School of Piping

The Reed Book Interactive DVD-Rom

2011-10-16T21:29:00.000-07:00

“Probably the most comprehensive product about reeds ever published”. This DVD- Rom contains a 57 page PDF book with many step by step full colour photographs to help pipers gain a complete understanding about reeds. A large number of video files are also linked throughout the publication showing how to carry out testing and manipulation of drone and chanter reeds.

Chapters have been included on the making of chanter and drone reeds so that the construction of reeds is better understood and therefore the principles behind many of the manipulations make more sense to the piper. Selection of reeds and cane are also topics discussed along with installing, setting up, refining, increasing/decreasing volume, altering tonal quality, problem solving etc.

Chapters include:
SECTION 1. CHANTER REEDS
CHAPTER 1. Practice Chanter Reeds
CHAPTER 2. Pipe Chanter Reeds
CHAPTER 3. Making a Chanter Reed
CHAPTER 4. Selecting a Pipe Chanter Reed
CHAPTER 5. Setting a Pipe Chanter
CHAPTER 6. Tools for Working with Reeds
CHAPTER 7. Manipulating Reeds
CHAPTER 8. Problem Solving
CHAPTER 9. Tuning a Pipe Chanter (basics)

SECTION 2. DRONE REEDS
CHAPTER 10. Types of Drone Reeds
CHAPTER 11. Making Cane Drone Reeds
CHAPTER 12. Understanding Drone Reeds
CHAPTER 13. Reed Selection
CHAPTER 14. Setting up Drones
CHAPTER 15. Problem Solving
CHAPTER 16. Tuning the Drones (basics)

SECTION 3. THE BAGPIPE
CHAPTER 17. Making Your Bagpipe Air Efficient
CHAPTER 18. Setting Up and Tuning the Bagpipe (basics)

Suitable for use on any computer with a PDF and DVD reader.

Now available from the School of Piping Shop.

Great price packages are also available including the Complete Pipers Handbook.

TIPS ON HOW TO MAKE YOUR BAGPIPE STEADIER

2011-09-20T00:32:00.000-07:00

We constantly aim for better tone and stability of our instrument. Here are some simple tips that will help:

• Check that all joints and tuning slides are well hemped and that none move or rock on the joint.

• Test that your bag is airtight and your blow pipe valve is working properly.

• Ensure that you have a suitable Water Trap or Moisture Control System installed.

• If using a canister system replace the drying agent.

• Check all hoses to your Moisture Control System. Some hoses may leak, replace them. Some brands of hoses offer more stability and reliability than others.

• Some drone reeds will not last forever. If any are suspect clean the reeds and replace the bridles. You may also need to replace your reeds if you suspect tongue fatigue.

• Balance your drone reeds for strength (the methods are highlighted in The Complete Pipers Handbook).

• If your chanter reed is old and not giving the best performance, replace it.

• If too much moisture is building up on the reeds invest in a new Moisture Control System.

• Practice blowing exercises, as a lot of instability can be caused by poor technique. A Bagpipe Gauge is available from the School of Piping Shop which you can use to monitor your blowing.

• Do not assume that instability is caused by your blowing, I see so many instruments that are poorly set and pipers just assume it is their bad blowing.

• Get a good maintenance guide to help you to learn to set your instrument up.

Too often I see old equipment that has passed its prime or badly set instruments and pipers ignoring it. They either put up with the bad results or assume it is their own failure to blow steady. It is the Pipe Majors catch cry to have difficulty with an instrument and tell someone to blow steady! This might not always be the problem.

Give yourself a fighting chance and try the above points to get a better result from your instrument. The Complete Pipers Handbook is a great guide to help you to get a better result from your instrument. Also the School of Piping Shop has great deals on many reeds and products, and we are always willing to offer help and advice along the way.

VALE P/M ALASDAIR GILLIES

2011-08-27T07:28:00.000-07:00

It is our sad duty to report the passing of Pipe Major Alasdair Gillies on the 27th August 2011 at 47 years of age. Pipe Major of the Queens Own Highlanders and one of the top piping competitors of the modern era. Winner of the Silver Star for former winners of the MSR at the Northern Meeting a record eleven times. Three times winner of the Glenfiddich Championships.

He won both Highland Society of London’s Gold Medals (Argyllshire Gathering 1989, Northern Meeting 2004)

The piping world will sadly miss Alasdair and his jovial nature. May we extend our condolences to his family and friends.

New Album Released by www.schoolofpiping.com

2011-07-05T23:51:00.000-07:00

The School of Piping website is pleased to announce the release of its second album of downloadable bagpipe tune lessons. The album titled "Lessons volume 2" features a collection of Intermediate level tunes: 6/8 Dundee City Police Pipe Band, 2/4 Duke of Roxburghe's Farewell to the Blackmount Forest, Strathspey Maggie Cameron, Reel Alick C McGregor, Jig The Kitchen Maid and Hornpipe P/M George Allan.

This will back up the previous very popular album "Lessons volume 1" which featured basic level and popular tunes.

The lessons can be downloaded from: http://www.schoolofpiping.com/lessons.html

We trust that you will enjoy!

ORDER OF AUSTRALIA MEDAL AWARDED FOR SERVICES TO MUSIC

2011-06-12T18:45:00.000-07:00

Greg Bassani, National Principal of Drumming with the Australian Pipe Band College has been awarded the Order of Australia Medal in 2011 for services to music. Greg has put in a huge effort over many years to promote drumming in Pipe Bands throughout Australia.

Greg was taught at the CBC Pipe Band and moved on to become Leading Side Drummer of the Adelaide University Regiment, Royal Caledonian Society of SA, Scotch College-Adelaide and The City of Adelaide Pipe Band, winning several Championships along the way. He has served many years as the Vice Principal of Drumming in South Australia and more recently as the National Principal of Drumming. His scientific work on mid section tuning has been published by the RSPBA.

Well Done Greg, a recognition long overdue!

WWW.SCHOOLOFPIPING.COM

Piping News in 2011

2011-05-11T23:37:00.000-07:00

So we have a new season upon us and all sorts of things happening.

The 2011 R U Brown Gold Medal Competition has just been run in Adelaide, Australia with Ross Campbell taking first place. Ross has won three times previously, always a class performer. Second was Brett Tidswell and third was Stuart Easton from New Zealand. Approximately 96 competitors over 10 events this year. Gold medal judges were Robert Wallace (Scotland), Sam Young and Jim Smith. Full results can be seen on the news page at schoolofpiping.com.

I see all sorts of comments and suggestions from overseas about how to stop discrepancies in judging. Judging is always someones opinion and so long as they are not ridiculously off the planet, it is those opinions that we want to foster. Huge variations between judges often come from listening to opposing sides of bands when a blooter or similar rings out. That is the nature of a live performance and the human ear. I personally think the only answer is to maintain the quality of training and ensure the quality of the candidates in the first place. Some extent of discrepancies and variation will always be a feature of what we do, even if the judges all listen from the same point. The way to overcome their effect is to have a larger judging panel and a rogue element will be over ruled by the weight of the majority. I see in Brittany they have a table of about 10 or 12 judges and none are measuring sock heights that I am aware of!

The other issue regarding judging seems to be the debate over the inclusion of mid-section judging in Canada to form a part of the overall results. Word has been spread that it is done in Australia, but that is 100% false. Mid-sections are already included in the drumming and ensemble components. In fact many judges seem to give them far to much space on ensemble sheets in my humble opinion. They form an integral part of what we do, but I am a strong believer in simplification in all things, not making them more complicated.

On the subject of simplification, I see the debate of band formations again appearing in a few publications. How should we perform for competition purposes? What formation is best for the public? Simplification! Start here and form up there however you want inside the confines of the circle. Bands choice; open circle, closed circle, V shape, thistle shape, scotch pie shape, west highland terrier shape, whatever the band likes. Simple, allows for variation, or not as the case may be. Bands will soon work out how they can convey their performance the best. I do not see any reason to impose a specific formation or even a fixed judging position.

The City of Adelaide Pipe Band in South Australia has now introduced a Youth Development Band that will be competing in the coming year. Probably starting in Grade 4 and Juvenile. We have great hopes for the young players of the future and many of our young pipers have already featured in the prize lists at the R U Brown event. Well done to them all!

With the inclusion of Olav Goud (ex Lothian and Borders, Strathclyde and Boghall) as lead side, the band is looking forward to a very positive season. Hopefully our drumming woes are at last behind us. Now a few more quality pipers would help!!!!

The Scottish Championship at Dumbarton will be on us in just under two weeks. It will be interesting to see the results of the years first major. I have heard some video footage from Gourock last weekend and detect some improvements in sound from some of the bands already. This was an amazing past year with the shuffling of grade 1 Pipe Major's deck chairs! Good luck to all of the new Pipe Majors, I hope you have a great season.

The School of Piping website has undergone a complete overhaul. Each page has had a facelift with a more modern design. Some new features have been added and a new shop. This includes both a Beginners and Advanced publication section, and includes not only the School of Piping publications but also the College of Piping tutors and PM Bill Robertson's excellent series of DVD-Roms. The highlight in our opinion being his 115 Piobaireachd Tutorials which features a basics book with video links, manuscripts, tune histories and audio lessons for 115 tunes. A masterpiece by the ex Pipe Major of the Royal Scots. Quality Bagpipes and Accessories are also available.

Work is continuing on a number of new publications from the School of Piping and we will keep you all informed when they are available.

Well, last year I think the Worlds was excellent. The bands were all able to be viewed from the mound beside the grade 1 arena, and as a competitor it was a delight to be able to actually see some of the bands playing. The big screen is certainly amazing too (except when you are facing it whilst competing). I wish you all the best for the coming season and look forward to hearing some great performances.

VALE LEWIS TURRELL M.B.E

2011-04-21T17:28:00.001-07:00

VALE LEWIS TURRELL M.B.E

We have been informed of the passing of Lewis Turrell in Auckland, New Zealand on the 21st April 2011 after a long battle with lung cancer. A sad loss for piping in this part of the world. Lewis was a much loved character and friend to all he met. A pupil of William Kennedy, George McLennan and PM Donald McLeod M.B.E. Lewis rose to legendary status in 1958 when he won the Gold Medal at Inverness playing the "Rout of the MacPhees" (the first overseas competitor to do so). On that day he also won the Strathspeys and Reels, the Jig and was second in the March. He has been Pipe Major of the Invercargill and Wellington Pipe Bands and has made such a huge impact on piping in New Zealand. Lewis will be sadly missed by all.

