March 2018 Tune of the Month: Fraher’s Jig

I forgot to publish a tune of the month at the beginning of March! That, combined with a request for sheet music and today being St. Patrick’s day, brings you a jig I associate with the Irish music tradition: Fraher’s Jig. What you’ll find below is a myriad of arrangements that I’ve collected or written myself.

The Tune of the Month series quickly stopped being a vehicle to promote competition tunes not long after it was started. What it turned into was, “Hey, look at this cool new session/kitchen piping tune I found!” So, while Fraher’s Jig isn’t new to me, it does give me the opportunity to point out the need for variability in our arrangements. Non-piping audiences need us to play through tunes as least twice/thrice! They need to be given the opportunity to get into the groove so as to understand the tune. It is then imperative for us to explore all the possible ways to play a tune and still be playing the same tune! It’s akin to composing a new tune, except that the theme is already set, we just need to find all the variations. What variations can you find in the music you already play?

Fraher’s Jig < PDF sheet music (you’ll see some harmony at the end that corresponds with some mucking about I did in Apple’s Garageband a long time ago, in a galaxy far, far away.)

Fraher’s Jig < Garageband

Audio that more closely resembles the variations (I start playing some reels afterwards):

February 2018 – Tune of the Month

Back when I played “A” smallpipes in an Irish session, one of the tunes I could play along with was the High Reel. I believe the whole set of tunes I would play were the High Reel, Dinky Dorian’s, and Dick Gossip’s. It’s been ages since I’ve played the High Reel and I felt it needed an update so I changed the arrangement a tad and subsequently figured it would make a good tune of the month.

High Reel – pdf

Below is a set of tunes I used to play with some Irish session musicians as they kindly played along with me on my “A” Scottish smallpipes; though I’ve arranged High Reel differently now.

High Reel x2, Dinky Dorian’s, and Dick Gossip’s

More Highland Pipes in G

I have been working more on my highland pipes in G. The tonal quality was much compromised with earlier iterations with very heavy taping on E and C leaving not much of those holes uncovered. I have since had the idea to actually insert tacky putty into the chanter bore against the inside wall to narrow the bore around those notes and therefore flatten them. No tape is now needed on E, though C still needs some to bring it down to C natural in addition to the ~15 cents it needs to be flat to be in tune against G drones. Think of it as the opposite of carving a chanter. I do notice that the chanter cuts out more readily than before, undoubtedly caused by the bore restrictions introduced by the putty. However, it’s good practice for keeping the pressure up and allows the C and E notes to sound much more clearly. The E note is a little wonky against G drones being a 6th, I think I need a different just intonation value to tune it against. Maybe?

Seth Hamon’s Gamble & Paddy Cronin’s

Kitty Lie Over & Ulverston Volunteers

Tune of the Month – January 2018

Lament for the Old Volunteers (J. MacBeth) is January 2018’s Tune of the Month.

I originally came across this tune on one of the albums I listened to as a teenager when I was learning the bagpipes. I’m surprised the tape still works I played it so many times! The album is “Proud Heritage” by The Pipes and Drums and Military Band of The Royal Highland Fusiliers. The tune title is given as The 74th’s Slow March on the album but the original tune is credited in the liner notes. The arrangement below is a slightly modified version of the tune as presented on the album. 6/8 time seemed best when transcribing, though the original published source as linked above is in common time (4/4).

Lament for the Old Volunteers (The 74th’s Slows March)

74ths Slow March, Sweet Maid of Mull, Farewell to the Creeks (Colin Kyo bagpipes, Ezeedrone bass, Redwood tenors) – a recording from a few years ago so the arrangement is slightly different

All the albums I listened to while learning had a big affect on my resulting repertoire, and this album was no exception. P/M Gavin Stoddart’s solo MSR of 74th’s Farewell to Edinburgh, Shepherd’s Crook, and Lochiel’s Away to France is a favorite, I love all 3 of these tunes.

Tune of the Month – December 2017

December’s tune of the month is a favorite of mine, though I believe it is best suited to smallpipes. Regardless, Johnny and Ali’s march is a fine reel. It was composed by Brian McAlpine for the wedding of Johnny and Ali. However, within the week after the wedding, Johnny passed away. Brian then sent out a general call for anyone capable to record the tune and send him the audio file, all to be compiled together in an effort to bring a positive vibe and joy to the tune. The combined track can be heard on Brian’s SoundCloud.

Johnny and Ali’s March – sheet music (pdf)


Unst Bridal March and Johnny and Ali’s March

Tune of the Month – November 2017

November marks one year of publishing a tune of the month. I hope it is enjoyable. It started out with a few competition worthy tunes but quickly devolved (haha) into shorter, session tunes as my interest changed. We continue along that thread with a fine two-part reel, Paddy Cronin’s, aka The Mill Stream.

