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

After thoughts regarding the World Championships

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

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

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

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

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