Latest Bash at Kilt Wearers

2011-04-17T18:49:00.000-07:00

Today's Advertiser Newspaper has a ridiculous comment from former Foreign Minister Alexander Downer, that just highlights what a pompous, more "English than the English" prat he really is. Suggesting that Prince Charles eccentricities including his kilt wearing do not sit well with most Australians. Well I would suggest that any such comments regarding a national dress are out of place, and a former Foreign Minister should be sympathetic to such matters. The large percentage of Australian's who are proudly of Scottish descent may feel differently, and I am sure many other nationalities who are proud to wear their own national dress would be supportive as well.

Can you imagine suggesting that a Royal from any other nation was eccentric for wearing their own national dress and that "it didn't sit well with most Australians"?

Speak on your own behalf Sassenach there are many proud kilt wearers in Australia.

Bagpipe Instruction Manual Review

2011-04-11T00:31:00.000-07:00

Bagpipe Instruction Manual Review by John Miner

“I recently had the opportunity of acquiring “The Bagpipe Instruction Manual “by Brett Tidswell. Not to be confused with the more comprehensive “Complete Piper’s Handbook”, this smaller, 32 page, manual was designed to provide as much useful information on bagpipe setup and maintenance as possible into a small, portable, booklet that can be thrown into the pipe case and reviewed at a moment’s notice.

Anyone who knows me knows that I am a complete nut when it comes to bagpipe maintenance. I have always felt that there is a special relationship and connection between the piper and his/her instrument. The time and energy one invests in learning and caring for the pipe will be returned many times in the form of a pipe that sounds great and is reliable and dependable every time. I have long been a fan of Brett’s schoolofpiping.com site and have found it a great resource for anyone who is interested in bagpipe care and maintenance.

I was actually very surprised with how much information Brett was able to cram into so few pages. Although similar in appearance to the old classic “Piper’s Handbook” by Pipe Major John MacLellan, I found the “Bagpipe Instruction Manual” to cover more topics and to be much more in depth. There is no time spent covering history or other topics. The book is 100% focused on providing clear and helpful information. It also contains many helpful photos, including detailed instructions on tying hemp bridles for cane drone reeds, diagrams of how to alter chanter reeds, and many others.

I think this book will become required reading for all of my students. The bagpipe can be an intimidating beast for a new player. This book provides a clear list of all the “must haves” for your pipe box, instructions on drone cords, bags, bag covers, valves, moisture control, reed basics, and many other topics. All very helpful for the novice player. Having said this, the book also contains enough valuable information to make it very much worthwhile to the intermediate to advanced players. The largest portion of the book is dedicated solely to reed trouble shooting and manipulation, both for drones and chanter. Pretty much every possible problem is addressed, and simple, helpful solutions are provided for each. It certainly goes well beyond the basics and is probably the best I’ve seen in the form of a small, comprehensive maintenance and setup guide. Certainly a worthwhile resource to have available for any piper. There is also some mention of matters of refinement, pitch, tone, and tuning positions, but readers are referred to the “Complete Piper’s Handbook” for more in depth discussion on these issues.

I appreciate this book because it helps take a lot of the mystery and superstition out of bagpipe setup. Certainly some these techniques take time to master, but many other tips can be applied immediately and become a great help to the player. There is no reason in this day and age that pipers of any ability cannot have a well set up, reliable, and pleasant instrument to enjoy. For those looking for a compact, clear, and comprehensive guide to “de-mystifying” bagpipe setup and maintenance, or simply looking learning a few new tricks to have a better sounding bagpipe, this book is a must for the pipe case.”

The Manual is available from schoolofpiping.com

Whats on the Net!

2011-03-21T16:49:00.001-07:00

Allan Hamilton of Strathclyde Police has developed a website called Pipers Persuasion that features interviews with prominent pipers. These are video interviews divided into segments. Allan obviously has a long history of interviewing people (probably not under the same circumstances) and gets his subjects feeling comfortable and talking about the topic they are all so passionate about. This is a site you can spend hours watching and is going to become a valuable historical resource.

Several new reviews have been posted at the School of Piping site, these include the new Bannatynes Bag, new Glass Fiber Crozier Drone Reeds, Bruce Gandy's new CD "Front Row Seat" and details on the new SoP publication "The Bagpipe Instruction Manual".

The Bagpipe Instruction Manual

2011-02-21T22:23:00.000-08:00

Ever wonder why your bagpipes didn't come with an Instruction Manual and you had to fool around trying to make things work!

"THE BAGPIPE INSTRUCTION MANUAL" covers everything you need to know to set up a bagpipe and solve the most common problems. A concise, inexpensive A5 publication with 36 pages and demonstrative photographs. This is the perfect size to fit in your pipe case and help you when assistance is most needed.

Just like the manual for your TV or DVD player except easy to read and follow!!!!

Chapters include: What you will need, The Great Highland Bagpipe, Tying on Cords, The Bag and Cover, Blow stick, valve and mouthpiece, Joints, slides and hemping, Moisture Control, Drones (including set up and problem solving), Chanter (including set up and problem solving), Maintenance checklists, Caring for your Instrument. Everything you need to get you started and keep your instrument going well.

Available from www.schoolofpiping.com for only $19 + postage.

Teaching and Talent

2011-01-23T17:11:00.001-08:00

There seems to be a lot of material being produced about how there is no such thing as talent. It seems in the modern era we do not like to suggest that some will naturally be better than others at a task for no apparent reason other than they are somehow gifted and naturally built for the task. Alternatively we have the Olympic coaches measuring kids up at school to see if they are naturally built to ride a bike or row a boat. Why is the bagpipe any different?

Over the years I have probably started hundreds of people off on the practice chanter. I have read a lot on this subject of talent and hours of practice, and like to think I am as open minded about these subjects as possible.

It does stand out to me though that there were a few people (only a very small number) who picked up the chanter and instantly looked comfortable and learned new lessons very quickly. There were others that were not so fortunate and seemed to struggle and take longer through the whole process (again a small number). A lot of this has to do with hand eye co-ordination and I am sure the same percentage would struggle to throw and catch a ball as well. The vast majority were similar in the rate at which they picked up new material and how much practice they did made a huge difference to their development.

The exceptional students (who could pick up lessons very quickly) also seemed to drop less in standard during the times when they were not playing. Some just seemed to have to always work hard at it.

Adult learners are another matter. I have taught many adult learners and the age at which you start makes a huge difference on the end result. As I get older, my hands (and brain) are not the same as they were 20 or 30 years ago. If I had to start again now, I would not progress at the same rate as I did when I was a child. However a good teacher and a realistic program can reap good results.

Now that I have spent many years teaching at seminars etc. I see a broad spectrum of students from a variety of teaching sources. I see many who are hampered by technical issues from being taught poorly or incorrectly.

Like any activity there are those with a natural ability for it. Some people just seem naturally co-ordinated. They will pick up new material very quickly, BUT they will not be the World champion pipers unless they put in the many hours of hard work needed and have good tuition. Likewise, those who struggle to pick up the lessons will have to work harder and probably will never be the next Worlds best piper (that is not to say that they will not become a good piper).

Realistically, there are those with a natural ability. There will also be those with less natural ability. Hard work and a good teacher will benefit both. The true champions are those with a natural ability who also put in the hard yards and have the quality guidance behind them of a good teacher.

There is information on teaching and lots of advice for pipers at www.schoolofpiping.com

Australian Pipe Band Association Summer School 2011

2011-01-09T14:36:00.000-08:00

We have just seen the first week long Australian Pipe Band Association Summer School come and go! A lot of work was undertaken by the organizers and they should be commended for their efforts and the way it ran without hiccup apart from some post holiday issues with the University accommodation. Not a huge drama, but a small delay on the first day.

Piping instructors were: Jack Lee (Simon Fraser University Pipe Band), Brett Tidswell (APBA Piping Principal, Strathclyde Police Pipe Band, City of Adelaide Pipe Band), Ian Lyons (Field Marshall Montgomery Pipe Band, Clayton and Victoria Police Pipe Band) and Robert Crozier (Victoria Police Pipe Band). It was a great pleasure working with all of the instructors.

Drumming Instructors were: Reid Maxwell (SFU), Tyler Fry (Shotts), Dean Hall (Band Club), Nick MacLeod (Warrnambool), assited by Rob Bennet (Rats of Tobruk) and Greg Bassani (APBA Principal of Drumming).

Admin was undertaken by Greg and Christine Gordon.

A very professional group but also capable of tremendous humour!

During a session on bagpipe set up, one tutor commented that he sets his 'high A' 20 - 30 cents lower than the octave and later, when demonstrating one of the other tutors stated that it sounded more like a dollar! Any comment on tone invariably resulted in some truly impressive Ian MacLellan impersonations!

Overall there were 92 students, all of whom demonstrated a commitment and enthusiasm for learning. Piping was broken into 4 groups and personally I found that each one was a pleasure to teach. The range of students went from those who could only play a handful of tunes through to a reasonable Intermediate standard.

Each day had a full program of lessons starting at 8.30am and went through to an evening class finishing at 8.30 - 9.00 pm. Chanters could be heard in the accommodation block as students worked on material for the following day and the end of school performances.

It was great to see all states represented and also students who travelled from as far as Singapore to attend the event. Each state branch of the Association had given scholarships to outstanding candidates, and this all bodes well for a great future for the event.

I tremendously enjoyed the opportunity to assist in presenting a two night ensemble discussion along with Reid Maxwell and Tyler Fry. Some of us were not always on the 'same page' as to tenor drum tuning and numbers, but that is what makes these discussions so valuable.

The final Friday saw students present some pieces they had worked on as ensembles with the drummers. This seemed to go down very well and it was good to see that so many had learned a considerable amount of new music in the week. That night we moved on to the LaTrobe University theater and a recital was put on by the instructors. Brett Tidswell opened the show with Ian Lyons and Jack Lee also performing solo. Reid Maxwell and Tyler Fry also performed and later were joined by Alby Copeland, Robert Crozier and the other pipers for a full performance scraped together virtually the day before with no chance to rehearse or tune at all!

A number of prizes were awarded for tune composition which were donated by McCallum Bagpipes. The winning tune by Donna Stemberger was a very pleasant 3 part air. Second prize went to Matthew Gervasoni for a very nice Hornpipe.