The tune exceeds the standard scale of the highland pipes in either one of two ways depending on which key it is transposed to. In the key of G major, it requires one to play C naturals. However, this key does not sound “right” on the highland pipes because of our drones in A (drones in G would be best, see below). In the key of D major (or for the highland pipes the A mixolydian mode), it requires a high B. The high B however, is a transient note that, while valuable, is not essential. Another compromise made is the tune is actually transposed up a step from G major to A major, of which A major has three sharps, C#, F#, and G#. The latter is not in the standard highland pipe scale, but again most the the high G notes are transient and as is often the case, substitution with G naturals is passable. This is what turns an A Major tune into a D Major tune: G# to G natural leaving only C# and F#.

In the sheet music provided here, the tune is presented first in D Major but also in G Major. I have not recorded it yet in D Major because I have a special set of highland pipes set up to play G Major tunes as it has a G Major chanter and G drones. Below is a bit of info on how to set up a G major highland pipe followed by a recording of a tune of my own composition followed by Paddy Cronin’s. Where the one high A is in the second part when played in G Major is where the high B is when played in D Major. You’ll note the D Major sheet music requires playing something else and has the high B already substituted; I encourage you to come up with your own substitution. I changed the timing to a series of high A eighth notes separated by two thumb grace notes in the spirit of the E and D eighth note patterns that follow shortly afterwards.

Sheet Music – Paddy Cronin’s (the top is best for normal highland pipes).

A few notes about highland pipes in G Major: After tinkering for hours over the course of a couple years as I revisit the concept of a highland pipe that plays in G major, I am getting closer and closer to a more stable instrument and felt I would share what it takes to make it happen along with a few tunes. Highland pipes in G major requires the drones to tune to the G on the chanter instead of the low A, so the drones are playing G. Additionally, the normally C# needs to be flattened so that it plays C (natural). I’ve previously shown that it takes brass tubing to extend the drone reeds so that they can get low enough to play G, a whole (musical) step below A. It’s best to use a very sharp chanter reducing how far down the drones really have to go to get to G. The chanter I’m using currently is a Colin Kyo laminate, though this chanter only tops out around low A = 482 Hz, usually. Referencing the middle tuning chart in this document, how you tune the chanter notes is different when the drones are tuned to G. The biggest complication has to do with when the drones are tuned to A, the G notes on the chanter are tuned 31 cents flat of equal temperament tuning (piano tuning) in order to have consonance with the drones. However, for the G pipes the G notes are the standard which means that their relative flatness requires all the other notes to be taped down just to get started since the G notes start furthest from an equal temperament tuning reference. The biggest hurdles in tuning the chanter then become covering most of the E and C# holes with tape; in the case of E just to get it flat enough because it has to be 16 cents flat to have consonance with G drones, plus having to flatten it just to get it in line with the G note which started out flat because we’re adapting a normal pipe chanter. In the case of C#, we’re trying to get it all the way down to C natural which will take a lot of tape. B gets flattened to 14 cents flat as well but this usually isn’t an issue because of the size of the hole having plenty of room to tape. The rest of the instrument is a late 90s Kron standard pipe (which, like Naill pipes) are a bit on the flatter side drone pitch wise. Drone reeds are Crozier Omega on brass tubing extensions.

Seth Hamon’s Gamble & Paddy Cronin’s

Tune of the Month – October 2017

I just recently attended the Spanish Peaks Piping Retreat held in conjunction with the Spanish Peaks Celtic Music Festival in La Veta/Walsenburg, Colorado. The concert highlight of the festival was Old Blind Dogs featuring Ali Hutton on the pipes. Kevin Burke (fiddle, solo) was also a delight to listen to.

One nice thing about the smallpiping retreat (there’s an uilleann pipe retreat also) is that La Veta is basically a higher elevation version of Lubbock, so all my pipes work exactly the same more or less, no worries about differences in humidity.

The piping retreat was taught by two instructors 1. Tim Cummings and 2. Ben Miller. Ben had his playing partner with him, Anita MacDonald on fiddle, so it was a treat to learn a couple of tunes from their band’s repertoire after getting to hear them play together at the kick off party. Tim Cummings taught mostly Appalachian tunes like the Tombigbee Waltz and Old Joe Clark, which was really cool. He has published many such tunes and sells them through his website. I also got a border tune and Breton tune from him which are unique in their own right. It’s always good to challenge yourself with new idioms! Many thanks go to the smallpipe retreat organizer, Jim Conley!

Linking the concert and workshop together: on Old Blind Dogs’ newly released album, and at their concert, they play a couple of Appalachian tunes, Bunker Hill and Sandy Boys. This set was electrifying in concert and coincidentally relevant to the workshop with Tim over Appalachian music. While Tim didn’t cover the tune Sandy Boys, I cannot let it pass without it being a tune of the month. This tune is so good, and so versatile, I’m just waiting for an innovative pipe band to end their medley with it.

There are so many awesome versions of this tune. Variations galore! I’ve gone through and found a few of them and mashed them together. However, there are no gracenotes in the sheet music I’m providing. This is for two reasons. 1. This is folk music, play it how YOU like and different every time. I don’t just mean changing the gracenotes, change the big notes too! 2. If you want to mark up your own version with gracenotes and/or change the big notes, I’ll give you the “code” in ABC format so you can change it yourself. My hope is you’ll keep it in ABC notation because it’s so easy, free, has accommodations for bagpipe notation, and EVERY OTHER FOLK TRADITION ALREADY USES IT making it easy to transpose tunes from other traditions into the highland bagpipe key. Here’s your introduction to a wider world of music if you haven’t already used ABC notation. Many bagpipe specific music programs are capable of importing ABC notation if you insist on sticking with software you might have already paid for.

