shelley uting so much, and David Greenberg Phillips encouraged participants to get responded by providing advanced involved. Shelley is a friend of Chris teaching while also revising the march, and David’s, from Santa Cruz Califor- strathspey and reel from Saturday. nia, who plays at least oboe, harp and Meanwhile Chris Norman led the flau- banjo and has also run many music tists and some fiddlers through their camps. Right from the start we knew own strathspey and reels. The Sunday that we are in for something special, afternoon demonstrated the connec- with world-class facilitators who were tion between traditional music, dance humble, responsive and multi-talented. and having fun with a ceilidh involving the Caledonia Ceilidh Band and mem- Saturday was devoted to teaching ses- bers of the local community. sions. David Greenberg taught Cape Breton tunes by ear to the pipers and fiddlers and led some baroque ensem- There were really important lessons ble playing in the afternoon. Chris for Celtic music in Australia from this Norman worked with flautists and Boxwood Festival. The legendary Cape Breton style, with its oral and aural

53 traditions sits alongside the physicality many new players. This could not hap- of how musicians hold their instru- pen without the hard work of Sarah ments, beat their feet and move their Wade and... we must salute the gener- body. Following on from the Celtic osity, virtuosity and humility of Chris Piping Club’s session in January 2015 Norman, David Greenberg and Shelley with Pete Stewart, we also reinforced Phillips who led the weekend so gener- the importance of dancing, singing and ously. the influence from the Baroque period in our music. Of course this was helped by the fact that Chris Norman and David Greenberg are fluent in Boxwood Festival Australia will re- both baroque and traditional Celtic turn to Queenscliff 11-13 November. musicianship. See website for updates and registra- tion details www.boxwood.org This was an amazing event for the Celtic Piping Club which introduced

Finale concert piece featuring David, Sarah, Chris & Shelley (photos: K Nicholson)

54 Aug 19-21, Connecticut

The 2016 Pipers’ Gathering will take Complementary instruments are also place August 19 – 21, 2016 at Wisdom featured, because really the point is to House in Litchfield, CT. This annual play well with others. World-class in- event welcomes newcomers and ad- structors, lots of hours of vanced players alike, with both tradi- instruction/workshops and a relaxed tional bellows-blown pipes and setting makes this a “pipers camp” instruments a little “outside the box”. weekend not to be missed. http://www.pipersgathering.org

______CS

Bellows By the Bay Bay Area Piper’s Weekend Pleasanton, CA 19th-20th November

The 5th Annual Pipers’ Weekend of- Two Day Smallpipes Workshop will fers 2 full days of classes 19th-20th cover topics such as: November with tutor EJ Jones, plus • Practical tunes selected to provide a opportunities for a pipe-maintenance usable repertoire for playing in public session, reed making (17th -18th Nov.) • Effective use of ornaments on the and a private lesson (21st Nov). smallpipes There will be a Friday night House • Musicality, rhythm, style and reper- Concert in Livermore (18th Nov). toire: Classes are open to all mouth- and bellows-blown small & border pipes • Instrument technique: techniques, tuned in A 440-ish. drills and exercises for all levels Details and Booking [email protected]

55 LBPS at Piping Live! Aug 10th, Glasgow After last year’s highly successful be playing, as will Callum Armstrong’s event, the Society will be once again new trio ‘The Savage Prunes’, featuring hosting an evening concert in the Na- George Pasca on cello and John Goo- tional Piping Centre as part of the dacre on fiddle, so the evening is al- Piping Live! Festival that is held during ready lined-up to be a fascinating one. the week leading up to the World Pipe Further details will be on the website Band Championships. when we have them. Guests for the event are still being Tickets will be available via the Piping confirmed but Brighde Chaimbeul will Live! website

______CS

LBPS Annual Collogue 2016 November 5th, College of Piping, Glasgow

This year’s Collogue an AGM will be held at the College of Piping, Otago Street, Glasgow. The theme of the day will be ‘theme and variations’. Speakers so far confirmed include Barnaby Brown and Chris Ormston; the day will also feature playing and workshops. It is also proposed to hold an evening recital competition with invited partic- ipants, similar to those held in 2006 and 2008. Full details and booking forms will be available on the LBPS website nearer Gary West winner of the 2006 the date. Recital Competition

56 Steenie Steenson, well-kent grumpy old piper, sends us his ramblings and rattlings

t’s that time of the year when any- “They have enlarged the compass of one visiting Primrose Knowe can’t their pipes by adding pinching notes, for I fail to see how it got that name. the better imitation of other music. By Though no-one here brings in the sum- this their chanter has the most of the mer as they used to, we did get our flute compass. They have also taken usual visit from my grandson, Blind away all that loudness and strength of Wullie, on his wanderings. What a treat tone that distinguishes this instrument it was to hear him, and wasn’t the man With this they imitate Scots tunes, right who called him ‘the best fiddler Minuets and some Italian music. A that ever kittled thairm wi’ horse-hair’. passage of Corelli, Festing or Handel It made this old man proud to hear his played with pipe cuttings and a drone… preluding, to hear him take to that fine what a wretched jargon this must be for old tune, Galashiells for his theme and a judicious ear is obvious. This insipid grace it with so many wild and beautiful imitation of other musick is what gives variations; wonderful, too, to see how such a contemptible notion of a pipe’. his sightless face lit up with pride and Ed. At this point, I began to regret prompting delight in the exercise of his own pow- Steenie’s memory. It’s a passage whose signifi- ers. cance I have often contemplated. I pointed out Now I’ve heard it said that the Duke to him that there were many others who saw of Buccleugh’s piper has mastered that things rather differently in today’s piping world, tune on the pipes by using the ‘art’ of whose bounds stretch far beyond the little pinching the back hole, which some enclave of Primrose Knowe. The pipes, I consider a great improvement. Well, suggested, have now become the entitlement of there’s gey few with as fine a thumb for anyone in the wide world, and those who took shivering the back lill as me, I can tell it up would make their own choices of appro- you, but pinching is an art I’ll leave priate repertoire. alone, thankyou very much. I’m whole- I’ll not attempt to describe his response except heartedly on the side, though it’s some- to say that he threatened to withdraw his thing I never thought I’d say, with the column entirely and write no more. Since I rely mountaineer MacDonald. What was it on his contribution to fill up this last page I he said exactly? (Ed; I supplied the quote as agreed to allow it so far, making clear to him best as I could) Thankyou. Sometimes my that I would add this comment. Offers to replace memory is not what it used to be. him will be welcomed. 57 Newcastleton Traditional Music Festival 1st 3rd July, Newcastleton, Scottish Borders: www.newcastleton.com/. There does not appear to be a Border pipe competition this year.

Prince Edward Island Fiddle Camp July 9 & 10, 2016 in Charlottetown http://peifiddlecamp.com/?page_id=226 Instructors to be confirmed

Pipers’ Gathering 19th-21st August, Litchfield, CT, USA http://pipersgathering.org

Piping Live!, Glasgow International Piping Festival 8th - 12th August 2016 www.pipinglive.co.uk/ LBPS evening Wednesday 10th [to be confirmed]

LBPS Annual Collogue 5th November, College of Piping, Glasgow [to be confirmed]

Bellows by the Bay Nov 19-20, 2016, Pleasanton, CA USA Tutor- EJ Jones: [email protected]

Common Stock is published by the Lowland and Border Pipers’ Society. All enquiries and contributions should be sent to the editor, Pete Stewart at Stables Cottage, Winton Gardens, Pencaitland, East Lothian, EH34 5AT, Scotland: [email protected] 58