Piping scholarships for next year were given to Fergus Barry-Corderoy and Alexandra Culver. All instructors thought these students showed talent and outstanding enthusiasm. A separate scholarship was awarded to Ong Wei Shi to attend the Canadian Summer School.

The schoolofpiping.com awarded Brett Tidswell's CDs and The Complete Pipers Handbook to students that we considered were enthusiastic and deserved commendation.

Lyons Highland Supplies also donated Crozier Drone Reeds as prizes for students.

It is hoped that students will continue with the material taught at the school and it will provide some first class tuition and broaden their musical view point. This has the potential to greatly improve piping throughout Australia. I look forward to seeing everyone again next year. I am sure everyone not only had a rewarding learning experience but also made friendships that will last a lifetime.

Further learning material, reviews, photo albums, sound files and other entertaining material can be found at the School of Piping website. This is an online piping workshop that can be accessed anytime!

SO YOU WANT TO LEARN THE BAGPIPES!

2010-12-30T21:29:00.000-08:00

SO YOU WANT TO LEARN THE BAGPIPES!
Brett Tidswell – National Principal of Piping

For those who have an interest and want to learn the bagpipes, there are a few things that you should know. The first is that is a difficult instrument to play and you should not proceed without a good teacher. On average a student will receive one half hour lesson a week, which may increase to a full hour after some time.

What will I need?

You will need a practice chanter and a tutor book to start. This is not overly expensive, probably around $100 - $150 for a suitable instrument for a beginner. Your teacher can probably advise you where to purchase a reasonable instrument at a good price. The practice chanter is a quiet instrument similar to a recorder on which pipers learn new material.

What is the process?

The learning process usually starts with a series of musical exercises. The scale, various embellishments, and then some small tunes thrown in along the way. Initially you will run out of material after a few minutes practice, but you should play the routine you are taught several times a day. After your practice session, put the chanter down and pick it up again later and go over it again. As you progress your practice schedule will increase. Probably 30-45 minutes a day for a learner with some tunes to work on is adequate. You should not worry if you miss a day’s practice, but ensure that you do not do it frequently. The purpose of practice is to develop muscle memory, correct technique and to memorise and remember the material. Later, on the bagpipe you will need to work on blowing technique and stamina as well. As with any musical instrument, practice and playing the instrument regularly are a part of life.

When do I play a bagpipe?

After playing several tunes at a reasonable standard it will be time to progress to the bagpipe. The time this takes will vary from person to person. Some organisations provide a bagpipe for learner pipers; most ask that you purchase your own. A suitable learner’s instrument can range from about $1,500 second hand upwards. There will be maintenance items and other small expenses along the way. Ask your tutor about the requirements for a bagpipe. Do not just go and buy something, there are some traps for the unwary. Lots of Pakistani made instruments are misrepresented on the internet and many people sell second hand instruments that they know little about.

How important are lessons?

Regular lessons are very important. To miss a couple of weeks dramatically sets back the progress of a learner piper. To miss lessons frequently is very disruptive and can significantly impede your progress. This is a musical instrument. To learn is sometimes a chore, but to play is fun and that should be the goal. Some parents seem to look at piping lessons like school and think students should have a break for school holidays. This is not the case. Piping should be looked at as one of the fun/physical activities that is used as a break from school work etc.

How do I join a band?

Some bands run classes for learners and there will be a direct path to follow to become a band member. There will be specific tunes to learn so that you know the band repertoire and some bands have a juvenile band or a development group that feeds into a higher level band. Some students learn from a private tutor and they will be able to give you advice on joining a band. It should be remembered that when you join a band, it is as much your band as anyone else’s. You should therefore help to assist the band in fundraising, group activities etc. This ensures the future of the band and helps to repay the more senior members for the time they put in to assist you or your child that is learning.

What about solo competitions, certificates and seminars?

Once proficient with a few tunes on the bagpipe, you will have the possibility of entering competitions as a soloist. Competition forms a significant part of the piping lifestyle. It is a good way to monitor your own standard and to gain some feedback. Another useful tool is to complete examinations through the local Piping Associations. Seminars are often run by the local Associations and are a great way to gain additional knowledge, alternate view points and meet some of the local identities.

What is so good about learning to play the bagpipe?

Aside from the pleasure of performing and enjoying music, the opportunities open to pipers are numerous. There are a number of organisations that offer full-time employment to pipers. There are numerous opportunities to compete locally, interstate and overseas. Festivals are run in most countries around the world as well as Tattoos and other events of significance. The friendships made last a lifetime.

The discipline, teamwork and skills learnt will flow on to all parts of the student’s life. What is most important however are the challenges and enjoyment obtained and sometimes the privilege to be a part of something very special.

There is more information to be seen at the school of piping website and “The Complete Pipers Handbook” is the ultimate guide for getting started on the bagpipe and as a useful resource for teachers. It is available here: http://www.schoolofpiping.com/handbook.html

Your Band Internet Policy

2010-12-26T15:50:00.000-08:00

I am aware of a number of pipe bands that have instigated an Internet Policy.
This tries to ensure that members are aware that they are in the spotlight when posting on various sites, including facebook, MySpace and other social networking sites.

These sites are so transparent that there are some concerns regarding pipe bands that try to attract children as learners where members post photographs and comments that may be seen as inappropriate to parents wanting to get their children involved in bands.

There is also the concern that bands representing various organisations and sponsors may be painted in a bad light by members posting without considering the full ramification of their public posts.

Personally I have always lived by the rule that I will not post anything on the net that I wouldn't write in a letter, or post anything I wouldn't want any person to read.

I am sure there are many thoughts and policies on this topic?

Constructing a Contest Medley

2010-12-20T03:18:00.000-08:00

Constructing a medley has become an art form well beyond the selection of a few good tunes.

Key changes, length, where to place new compositions, release and tension, harmonies and many more considerations are required and in fact looked for by judges particularly in the sphere of ensemble.

A full article on the subject can now be found at the School of Piping website

Most amazing Bagpipe ever!

2010-11-20T03:41:00.001-08:00

In collaboration with Mark Saul, I have just put up an article on the School of Piping website about John Center Bagpipe Maker. In it are photographs Mark supplied of the most amazing bagpipe I have ever seen. A true museum piece.

The full article can be seen here: http://www.schoolofpiping.com/articles.html

I hope you all enjoy it.

NSW Seminar and State Solo Championships

2010-11-15T19:21:00.000-08:00

It was with great pleasure that I was able to accept the recent invitation of the APBA (NSW Branch) and hold a seminar about bagpipe maintenance and sound and the 13th Nov 2010 and adjudicate at the State Solo Championships the following day.
The seminar was held at the Matisse/Derivan’s premises which was kindly loaned to the Association by Steven Patterson. The seminar was well attended and we covered many topics ranging from basic maintenance checks through to advanced tone enhancing techniques and products. Much of the material covered can found in “The Complete Pipers Handbook” and at the website at www.schoolofpiping.com. I hope there will be a chance to follow this up with a more practical seminar in the not too distant future. It seems that the seminar was well received.

The NSW state solo championships were held in the pristine grounds of Scots College on the shores of the Sydney Harbour. This is a great venue and the branch is very lucky to have access each year at no cost. This is obviously a great contribution by Scots College to the piping fraternity in that state. The venue had 10 marquees set up with an event in each. They also used the auditorium for some of the more senior events and a veranda for the Piobaireachd events.

I was thrilled to see three heats for the elementary finals. Each heat contained approximately 12 – 15 young pipers. I must say in some of the lower events many pipers let themselves down with poor performances of tunes that were too difficult, or missing repeated parts etc. The level of playing was very good overall with some very solid performances by some of the early stage pipers. It is always refreshing to see youngsters being well taught.

There were good numbers in each grade and I managed to adjudicate the elementary Marches, the elementary Air (final), Sub-Intermediate Strathspey and Reel, Intermediate Hornpipe and Jig and the Open Strathspey and Reel.

I was most impressed with the performances of Aaron O’Neill in Intermediate and Robert Gibb in Open. Both played at a very high level.
A most enjoyable weekend and I must thank the NSW branch and especially my hosts Sam and Liz Young for a wonderful weekend.

Brett Tidswell
National Principal of Piping

AUDIO LESSONS AVAILABLE HERE

Musical Perception!

2010-11-08T03:04:00.000-08:00

What do we miss?

PERCEPTION
This was sent to me today and I just had to share it.....

THE SITUATION
In Washington , DC , at a Metro Station, on a cold January morning in 2007, this man with a violin played six Bach pieces for about 45 minutes. During that time, approximately 2,000 people went through the station, most of them on their way to work.

After about 3 minutes, a middle-aged man noticed that there was a musician playing. He slowed his pace and stopped for a few seconds, and then he hurried on to meet his schedule.

About 4 minutes later:
The violinist received his first dollar. A woman threw money in the hat and, without stopping, continued to walk.

Another 6 minutes:
A young man leaned against the wall to listen to him, then looked at his watch and started to walk again.

A further 10 minutes:
A 3-year old boy stopped, but his mother tugged him along hurriedly. The kid stopped to look at the violinist again, but the mother pushed hard and the child continued to walk, turning his head the whole time. This action was repeated by several other children, but every parent - without exception - forced their children to move on quickly.

At 45 minutes:
The musician played continuously. Only 6 people stopped and listened for a short while. About 20 gave money but continued to walk at their normal pace. The man collected a total of $32.

In the end:
He finished playing and silence took over. No one noticed and no one applauded. There was no recognition at all.

No one knew this, but the violinist was Joshua Bell, one of the greatest musicians in the world. He played one of the most intricate pieces ever written, with a violin worth $3.5 million dollars. Two days before, Joshua Bell sold-out a theater in Boston where the seats averaged $100 each to sit and listen to him play the same music.

This is a true story. Joshua Bell, playing incognito in the D.C. Metro Station, was organized by the Washington Post as part of a social experiment about perception, taste and people's priorities.

This experiment raised several questions:

*In a common-place environment, at an inappropriate hour, do we perceive beauty?

*If so, do we stop to appreciate it?

*Do we recognize talent in an unexpected context?

One possible conclusion reached from this experiment was this:

If we do not have a moment to stop and listen to one of the best musicians in the world, playing some of the finest music ever written, with one of the most beautiful instruments ever made . . ..

How many other things are we missing as we rush through life?

www.schoolofpiping.com

Blowing a Bagpipe

2010-10-23T20:47:00.000-07:00

Having assisted several pipers lately it appears to be a common thread that poorly controlled blowing technique is severely hampering the production of tone produced by many pipers.
There are several issues to look at when attempting to produce a good, steady, tuned sound from a bagpipe.

1. An airtight instrument. Both bag and ALL joints.
2. Well set up bagpipe and reeds that do not use too much air.
3. Correct blowing and arm co-ordination.
4. Blowing correct tone.

Check Instrument
The bagpipe should be airtight. Cork all stocks, insert a blow stick and blow up the bag. The valve should be working correctly and the bag should stay up very tight. Try to twist the stocks in the bag. They should be tied in firmly. This applies to all types of bags.
Next step is to check that all joints are tight and none leak. This will affect steadiness if they leak at the stocks, but will also affect the instrument if the drone slides are loose and wobble.
Lately I have been seeing all sorts of gadgets and gizmos in the bags. Moisture control systems and drones valves are fine, but I fail to see how they can be left in an instrument if they affect steady blowing, or tone. I have seen a few instruments with all the gadgets lately that were simply unplayable.

Check the reeds
Reeds should all be efficient, meaning they should not use too much air. Drones should be set so that they cut out if overblown, but produce a free pleasant tone. Double toning at the strike in should cease before the chanter sounds. When testing drone reeds they should be under blown to ensure a double tone does not come back easily whilst playing.
Chanter reeds should be free and as easy to blow as stability will allow. It should not be a huge physical effort to blow a bagpipe. A well rehearsed piper should find their instrument refined and reasonable easy to blow. As a rule, it should be no effort to play for an hour or so.

Blowing a chanter
The next stage is to insert a chanter with the drones in the stocks but corked. The chanter should be blown so that with even pressure up the scale all notes sound true. Blow high A. Now think pressure. There should always be pressure from your arm on the bag and never any wild variations.
Fully inflate the bag until it can take no more air, too many pipers play with a semi filled bag which allows for a lot of arm movement. The pressure of the air now within the bag must now be maintained. Very gently squeeze with your left arm SLIGHTLY BEFORE taking a breath. The pressure in the bag should remain constant. Blow more air into the bag but DO NOT slacken off your arm. Allow the air you blow in to push your arm. Once again when the bag is fully inflated gently squeeze with your left arm and repeat the process. Too many pipers pump their bag. Blowing into the bag does not equal the same pressure from start to finish. Whilst taking a breath the amount of pressure on the bag increases until you start blowing again. The pressure applied by your arm should then decrease evenly until your breath reaches its maximum pressure.
High A should produce an even tuneful sounding note that does not vary. When you get proficient at this, other notes and then a tune can follow. Slow tunes with long sustained notes are best for this purpose.

Blowing drones
Another exercise is to cork your chanter stock and tune your drones together. Listen to them as you blow and practise the same technique. They should feel nice to blow, sound steady and even and produce a pleasant full tone. If they vary a lot, you should go back to the previous steps.

Blowing the entire instrument
The next step is to add a chanter. If an experienced piper, you can play all drones. If not add them one at a time. The same technique should now be practised with the entire instrument to consider.
Listen to the tone the chanter produces against the drones. Every note should sound true and steady.
1. Do not get into the habit of blowing harder for top and notes and the easing
off for the bottom hand notes.
2. Do not take too long a breath.
3. Do not blow harder for difficult or fast tunes and softer for slow or easy tunes.
4. Do not under blow your chanter so that high A is indistinguishable as a note, or your pipes choke.
5. Do not over blow so that high A screams and your chanter squeals.
6. Play long slow tunes and listen to the drones against your chanter and practice holding long stable notes.
7. Piobaireachd is excellent for this.
8. A water meter or tuner can help when trying to visualise what is at fault when steadiness cannot be achieved.

Always aim to blow correct tone
This starts on the practice chanter long before you pick up a set of pipes. Low A and High A should be an octave apart. After a short time you should begin to realise whether the notes on your practice chanter are in tune or not. Learning to tune your practice chanter and blow that tone consistently at an early stage will help you when moving up to the pipes. Every time you play your pipes you should attempt to tune them to the best of your ability. Test you blowing technique during the tuning procedure, and then listen to your sound 100% of the time when playing. Listen for steadiness of drone sound, the sound of the chanter against the drones and eventually the sound of your chanter against those of the rest of the band.
Ensure that you are match fit and able to perform on the full instrument with comfort for the required time frames.
Many pipers blow differently when tuning to one note as compared to playing a tune. Many also blow differently for various tune types. It is important to be able to separate blowing pressure and technique from actually playing. Listen to your instrument at all times, and with practice your ability to produce a steady and pleasant tone will increase and in turn so will your enjoyment and that of your listening audience.

There is a lot more of this article and other information to be found in Brett Tidswell’s book, “The Complete Pipers Handbook”. This is the most comprehensive guide to setting up and playing the bagpipe that has ever been written. It is available here: http://www.schoolofpiping.com/handbook.html

The Psychology of Performing

2010-10-18T19:06:00.000-07:00

THE PSYCHOLOGY OF PERFORMING
By P/M Brett Tidswell

INTRODUCTION

Piping, Drumming or playing in a Pipe Band has long been dominated by competition. Actually performing in the presence of an informed audience also forms a large part of what we do. There are equally the same pressures on the performer when playing in front of one’s peers as there is in competing. Many players fail to perform at their peak in front of an audience due to the distractions around them or those created in their own mind. Many performances also fall down when preparation is lacking. The most confident of performers will not play at their best on a poorly maintained instrument, or when their performance is inadequately prepared and rehearsed. On the other hand a well rehearsed performance on an immaculate instrument can crumble, due to the performer being nervous or inexperienced. Let's take a brief look at some of the basics of putting together a performance both physically and mentally.

PRESENTATION

The goal is obviously to present yourself in a confident manner. Start by looking smart and gaining the attention of the audience and the judges. You should look professional, your uniform should be immaculate, you are groomed appropriately, and you have good bearing. If you look good, you feel good about your appearance. Everything about you says that you know what you are doing. You look and feel confident. A good start.

INSTRUMENT

Well before the event; look at the maintenance of your instrument. It should look clean and well set up. Your instrument should be able to sound great for the length of the performance and you should practice under similar conditions to the performance (There is no point in having an instrument that goes great in a small heated room at home, but stops when you get into a cold hall). If you have an instrument that is well set up, feels comfortable to play and sounds good your performance will be a lot better than one where you are worrying about unsteady drones, a squealing chanter, or a rattling snare.

PREPARATION

Before attending your competition or performance, have a good idea what you are going to play, and have the pieces thoroughly memorised. Be well rehearsed and have the stamina to perform at your peak. If you can only just get through an MSR before your lips start to go, your shoulder feels like it is coming out of its socket or you feel like dropping your drum, you are hardly going to play at your best. When rehearsing, play more than you have to in the actual performance. Play your March twice, Strathspey twice into the Reel twice. For an half hour recital, tune up and practice for an hour. If you can't do it, you either have to look at your instrument set up, or improve your stamina. You will be a more confident performer if you know that you can do a lot more than required of you whilst actually performing. Play in the jacket you are going to use, there is no point rehearsing in a t-shirt, then putting on a jacket that causes your bag to slip, or catches your sticks. If you are playing well, you will be comfortable during the performance. So your instrument is going well and you look and feel good. Something is still missing?

EXPERIENCE

You haven't competed for two years, or played in public since the beer tent session after that Pipe Band competition last year and you are now starting the ground of your least favourite Piobaireachd in front of an audience and a judge you have never seen before. You have done all the preparation above, but so has the guy after you who has been competing all season, has been given his favourite tune and played in front of the same judge at last week’s contest. There is no substitute for experience. It is a lot easier if you feel comfortable about performing and can lean back and enjoy what you are doing and really put some music into your performance.

Those who are experienced at performing at numerous venues, in front of different audiences obviously feel more comfortable in a new place than someone who plays just as frequently, but only at one venue.

VISUALISATION

There is no substitute for experience, but there are ways to make the psychological aspect of an unfamiliar place or experience a little easier. Gold Medallist Donald Bain once told me that he imagined he was competing at Inverness whenever he practised (Complete with audience and judges)." I always seemed to play well there" he said. Well, is it a wonder, in his own mind he probably played there hundreds of times. Even if you take a look at the area where you are performing before you tune up, you will at least become more familiar with this environment, and then you can imagine playing in it when running through your tunes.

Some performers lie in bed imagining the venue, running through the performance perfectly in their mind, in a completely relaxed environment. This has to be backed up by some ability to actually do what you imagine, but does help to associate being relaxed with the actual performance and helps solidify what you are trying to achieve in your own mind.

GETTING SET TO PERFORM

You are all dressed up. You have your instrument tuned to perfection. You have fully planned and rehearsed your performance and your knees are shaking, you are sweating and your heart is pounding at a hundred miles an hour. You are not going to play well, you feel tight in the chest and hands and want to run through the nearest exit. What do you do?

Imagine a number between 0 and 10 where you perform at your best. 0 is asleep and 10 is blind panic. Performing music needs an element of calmness and relaxation. You may select for example a four, whereas a 100m sprinter may select nine or ten. Now imagine what number represents how you currently feel. It might be eight for example. Well picture the eight in your own mind changing to a seven, then slowly to a six and so on until it gets to four. Your breathing slows, your heart rate slows, your mind is on the numbers and you feel ready to go on!

There are a number of breathing exercises that can help. Breathing out lowers your heart rate. Try taking a deep breath counting to three as you breathe in, then breathe out to the count of six and totally empty your lungs.

Remember that being calm and the effects of adrenaline are not opposites. Adrenaline gives you the energy to perform and can be harnessed to improve your performance.
A few positive last minute suggestions, nice and relaxed and hopefully a great performance will follow.

CONCLUSION

These are just a few points that I believe go to making up a solid, confident performance. The simple little psychological games that help you get your mind ready need to be practised and get better with time. Constant reinforcement of positive suggestions and frequent visualisation is required. You cannot make yourself play better than you are capable of, neither can you make up for lack of preparation. Know you can do a great performance by practising until you get it right and then use the above suggestions to ensure that you don't spoil your own good work.

No-one else makes the mistakes for you, no-one else loses concentration for you and no-one else causes your hands to clamp up and go tight. Remember you are totally in control of how well you are going to perform, and I hope the above suggestions help to bring out the best in your playing, when it is needed!

The full article can be found in “The Complete Pipers Handbook” available from www.schoolofpiping.com where numerous similar articles are also located.

Thoughts on Chanters

2010-10-17T00:05:00.000-07:00

Let me first start by saying that this is an observation and based on my experience and is no way a dig at anyone or any brands or bands.

I play a wooden chanter in solos. Wouldn't dream of playing plastic. It has a warm tone, good harmonics and a quality of sound that (in my opinion) plastic can't beat. I play more than one chanter by the way. I have compared plastic chanters and haven't changed. The chanters I play are very stable and I do not believe there is any added stability from plastic.

When we first started the City of Adelaide Pipe Band, we purchased plastic chanters. More for cost reasons than anything else. We then changed after a few years due to reed availability more than a chanter issue and really got a very similar sound despite reed and chanter changes. We later purchased wood chanters and the quality of sound and depth of harmonics changed noticeably. The overall character of the sound did not change dramatically. But this was the biggest sound difference we have ever had.

The question is, how much better would some of the worlds best bands be if they changed from plastic to wood chanters? I do not quite understand why some don't. I can't see that it is a cost issue. Maybe it is what they are used to? Is the chanter sound that SLOT or SFU get (as an example) that much better in tonal quality, or does an organ like drone sound (using FMM as an example) offset or enhance the tonal quality of the chanters.

On a good day there is little seperating these bands in terms of sound quality. in fact on any given day any one of the top 6, or even an outsider may have the "sound of the day".

Maybe I am just a wooden chanter snob and hear what I want to hear or am I not alone in my thoughts?

For more articles go to www.schoolofpiping.com

VALE RON GALLACHER

2010-10-14T04:58:00.000-07:00

Last week I was saddened to hear of the passing of Ron Gallacher. Ron had been National Principal of the Australian Pipe Band College some years before me, and was very helpful to me in my early years in this position. As Pipe Major of the very successful Hawthorn City Pipe Band he was someone I always looked up to and respected. In recent years he had been very ill, and despite living in different cities I looked forward to a chat on the phone and always enjoyed catching up with him at Victorian Contests. It was great to see him at the Victorian Pipe Band Championships this year at Haylebury College and have a bit of a chat between judging bands.

Ron's time was always given generously and he tutored the Melbourne Ladies Pipe Band for some 40 years, the Geelong Ladies and more recently the Geelong RSL Pipe Band.

I true bagpipe scholar and a gentleman of the highest order. His funeral today was more like a friendly get together than a sad event, which I am sure he would have appreciated. He will be sadly missed, but not forgotten.

Free Bagpipe Music Book

2010-10-13T05:34:00.000-07:00

I have prepared a free booklet of some simple pipe tunes that appeared on my "Scotland the Brave" album.

This is a free download from the School of Piping site http://www.schoolofpiping.com/lessons.html

I have also prepared a series of 11 audio lessons that accompany the book and are now available from here http://www.reverbnation.com/store/store/artist_1015869?item_type=music

I hope you find them enjoyable and beneficial.

2010-10-07T06:17:00.001-07:00

World Pipe Band Championships 2010 - Strathclyde Police Pipe Band Medley

2010-10-03T17:00:00.001-07:00

Improving Your Piping

2010-09-30T02:57:00.000-07:00

Not wanting to over simplify, but I think there is a formula, and it has to be put into practice.

1. The most important thing is a good sounding instrument. You can improve your playing by 100%, but play on a bad instrument and it still sounds bad! Get someone with an instrument you like the sound of to look at your bagpipes, make sure they are always clean and maintained in tip top condition and spend some money on reeds, a chanter, whatever is required. You can get away with a lot if you have a nice sounding pipe. There are a lot of tips in The Complete Pipers Handbook.

2. The next step is to establish a system of scalic exercises. Repeated to build strength of technique and stamina. Incorporate this into a solid and regular practice regime. Exercises, tune break-up (with a lot of attention to detail), playing on bagpipes. An article with examples is provided here.

3. Lessons concentrating on musicality are a great idea. Try to fix the technical issues before the lessons so you can concentrate on things you need to learn, not covering what you can fix yourself. many provide Skype lessons and face to face lessons, so there is now no excuse for not being able to locate a high quality tutor. Downloadable lessons are available at the school of piping website.

4. Play bagpipes like you are performing. Establish tuning times, how long it takes to settle the instrument and then play your contest pieces like you are performing. This will train your mind and teach you what you need to know about preparing your instrument.

I hope this helps a little toward steering those who have expressed a resolution regarding improvement. I am sure there are others with some good tips to share?

Thoughts on Drone Reeds

2010-09-23T07:49:00.000-07:00

Over the years we would have trialled and tested nearly every drone reed on the market. There are a number of reviews posted on the School of Piping site, but it should be made clear there are a lot that have not reviewed. We will not, at this stage post reviews on products that simply do not work. (Some products we have not tested recently and to be fair to the makers we also will not post reviews on old products).

There have been a number of reeds that have been absolutely appalling. They either use so much air that they are unplayable (one set had tape stuck under the blades to keep them vibrating and used so much air that when they were set as efficiently as possible I still could not play the pipes for any length of time), or they just will not go. Some sets are impossible to balance and some are pitched badly or have aweful tone.

I think that there are so many of us willing to try whatever reeds are on the market that there are good sales even if your product is complete rubbish. There are always a number of people willing to jump on that type of cash cow. If they were not making drone reeds, they would probably be selling diet pills! One of the reviewers spoke to a reed maker who does not play the pipes. When asked if any quality players had tested his reeds before he put them on the market he said he didn't know any! I found this extraodinary particularly when his product was found the be seriously flawed and was not on the market for any more than a few months.

The other issue is the variance in bagpipes. Not every reed goes well in every bagpipe. You will see a few reed makers make reeds specifically modified for Naill bagpipes as an example, which are quite a flat pitched drone. Some other bagpipes are just difficult to reed and set up. Some are old and warped, cracked or just have bad bore designs.

I think many pipers have forgotten (or have never known) what drones with cane reeds sounded like. There are an infinite number of variances on how a cane reed could be set up, but if well set they had a "oneness", that most synthetic reeds are unable to replicate. They also had the ability to follow the chanter and if well balanced would tend to change in unison. I have heard a few lately that have been set up to be buzzy and sound like a synthetic reed (yes, that is possible).

Few synthetic reeds follow the chanter. Some are now so stable that they are producing a consistent pitch and have to be tuned to match a chanter that rises and drops in pitch with playing and temperature fluctuations. Some chanter reeds are more stable that others in this regard as well.

When testing reeds we look at ease of set up. Ease of balance and quality of tone and harmonics. We look at the ability to follow the chanter, by playing, putting the pipes down for a number of minutes and then playing again until they return to the point where they are again in tune with the chanter. We also comment on "oneness", where the drones sound like an overall umbrella of sound, not three individual drones. This is a quality that must be experienced to be understood. You can have three drones playing in unison, perferctly tuned, but you do not feel they are in sympathy and producing one overall sound. Volume is measured on a decibel meter.

We are not trying to say that one set of reeds is better than another in our reviews. Many pipers will prefer one reed over another depending on their taste in sound, much the same as the variances between quality players using cane reeds or different sets of drones. We do want to highlight what the differences are and how the reeds perform. They are also testing in a variety of bagpipes. We hope that this will give pipers a choice as to what sound they prefer and how they should expect a reed to perform. If we have to fiddle with a reed too much to get it to play well, then obviously it is not a good reed for an inexperienced piper.

We also try to test reeds in a variety of temperatures, as we have found some that do not perform in extreme heat. Obviously due to our location we are limited with testing in really cold dry conditions, however it does get cold here in winter to the point where it is uncomfotable to play and we trust that will suffice.

If the reed is receptive to variation in set up, we will make comment on our finding regarding any modification we have adopted. We often try different bridles, and a number of makers have adopted our recommendations over the years. Often getting the sound or result you want is a matter of experiment and trial and error.

Drone reed reviews can be found at the School of Piping website.

2010-09-20T18:26:00.000-07:00

SO YOU WANT TO LEARN THE BAGPIPES!

For those who have an interest and want to learn the bagpipes, there are a few things that you should know. The first is that is a difficult instrument to play and you should not proceed without a good teacher. On average a student will receive one half hour lesson a week, which may increase to a full hour after some time.

What will I need?
You will need a practice chanter and a tutor book to start. This is not overly expensive, probably around $100- $150 for a suitable instrument for a beginner. Your teacher can probably advise you where to purchase a reasonable instrument at a good price. The practice chanter is a quiet instrument similar to a recorder on which pipers learn new material.

What is the process?
The learning process usually starts with a series of musical exercises. The scale, moving on to various embellishments and then, probably some small tunes thrown in along the way. Initially you will run out of material after a few minutes practice, but you should play the routine you are taught several times. Put the chanter down and pick it up and go over it again at a later time. As you progress your practice schedule will increase. Probably 30-45 minutes a day for a learner on some tunes is adequate. You should not worry if you miss a day’s practice, but ensure that you do not do it frequently. The purpose of practice is to develop muscle memory, correct technique and to memorise and remember the material. Later, on the bagpipe you will need to work on blowing technique and stamina as well. As with any musical instrument, practice and playing the instrument regularly are a part of life.

When do I play a bagpipe?
After playing several tunes at a reasonable standard it will be time to progress to the bagpipe. The time this takes will vary from person to person. Some organisations provide a bagpipe for learner pipers; others ask that you purchase your own. A suitable learner’s instrument can range from about $1,500 second hand upwards. There will be maintenance items and other small expenses along the way. Ask your tutor about the requirements for a bagpipe. Do not just go and buy something, there are some traps for the unwary. Lots of Pakistani made instruments are misrepresented on the internet and many people sell second hand instruments they know little about.

How important are lessons?
Regular lessons are very important. To miss a couple of weeks dramatically sets back the progress of a learner piper. To miss lessons frequently is very disruptive and can significantly impede progress. This is a musical instrument. To learn is sometimes a chore, but to play is fun and that should be the goal. Some parents seem to look at piping lessons like school and think students should have a break for school holidays. This is not the case. Piping should be looked at as one of the fun/physical activities that is used as a break from school work etc.

How do I join a band?
Some bands run classes for learners and there will be a direct path to follow to become a band member. There will be specific tunes to learn so that you know the band repertoire and some bands have a juvenile band or a development group that feeds into a higher level band. Some students learn from a private tutor and they will be able to give advice on joining a band. It should be remembered that when you join a band, it is as much your band as anyone else’s. You should therefore help to assist the band in fundraising, group activities etc. This ensures the future of the band and helps to repay the more senior members for the time they put in to
assist you or your child that is learning.

What about solo competitions, certificates and seminars?
Once proficient with a few tunes on the bagpipe, you will have the possibility of entering competitions as a soloist. Competition forms a significant part of the piping lifestyle. It is a good way to monitor your own standard and to gain some feedback. Another useful tool is to complete examinations through the local Associations. Seminars are often run by the local Associations and are a great way to gain additional knowledge, alternate view points and meet some of the local identities.

What is so good about learning to play the bagpipe?
Aside from the pleasure of performing and enjoying music, the opportunities open to pipers are numerous. There are a number of organisations that offer full-time employment to pipers. There are numerous opportunities to compete locally, interstate and overseas. Festivals are run in most countries around the world as well as tattoos and other events of significance. The friendships made last a lifetime. The discipline, teamwork and skills learnt will flow on to all parts of the student’s life. What is most important however are the challenges and enjoyment obtained and sometimes the privilege to be a part of something very special.

There is more information to be seen at the school of piping website and “The Complete Pipers Handbook” is the ultimate guide for getting started on the bagpipe and as a useful resource for teachers. It is available here: schoolofpiping.com

Tune selection for lower grade pipe bands.

2010-09-19T05:54:00.000-07:00

This is an interview that was conducted by Alvin Chung of the Hong Kong Pipers Society with Brett Tidswell. I thought it may be of interest.

Q: What general guidelines should band leaders follow, when it comes to setting up a band repertoire? (especially for learner or lower grade bands in Asia)

A: I have always been of the philosophy that music selected should teach the band something. Look at the basic idioms of piping and ensure that they are encompassed by tunes that will teach the band how to play these types of tunes well. They obviously have to be musical and entertaining, but there should be some sense of direction and a teaching plan behind the music selected at a lower level.

Q: Apart from marches, which most uniformed or youth groups in Asia tend to play for parades, what other sort of things should learner bands here be playing?

A: I think all bands should play a good selection of march tunes of various time signatures, but also basic strathspeys, reels, airs and maybe even some simple jigs and hornpipes. The suggestions that I made above apply here.

Q: When it comes to setting up medleys for lower grade bands in particular, what should leaders pay attention to?

A: I think with medleys lower grade bands need to be careful not to over reach and play music that cannot be controlled by the band. I think musical tunes, within the bands playing capacity, but still giving the members a challenge are important. Good key and idiom changes between tunes makes for a more interesting medley. Music may need to be re-arranged or modified to suit the band's capability.

Q: “A band can only be as strong as its weakest player”
But playing easy tunes all the time may just bore seasoned players to death. How do we find a middle ground?

A: This is always a difficult problem, but can be addressed by having a tiered structure of music, where the upper echelon are learning some additional more challenging sets. The weaker players however should always be put slightly above their comfort level, so that they have to work and improve.

Q: “Picking tunes a level higher than what my band is will drive players to progress faster”?
Is that wisdom or rubbish? What are the pros and cons?

A: I think this is often a bad plan. Usually it just results in band playing technically inaccurately and out of control and serves only to have band members practising a lot of mistakes. Tune selection has to be challenging but also realistic. I rarely see it succeed and result in improvement.

Q: Could you name a few underrated tunes, which an average band in Asia should seek out and explore?

A: I am a big fan of some of the old favourites. Played well tunes like Cabar Feidh, Earl of Mansfield, Brown Haired Maiden etc. can be a delight to listen to. You should always mix it up with some more contemporary pieces to make for a varied and entertaining repertoire.

Q: Any concluding remarks? Any further questions relevant to the topic but not covered here?

A: I think the main point is to have a plan of attack, a purpose for the music and a direction in which to take the band. I hear far too many badly played "itchy fingers" and simialr tunes. Keep the repertoire simple, challenging but realistic. Aim to keep the playing technically accurate, with correct phrasing and expression and at a level that the band can control. I think this makes for better music, a greater chance of improvement and ultimately more enjoyment for the performer and listening audience.

PLAYING IN A PIPE BAND

2010-09-16T20:53:00.000-07:00

Having played in Pipe Bands for over 34 years, with almost 20 of those as a Pipe Major, it strikes me that there is a very different art form to playing in a band, than being in a role that involves conducting and driving a performance.

Instrument.

Having recently played in a pipers role, it was essential that I attended practice with a bagpipe set up as the band wanted and in perfect condition. Why should the Pipe major spend time working with my instrument when obviously there are more pressing issues. Before each practice my instrument was given a short blow just to ensure it was sounding at its best and steady.

Personal practice.

Working on the tunes at home is important to ensure that band practice becomes a musical rehearsal and not a private lesson for one or two individuals. I do not know of any musicians who do not do private practice and still adequately perform at rehearsals.

Focusing.

When the band is playing, spending your time watching the Pipe Major (who is conducting the band) is essential. Instead of just standing and playing the tunes, it is important to watch the Pipe Major's hands and try to play as closely as possible to his style and example. This way you improve at a rehearsal without someone having to intervene.

Intonation.

Next it is important to use your ears. Listen to the sound of your instrument and compare it to the sound of the band overall and also to the musicians on each side of you. You need to blend as closely as possible with both. If there is an issue around you, it will be your experience and listening to the overall sound that will guide you and ensure that you contribute to the sound and not detract from it.

Be an anchor.

You must also contribute to the musical performance. watching the Pipe Major will help, but there are times when bands increase tempo and rush to the ends of parts or tunes. The experienced player will not be dragged along, but will hold back, still ensuring that they do not stand out as an individual in the performance.

Attacks and finishes.

Attacks and finished are all important. These are learnt through drilling and discipline. You should practice them and try to improve them every time they are undertaken. Good instrument maintenance, knowledge and understanding help tremendously.

Attend regularly.

Without all members present practices are difficult. It is not just you that is practicing, but the whole team that is learning to perform together. You would be surprised how ineffective a practice is in reality with one or two players missing.

Contribute.

Most bands struggle to raise money and attract new members. You should realise as a member of a band it is you that "owns" the band and as such you can contribute to recruiting, fundraising and the overall impression the band leaves on outsiders.

Enjoy the privilege.

playing in a band is a privilege. The senior members of bands put in huge efforts and sacrifice a lot to make the bands a success. Ensure that you contribute and you will enjoy your involvement and success of the band.

Upcoming Piping Events - Adelaide

2010-09-08T01:17:00.000-07:00

The R U Brown Piobaireachd Society is holding its Silver Chanter Competition on 5th Nov 2010 at the Blair Athol Uniting Church.

A further Contest will be held on 1st April 2011 at the same venue.

The R U Brown Piobaireachd Society will be holding its Gold Medal Competition at Scotch College Adelaide (Carruth Road Torrens Park)on the 8th May 2011. There are normally over 100 pipers competing in various events throughout the school. International and local judges will decide the winners of the events.

The night before will see a recital held in the School Chapel where pipers of International renown will perform. Seminars and lessons will be conducted in the week following the competition. Keep an eye on the society website for further information.

Accomodation for adjudicators is provided at the Regal Park Motor Inn, 44 Barton Terrace North Adelaide and a bus provides transport to the events. Competitors are free to take advantage of the bus if space is available.

Generous travel allowances are available for competitors in the senior events as well as prize money for winners. Details are on the website.

We are looking forward to seeing everyone at the events again next year.
For further piping information visit The School of Piping Website.

PIPING AT WEDDINGS AND FUNERALS

2010-09-07T21:37:00.000-07:00

PIPING AT WEDDINGS AND FUNERALS - PM Brett Tidswell

There comes a time in every piper’s life when they will be asked to play at a wedding, funeral or even a formal party. There are many similarities between these performances, particularly with tuning.

The best advice I can give is to ensure that your bagpipe is going as well as possible and is played before you leave home. It is going to have to hold tune for some time and there are a few “tricks of the trade” to help.

Taking a booking
Usually someone will telephone or ask you personally if you will play at a wedding or party. Often a funeral director will call and ask if you are available to play at a funeral. You should get personal particulars, including a contact phone number (in case you need to call in the event of an emergency), the venue location, a date and time, details of the event and any special requests or requirements the client may have. There will usually be some tune requests or details of when you are required to play. Many ask for advice on what is commonly done. Remember to clearly establish a fee, any deposit required and where and when you wish to be paid. You may wish to get them to sign a contract. Write all details in a diary and do not forget about the event. These are major stepping stones in people lives that they will remember forever.

You do have a say in what you will do at the event! I remember many years ago being asked to play at an Italian wedding anniversary. The gentleman asked me if I could get him a drum majors staff so that he could walk in front of me with a glass of orange juice balanced on his head (no joke). I advised him I was a serious musician and would not be made fun of. He came to my house to run through the details of the event (highly unusual) and I had actually doubled the fee to discourage him. I ended up playing at the event and he was so happy he apologised for thinking I would accept his antics and later booked me to play at his daughter’s wedding and his wife’s birthday. They were the nicest people and I was looked after very well at every event. I could have turned up, had everyone laugh whist he was the centre of attention and gone home feeling like an idiot.

Presentation
It is important to be well presented at these types of functions. Generally pipers are paid, and therefore we should be as professional as possible in how we present ourselves and how we perform. You should wear appropriate uniform; I wear normal kilted day wear, including a jacket (no matter what the temperature) and always wear a hat. Glengarry or Balmoral are both suitable.

Properly press and polish your uniform as you want to look smart in appearance. I always wear a hat when I am performing. I consider my presence and appearance as part of the performance where appropriate. If I am positioned in a place where I appear as part of the ceremonial aesthetics, I will carry by bagpipe on my shoulder and wear my hat, whether in the church or not. If I am left to one side to wait to perform, I will lower my bagpipe and remove my hat if inside the church or chapel. I will also usually remove myself from view of the public (stand at the back of the church etc.)

Weddings
There are always variations to the standard format. Some churches have restrictions (such as no pipers inside the church itself), so you should ask that the format has been confirmed with the church. You should place this responsibility on the client, so that you do not become embroiled in their disappointment and negotiations. Some may ask that you attend a rehearsal; I would suggest you could charge at least 50% of the usual booking fee to do so. Some ask that you later play the bride and groom into the reception, again you could charge an additional fee as it is very time consuming and usually involves waiting for a few hours.
The usual format is this:
• Play outside the church as guests arrive. ( Light march sets are appropriate)
• And /or just play the bride from the car to the steps of the church. (A slower march or air is suitable)
• Play the bride down the aisle. (A slower march or air)
• Play whilst the register is being signed. (Many request Amazing Grace or similar, let them know you will play one or two sets as this process often takes a long time. It can get tedious as photos are taken. Do not position yourself too close as the photographer will want to be talking to the couple and giving directions).
• Play as guests leave the church. (faster light march sets, strathspeys and reels, jig sets etc. are appropriate, I would suggest 5-10 minutes maximum and position yourself away from the venue, where you can clearly be seen but not drown out everyone’s chit chat ).
Garden weddings follow a similar format. I try to position myself in a shady position, not too close to proceedings. I take into account the fact that I am background music at some points and a part of the proceedings at other stages, so I try to position myself where I think I will sound the best.

Funerals
When taking a booking ensure you know who you are talking to as they will be your liaison on the day. It may be a family member, so you will have to show appropriate sympathy and professionalism. It may be a funeral director in which case you can be more businesslike.
Again some will have firm ideas as to what they want, others may ask for guidance. There are many variations.
The usual format is this:
• Play the casket from the hearse into the chapel or play as the mourners and family arrive. (airs, hymns and slow tunes are appropriate)
• Play as the casket is lowered in the case of cremation. (Flowers of the Forest or Amazing Grace are often requested).
• Play the casket back to the hearse and then play at a graveside lowering in the event of a burial.
• Play as mourners leave. (Marches are appropriate, not too slow; this is when you perform for the “living”, after the funeral is over. Sometimes a family related Piobaireachd is requested.)

Preparing your bagpipe
With most of these types of performances tuning time is limited and tuning during the ceremony is inappropriate. You should therefore ensure that your instrument is well set up and will hold in tune.
Play for a short period before you leave to ensure that everything is working and well set. Put your bagpipe down for a few minutes and pick it back up and play to ensure that it does hold.
When you arrive at the venue select the areas where you will play. Tune up in a similar atmosphere. If you are playing inside and you cannot tune indoors, pick a shaded/ sheltered area where you can tune up outside. Do not over tune your bagpipe. If you are only playing for a register signing and as guests leave the church or for a funeral ceremony, you may only want to tune for a few minutes. If well set your pipes will hold in tune. If you tune for 30 or 40 minutes they will change whist you stand around waiting to play and will never settle during the short performances.
If you have to play outside, decide if you will play in the shade or in the sun. If there is no option and you have to play in full sunlight and it is warm, try to tune in the shade and then play in the sun for short periods to acclimatise the instrument to the heat.
In the event that something goes wrong, it is advisable to continue playing in a professional manner. Fiddling with an instrument is not a professional appearance. Taking a set of small corks is a great idea to deal with an unruly drone or a reed that falls into a bag etc.
Summary
Get full particulars of the event, people involved, contact details and firmly establish a fee and time for payment. Always be polite, but be aware that you can offer suggestions and advice.
Know your instrument and set it up well prior to the event.
At the event, present yourself smartly, and perform professionally and appropriate to the type of event. Carefully consider and plan your tuning options and present with a nice sounding instrument. Select appropriate positions in which to perform. Do not get too close to the audience or participants in the ceremony if you have an option.
Remember that you are at these events in a professional capacity, so always act professionally. For that reason I tend to avoid joining in with the festivities at parties and weddings. I may gratefully accept hospitality, but will not remain to socialise. You do not need to be stuffy or rude, but I usually leave promptly after performing. These things are always up to your discretion though.

Always think about how you present to the audience and the position in which you will play so as to ensure that everyone enjoys your performance.

The most comprehensive guide available today for the set up, maintenance, refinement and performing of the Bagpipe is “The Complete Pipers Handbook”. The book also covers how to properly wear and maintain a kilt and uniform. Sales of this publication help fund the freely available school of piping website. Copies can be purchased here: School of Piping

To hire a professional Piper in South Australia contact schoolofpiping@gmail.com

Amazing Grace - The myths dispelled!

2010-09-07T20:04:00.000-07:00

Love it or hate it, the tune Amazing Grace has become synonymous with the Great Highland Bagpipe. It is requested almost every time a piper appears in the general public and therefore many serious pipers are not great fans of the tune. It is often stated that it is “not a Scottish tune”, or “it was originally a Gaelic air”, or it is an “African American spiritual”. Well, what is the truth and where did it come from?

WORDS
The words are obviously a Christian hymn and were penned by John Newton (1725–1807) and were published in 1779. As a young man, Newton was pressed into the Royal Navy and after his service eventually worked as a sailor aboard a slave trading vessel. During a ferocious storm he called out to God in fear and this marked his Christian conversion. Some years later he left the slave trade and began studying theology, eventually being ordained in the Church of England in 1764. The hymn was written to illustrate a sermon on New Year’s Day 1773. It imparts a message of forgiveness and redemption, no matter how great one’s sins. Not all of the current words are attributed to Newton as there are later additions.

MUSIC
In 1835 William Walker joined Newton’s hymn with the music we now recognise. The tune was known as “New Britain” and had been an amalgamation of two traditional folk tunes known as “Gallaher” and “St Mary”. It is speculated that these tunes were Scottish Folk ballads passed orally by the predominantly Scottish immigrants of Kentucky and Tennessee or folk songs developed in Virginia or South Carolina, from where Walker originally came.

POPULARITY
Issued to soldiers in two hymnals during the American Civil War the hymn became popular in a time dealing with so many tragic deaths. It also featured in an immensely popular anti-slavery novel “Uncle Tom’s Cabin”. The simple and moving words and attractive melody saw the hymn becoming a popular African American Spiritual.
In the 1960’s it was a commonly used hymn by the African American Civil Rights movement and also by the opposition groups to the Vietnam War.

BAGPIPES
In 1972 The Royal Scots Dragoon Guards recorded “Amazing Grace” combining both their Pipes and Drums and Military Band. The arrangement opened with a solo bagpipe which was joined by the Pipe Band and full Military Band. The track quickly rose to number one in the charts in the UK, Ireland, Canada, South Africa and Australia and by 1977 had sold seven million copies. It also reached as high as 11 on the US charts.
The Royal Scots Dragoon Guards had only been formed in 1971 by the amalgamation of the 3rd Carabiniers and the Royal Scots Greys. Pipe major at the time of the recording was Sgt. A J Crease and the Bandmaster was WO1. C I Herbert. We have been unable to confirm the suggestion that Tony Crease was summoned to the Army School of Piping at Edinburgh Castle and chastised for “demeaning the bagpipe” following release of the recording. We doubt this as the Director of Army Bagpipe Music at the time Capt. John MacLellan later published the score in one of his many books of tunes for the Highland Bagpipe.
It is without any doubt that this recording created the strong link that the Bagpipe now shares with the tune “Amazing Grace”. Many recordings (both good and bad) have been made since further cementing the relationship. A recent recording and new arrangement by soloist Brett Tidswell combined with backing by folk musician Marcus Holden can be found on the album “Scotland the Brave” and is only available here: School of Piping

After thoughts regarding the World Championships

2010-09-06T02:59:00.000-07:00

WORLD PIPE BAND CHAMPIONSHIPS 2010

It has been a few of years since I had the opportunity to attend the World Championships and this year I was more than delighted to accept the opportunity to compete with the Strathclyde Police Pipe Band at this prestigious event and of course some lead up competitions.
I arrived in mid-July and competed at the European Championships in Belfast. The band gained a respectable fourth place and seemed delighted with their third place in piping. The following weekend the band put in a strong performance at Bridge of Allan where we won all elements at the event, setting us up for a good run the following weekend at the “Worlds”.
The set up of “arena one” at the World Championship event has changed with a larger grand stand and the location near the grassed hill. This makes it easier for spectators to see the competing bands and also for fellow competitors to see the other bands without fighting the crowd. It was good to see spectators sitting on the hill enjoying the event from a distance but still being able to see and hear the bands. The large screen also makes it easier to get a close up view of the action. It is however one of the things as a competitor that I found I had to ignore. Not a hard job, but certainly something that competitors should be aware could easily distract their attention.
Overall as a competitor the event seemed to run very smoothly. The only distraction during our preparations for the event was one band blocking the entrance to fine tuning leaving our band to have to fight through the crowd in single file to get past. Not ideal at this crucial stage.
The weather was very nice, but the sun coming in and out seemed to affect the balance and sound of some of the bands. Obviously getting drones perfectly set and maintaining a balanced top hand are considerations in this type of weather.
I gained the impression leading up to the event that St Lawrence O’Toole was the popular favourite and they did not disappoint. They clearly were thrilled with the result as was the crowd. Terry Tully gave a touching and heartfelt speech. Some surprised this year in the results and an unfortunate mix up between third and fourth place. We gained a seventh place overall, which due to some small errors I did not think reflected the potential that the band could have achieved. A strong accurate sound, some talented young players and a lot of interest in the band bodes well for a strong future.
I do have one criticism of the events that I have attended that I personally think needs some review. I have heard numerous complaints from spectators and bands alike about the drawn out nature of the final ceremony. Playing in the centre bands is a hard chore after the day’s events and the long procession of bands marching past and being announced seems to have little favour with the audience. Whilst it is nice to acknowledge the bands it does seem very long winded. A small note is that some of the podium members need to be careful to sit appropriately in a kilt, especially when “regimentally” attired.
Having all bands move onto the arena together in an organised manner, play the salute; prize announcements and the winning band in each grade then being given the opportunity to march off individually in front of the audience and other bands could be the highlight of each event. This could dramatically reduce the length of the final ceremony and make it more spectator friendly.
There are moves afoot overseas to trial an open circle format. This makes the even a little more spectator friendly and also gives the opportunity for bands to present their performance to a fixed judging location. Surely preferable when considering balance, harmonies and other ensemble concerns. The contests in Brittany that I have seen have a significantly larger panel of adjudicators, seated in front of the bands. This gives a focal point for the performances and less chance of personal preferences and large discrepancies in placings interfering as significantly with the final results. We saw some significant variation in results at this championship, especially in the qualifying rounds meaning that only one adjudicator prevented some bands from progressing to the final round.
Congratulations are due to the organisers for the continuing improvement of the event which is obviously the world’s premier pipe band competition.

