IN THIS ISSUE Letters2: Irish Ornamentation on smallpipes5: Burns Night 20018: Piper Profile - David Faulknerl0: "Pipers Corpse..." 17: Decoration20: Dynamics in Piping22: Making Elder Drone Reeds3l: Collogue 200035: Annual Competition37: Music: Reviews: Crossword. techniques of, bellows control, clean Letters fingering and ability to tune individual instruments are the important From Nigel Bridges foundations of smallpipe playing. St Boswells Barnaby Browns thoughts on encouraging composition at an early The annual collogue at Roslin was my stage were very interesting. I am not first, being a relatively new member to sure that I could compose anything to LPBS. Could I place on record my sessions for pipes (and other save my life but it might be an Editorial immense admiration for the content of instruments), though naturally interesting addition to the Melrose the day (I am only sorry that I was emphasis is on Northumbrian teaching weekend. The Society, does of The cover picture of a table base was unable to stay to hear the concert). The smallpipes. Later, competitions are held course, encourage composition in the sent to me by Sandy Robertson of St whole day filled me with inspiration to try and promote interest and annual competition. Johns Newfoundland. He carved the and I learnt a lot which will take a while understanding of Northumbrian Pete Stewarts finding and figurines from Walnut and their to sink in. In reality every item was a smallpipes, Border pipes and the playing of another piece of 17th instruments from Yellow birch (the highlight in its own way. music. However Scottish music and Century music is a timely reminder also same material as the table top), The Fascinating to hear the Scottish smallpipes are also permitted - that modern techniques and modes of supporting column is Douglas fir, and juxtaposition of versions and styles of indeed welcomed - at the competition, playing, in some instances, have the finish is tung oil. Tulloch Gorm and Reel of Stumpie. A so if you are at a loose end next year become highly artificial. I find my The annual competition, held (as feast of throw away lines of humour and after the LBPS day in Edinburgh, response to Dixon and the older tunes is has become the tradition) on Easter impromptu step dancing too. It is Morpeth is well worth a visit. that they underline a subtle distinction Saturday in Edinburgh, was once again marvellous to have other instruments As I hope you will notice, when between a tune being narrative and thus the success we have come to expect. present. When I was a boy my pipe you turn these pages, I have been trying interesting to listen to and a tune being The day is described elsewhere, in these teacher told me that I should listen to to improve the format of Common merely descriptive and disappointingly pages, by Bill Teller, but I cannot resist fiddlers to gain insights into strathspey Stock. If youve any thoughts, criticisms bland. Put another way technique can adding that in the category for Open playing. I think this applies to other or ideas, please let me know. As ever often mask expression. Border pipes the two players who categories of tune as well and I loved my thanks to all those who offer David Taylors tale of the old received most appreciation from both the way Mairi Campbell played one of material of whatever sort - letters, lady in her seventies wanting to play a judge and audience, had chosen the old versions of Stumpie. articles, pictures, music. This magazine tune on the pipes before she died is a completely different types of tunes, and Nigel Richards knowledge has continues to provide the main vehicle great reminder to give everyone a go played those tunes in totally different always impressed me (awed is probably for the exchange of information on and that rankings of ability should not styles - and indeed one set of pipes was a more appropriate word) but the talk on Scottish bellows blown pipes, but, as is be taken too seriously. Do your best, tuned to `Bb, the other to the (now) modes was unique. I am of the musical frequently pointed out, the Web can admire those who do better, but take customary `A. A good illustration of illiterate as far as theory is concerned give quicker answers to questions raised pleasure in what others do also. As one the much vaunted observation that there and I struggle to try to understand as I - which is perhaps why the Letters brought up on the subtitles of the is no "cor rect" style of playing know that it can help to make me a columns are getting fairly sparse. highland sneer at inferior performance these pipes, nor to the type of tunes that better musician. To hear the Raga I did not realise I could become so should be played. played by Nigel and Fraser Fifield, well Corrigendum In the December issue I sanctimonious, probably a sign of One week after Easter Morpeth what can one say?, but I was there. I inexcusably omitted the author ' s name ageing. hosts a weekend of Northumbrian hope the CD is sooner rather than later. from the report on Kirkdale Summer As a member, thanks to the music and tradition - costume, dialect, It just shows what a versatile and School. It was Bob Harman. committee for all their hard work and story telling and, of course, piping. exciting instrument smallpipes are. all the participants for inspiring me. The Everyone (as I discovered for myself) is The teaching forum was really [email protected] LPBS membership fee is a musical made very welcome. In the appropriate fascinating and it is so refreshing that bargain. setting of the bagpipe museum there are there is an absence of prescription. There was consensus that basic ' From Helen Ross out . There are numerous sites more Stirlingshire relevant to LBPS members. Every IRISH ORNAMENTATION issue of CS should now publicise the I liked the informative December issue LBPSs own excellent and developing ON SMALLPIPES of - Common Stock, and its websites. site. Then there are the sites and links of ' I find the following sites useful, sister organisations like the NPS and Craig Hohm has a further look at developing Uilleann piping techniques for Bag Soc. I could go on.... (Give me a though they are not specifically for smallpipes. pipers. couple of days and I could send you my the Scottish (See Common Stock Vol 15 No 1 page 8). For words and digital tunes of own favourite bookmarks!) folk songs: www.mudcat.org I liked Donald Lindsays piece on This is the second part of my lesson with Jerry OSullivan transferring For the dots of dance and folk session playing, and appreciate your Uilleann pipe techniques to the Scottish smallpipes. In this lesson we take on tunes in staff notation: new session book. the four part reel "Farewell to Ireland". Jerrys approach to the nine note http://trillian.mit.edu/-jc/music/abc/Fin In my opinion the pitch of the D smallpipe chanter utilises fewer grace notes, rounder rhythm, and some chanter, its resonance, facility for dTune.html specialised ornaments from the Uilleann repertoire. Best wishes playing in G, renders it indispensable for sessions with other instrumentalists. The tune is widely played in Irish circles; but is it Irish? It clearly looks Would anyone agree with me that many benefits could flow from writing tunes like a nine note pipe tune. The first three parts imply A minor without ever From Sandy Robertson playing the C natural, and the last part shifts into a strong A mixolydian. Is St Johns, Newfoundland in conventional D and G notation rather than always in A/D, conventional ' there a 9 note Irish repertoire out there from before the days of the Uilleann I check the LBPS website regularly and [pipe notation for an A chanter? E.g. the pipes? Robert Mathieson plays a "round " version of this tune on the GHB on am delighted how active the members others could readily read the tunes in his album "Grace Notes" (Lismor LCOM 5171), an excellent album of and teachers are. Even those of us out the pitch were actually playing. our unusual GHB tunes. in the wilderness eventually English revival pipers (e.g. benefit from their good works. illustrious Chairmans tunebooks) have Now for the tune: stolen a march on us here. Bar 1 - opens with a cran. This ornament is stronger than a birl on the cylindrical bore chanter, less staccato than the G/D/E gracing. Mathieson From Bill Telfer, Hong Kong Advertisement opens the tune with a dotted A quaver (see: RM barl below), a strong alternative and a more common setting; Try this with a slur from low G. Six months is a long time between drinks, so little wonder that Bar 7 - Jerry calls the high A figure a "shake", made by sliding the thumb discussion/debate via the letters column foreward and back over the High A hole. It is a very fast and clear of CS rarely gets off the ground, even ornamentation once you get used to the sliding motion, a bright shimmering though many of the letters are worthy of sound. a response. An e-mail forum on the other hand permits quick reply, and Bar 8 - R Mathieson plays a birl on the low A. (see RM bar 8). I like the effect interaction. Therefore LBPS members of the birl but it is not as strong on the smallpipes as it is on the GHB. A cran with access to a pc and modem might would go nicely here as an alternative.