Piping News in 2011

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

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

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.

The Bagpipe Instruction Manual

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

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

VALE RON GALLACHER

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.

World Pipe Band Championships 2010 - Strathclyde Police Pipe Band Medley

Improving Your Piping

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?

Upcoming Piping Events - Adelaide

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

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!

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

SLOT PIPE BAND CONCERT

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.