WORLD PIPE BAND CHAMPIONSHIPS

2010-08-14T17:05:00.000-07:00

Well today was a brilliant day on Glasgow Green. Sunny, lovely temperature, a great day to play pipes.

Strathclyde Police were on just before St Lawrence O'Toole in both events. We had a few minor errors, but a good sound and some class playing. I think the band was disappointed that we did not play as well as we could have. Overall I think a credible performance and a great job by everyone in the band. A class outfit indeed! Don Bradford does a magnificent job as Pipe Major and Eric Ward's drum corps is an absolute delight to play along with. It is such an honour to play in a band with such history and tradition. 20 World Championship wins in total as both the Glasgow Police and later the Strathclyde Police Pipe Band.

St Lawrence O'Toole were sounding really good and very tight with their playing. A popular win and I think many were moved by Terry Tully collecting the prize. Well deserved!!!!

I heard Boghall and Bathgate in the tuning park and they sounded very refined with their usual magnificent drum corps. I also heard Shotts and Dykehead and thought they sounded the best I have heard them this season. Unfortunately it is impossible to hear everyone when you are playing.

Results in Grade 1 were:

1st St Lawrence O'Toole
2nd Field Marshall Montgomery
3rd Boghall and Bathgate
4th Simon Fraser University
5th Shotts and Dykehead
6th Scottish Power
7th Strathclyde Police

The performances can be heard here at the BBC.

Congratulations to all of the winning bands. A great day indeed!

SLOT PIPE BAND CONCERT

2010-08-12T01:14:00.000-07:00

Well done to SLOT Pipe Band, who in their 100th anniversary year put on a great concert at the Glasgow Concert Hall. Packed to the rafters the crowd really responded to the band and their support groups.

The purity and clarity of sound was very impressive. At the end of the concert the band played "Dawning of the Day" as an encore and then marched into the audience to play their last set among the crowd. The unity of sound was outstanding. The pipes held very well, and were best in the second half.

Great to see some old faces and catch up with a few friends.

Earlier in the day we went to the Pipe Idol competition to see Alex Gandy play. Was great to see him get through to the final. Steven Lieske who also plays in the Strathclyde Police Band with me, came through as well. We will try to support them all at Friday's final. It should be a good event.

Had the opportunity to tour R G Hardie's bagpipe making factory and saw McCallum's last week. Both very impressive. Hardie are putting out a bagpipe value pack that will include the Complete Pipers Handbook upon request.

Don Bradford and Terry Tully both released new books this week. No doubt both will be well recieved. I had the opportunity to assist in proofing Don's book when I first arrived in Glasgow and must say that it is very inpressive.

The practices are now getting serious and their are bands all over town rehearsing. Just two more for us until the World Pipe Band Championships. Will be a great weekend.

Strathclyde wins at Bridge of Allan 2010

2010-08-08T17:48:00.000-07:00

Sunday 8 August 2010 saw the Strathclyde Police Pipe Band attend the Bridge of Allan Highland Gathering. A lovely setting. The band played Donald Cameron, Cameronian Rant and Mrs MacPherson to gain first overall with a first in both piping and drumming. A very strong performance from the band which is improving every day. Pipes were great straight out of the box with very little having to be adjusted. Beautiful conditions prevailed all day.

A lot of interest show in The Complete Pipers Handbook, as a guide for pipers of every level to get the very best out of their instrument.

Here is some footage from You Tube of the band leading the march off.

1st Strathclyde Police
2nd Fife Constabulary
3rd Inverary
4th Cantebury Caledonian

A full week of practice and next week the band will be competing at the World Championships. A great day that I wouldn't have missed for quids!

EUROPEAN CHAMPIONSHIPS BELFAST 2010

2010-08-01T10:17:00.000-07:00

The Strathclyde Police Band left Friday morning for Belfast and we had a quick afternoon practice in Belfast. The day of the contest saw a little rain and the band ended up tuning for a very short period indeed. The pipes were pretty tidy straight out of the box.

Great to see some footage from the tune up park on You Tube already. We were third equal in piping with a fourth overall. A great weekend. Looking forwadr now to Bridge of Allan next weekend.

1st St Lawrence O'Toole
2nd Field Marshall Montgomery
3rd Boghall and Bathgate
4th Strathclyde Police
5th Scottish Power
6th Shotts and Dykehead

Strathclyde Police Pipe Band

2010-07-27T08:03:00.000-07:00

I arrived in Scotland after 32 hours of travelling last Tuesday and was at the Strathclyde Police band practice about 5 hours later. After two practices last week and being issued with a set of McCallum bagpipes (complete with sheepskin bag) I finally got to spend some one on one time with the Pipe Major on the weekend. Played at practice with the full band last night and pipes were singing. Will have to go in early tonight to get issued with uniform etc.

We have practice every night this week in the lead up to the European Championships on Saturday. The band is quite confident that we will do well.

I have been to the College of Piping and spoke to Rab Wallace about their new exam syllabus. Will get a chance to go over it in more detail shortly no doubt. Today I went to see James C Begg bagpipes who will be stocking my book and Pipe Dreams, the makers of Ezeedrone and Ezee PC reeds. Amazing workshop, very automated and clinical, not a speck of dust to be seen! Everyone seems blown away by the handbook and website. I am amazed the book seems to be selling so well as I am yet to see it displayed on a shelf anywhere, quite dissapointing.

So far there is quite a lot of interest here in the new CD and many good comments on the quality. A few shops want to stock it, but sales at this stage at least will remain with the SoP website only.

How to make your bagpipe fit

2010-07-16T18:24:00.000-07:00

The most popular technical article on the School of Piping website is the "Making your Bagpipe fit" article. It is good to see so many people realising the importance of this issue. Improved playing, posture and less chance of strain or injury arise from making an instrument fit you properly. The artcile can be seen here: articles

Recording project

2010-07-11T20:31:00.000-07:00

For the past several months I have been involved in a recording project for the School of Piping site. It was my intention to at some stage produce a number of recordings and as it turns out two CDs have now been completed.

The first recording is a very traditional piping CD with a ground and two full (but short) Piobaireachd being played. Other competition style sets and some lighter sets complete the recording. These are all new recordings.

The second CD is a recording of all basic piping idioms. Common tunes learnt by and often requested of pipers. Over the years I found very little reference material that I was happy with on solo bagpipe for some of the common piping tunes, so I have been preparing these types of recordings for our band learner’s classes for years and decided this time to go a step further and offer them to a wider audience. Often requested tunes like Mull of Kintyre, Amazing Grace and Flower of Scotland have been included, but have backing tracks provided by Marcus Holden of the band, Fiddlers Feast to create a little more variety and wider appeal. As well as a tool for learner pipers, this album will hopefully appeal to the lover of the “auld favourites”. If there is enough interest I will produce other volumes in the future.

A great time was had and it was an interesting exercise indeed. Being involved in the back stage mixing and production is always an experience, and it is always a surprise to see how others interpret the sound of your instrument.

The next project is an all Piobaireachd CD. That will have to wait until after the worlds, as I will be over having a tune with the Strathclyde Police this year. I hope to catch up with a few of my friends while I am there.

All CDs will only be available from the School of Piping website.

Brett Tidswell

Improve your piping

2010-07-11T05:23:00.000-07:00

Not wanting to over simplify, but I think there is a formula and it has to be put into practice.

1. The most important thing is a good sounding bagpipe. You can improve your playing by 100%, but play on a bad instrument and it still sounds bad! Get someone with an instrument you like the sound of to look at your pipes, make sure they are always clean and maintained in tip top condition and spend some money on reeds, a chanter, whatever is required. You can get away with a lot if you have a nice sounding pipe. There are a lot of tips in "The Complete Pipers Handbook".

2. The next step is to establish a system of scalic exercises, there are some posted on the School of Piping website. These should be repeated to build strength of technique and stamina. Incorporate this into a solid and regular practice regime. Exercises, tune break-up (with a lot of attention to detail), playing on pipes.

3. Lessons concentrating on musicality are a great idea. Try to fix the technical issues before the lessons so you can concentrate on things you need to learn, not covering issues that you could have fixed yourself.

4. Play pipes like you are performing. Establish tuning times, how long it takes to settle the instrument and then play your contest pieces like you are performing. This will train your mind and teach you what you need to know about preparing your instrument.

I hope this helps a little toward steering those who wish to improve their playing. I am sure there are those who can add furthur suggestions?

Negativity in Publishing

2010-07-10T19:30:00.000-07:00

I was having an email interaction following an interview that I did for a well know piping magazine. The editor was telling me about a topic that he wanted to "have a go" at, but had refrained as it would have been too negative. I thought at the time, what a refreshing attitude. You know, over the years we have had so many that have "had a go"! We see it more and more now on the internet. We used to see it frequently when Seamus McNiell (love him or hate him) used to get stuck into someone. At times it was entertaining, but most times it just put someone offside and eventually it becomes predictable and boring.

We all see the scribblings on judging sheets, and in that place, it is the judges role to comment on why points were removed during a performance. It is often testing to try and make the sheets positive, and in some cases being too positive on a sheet is out of place. I think we become used to this type of criticism of piping performances and expect it in all forums discussing piping.

Here's to a more positive future for piping!

Welcome

2010-07-10T17:42:00.000-07:00

Welcome to the Blog Page for the School of Piping. Our website www.schoolofpiping.com is a freely accessible site for pipers that provides articles, reviews, soundfiles, photo albums and much more all about bagpipes to inspire, assist and to entertain pipers.

The site now has a huge following and it was thought that a blog such as this might create the opportunity to interact on a greater level. The editor will be in Scotland for July and August, competing with the Strathclyde Police Pipe Band. We will keep everyone informed with some snippets of interesting happenings from the week of the World Pipe Band Championships.

If you are a Facebook member you can join the School of Piping Group. This is just another way we keep in touch with our friends.

Currently we have "The Complete Pipers Handbook" and 2 CDs offered for sale as School of Piping products and these help to keep the site running as well as the much appreciated support from our site sponsors, McCallum Bagpipes, Colin Kyo Bagpipes, The Pipers Hut, McCarthy Highland Supplies, and Kintail Bagpipes.

We trust that you will enjoy the main site, but also stay informed via this new blogpage.

Regards
Brett Tidswell