In ABC notation, the bagpipe scale is ‘G A B c d e f g a’, bar lines are the pipe | on the backslash key (repeats with a colon :), and anything in curly brackets {} are gracenotes, e.g. high g gracenote = {g} and taorluath = {GdGe}. Set the key in the header of the file to K:Hp and it automatically adjusts formatting for bagpipes! My preferred program for rendering ABC notation files, EasyABC, is no longer being developed by the original programmer but it is still available for download from his website. It went open source but I can’t get any of the newer releases for mac on SourceForge to execute, so I stick to the last version released by Nils.

Sandy Boys – pdf file (the last iteration is repeated only because I didn’t bother to further modify the version that had the note B in it)

Sandy Boys – link to my Dropbox to download the ABC file

Me playing through all the versions in the pdf file:

If you want to hear someone really bang this tune out on clawhammer banjo, go here:

Clawhammer Banjo

Tune of the Month – September 2017

The epitome of pipe band life that was August always leaves me a bit reinvigorated for piping. There’s not much around Lubbock, TX to really keep the motivation up but being able to tune into the live streams of Piping Live! events (through the Inner Ear channel on and the World Pipe Band Championships (BBC) really motivates me to get the pipes out and play.

September’s Tune of the Month is a tune I heard several times during August, and while it’s new to me it’s not a new tune. The 4 part reel by Peter R. MacLeod Jr.: Arnish Light, was played by (at least) 3 different bands.

  1. Most will recognize a rounded version played at the end of St Laurence O’Toole’s medley during the grade 1 finals; they won 2nd in the event and 3rd overall. View the performance here.
  2. The original version was played by Lomond & Clyde in their MSR during the grade 2 finals; they went on to place 2nd. View the performance here.
  3. Shotts & Dykehead played their own rounded version during the pre-Worlds concert “Rise” at the Glasgow Royal Concert Hall the Wednesday before the Worlds. View the performance here.

This is quite the cracking tune, especially arranged as a round ‘hornreel’. SLOT and Shott’s arrangements stay fairly faithful to the original in their hornpipe arrangements, however I have gone and done taken it a bit further with my own arrangement. The tune is modern enough that it is still under copyright so I cannot share the music with you, however there are several sources for the tune, including Jim McGillivray’s site where it can be picked up for a few hundred pennies. Additionally, this tune is so adaptable, providing just one set of dots for the tune doesn’t do it, or you, justice. You may want to incorporate it into your competition reel repertoire (get it from Jim) or play it for fun as a hornpipey reel (it’s in Ryan Canning’s second book) with your own arrangement like I did (I borrowed a bit of nuance from the first 2 parts of SLOT’s arrangement, not gonna lie). If you do arrange your own, I would start with the original dot/cut reel and go from there.

Arnish Light – Chris Terry pipes with Rocket drone reeds, Colin Kyo chanter and John Elliott (Canada) chanter reed

Poly or Blackwood Chanter?

I was asked if there were tonal differences between poly and blackwood chanters. I said, “Maybe, but you wouldn’t know which one was which.” See if you can tell the difference and perhaps which one is which. The two recordings below are EXACTLY the same setup (Chris Terry drones, Redwood tenor reeds, X-TREME bass reed, the SAME John Elliott chanter reed {Sound Supreme, not G1}, L&M hide bag, same recording session, same original mp3 file, and the same standing position as best as I could remember) except one was recorded using a poly Colin Kyo chanter and the other using a blackwood Colin Kyo chanter. The chanters are roughly the same “older” vintage and both came in just shy of 481 Hz (modern Kyo chanters come in under 480 Hz in my experience). Both had tape on high G and the poly also had tape on E. The recordings are a bit drone heavy and I slightly regret that, but oh well. It’ll go toward correcting the balance of all those professional recordings where the drones are almost inaudible.

Fair Maid & Arnish Light 1

Fair Maid & Arnish Light 2


Check the comments for the which is which!

Tune of the Month – August 2017

I have been listening to Ed Miller sing Scottish folk songs all my life. Pipers will recognize the playing of EJ Jones on many of Ed’s more recent albums. Ed collaborates regularly with Brian McNeill, one of the founding members of Battlefield Band, awesome fiddler, and songwriter as well. Despite the many pipe tunes EJ contributes on pipes, the Tune of the Month for August is actually a song, Wark o’ the Weavers. It is a song about how many trades serve a limited segment of the population, but everyone needs the work of the weavers. Unless you’re a nudist I guess, not something covered in the song, haha. It’s arranged here as a 2 part 2/4 march.

Wark o’ the Weavers – pdf file

A video of me playing the tune on my Ray Hughes smallpipes can be found on YouTube: