Jackie Latin is an old tune that spans many piping traditions. I, however, only ran across it listening to PM Ben Duncan playing at The Masters Solo Piping Competition as a part of Piping Live! week at the National Piping Centre. You can hear him play his MSR starting at 11:36:40 with the tune starting at 11:39:39. He is essentially playing the 6 parted version published in Willie Ross’ first book with slightly different rhythm in places. The tune has been published many times with a few available online, though they vary in the number of parts (and the name of the tune: Jacky Lattin, Jackey Layton, etc.). Traditionally, the tune doesn’t really fit as a competition style reel, but Ross’ version fits the mold very well. If you haven’t picked up the Pipe-Major W. Ross’s Collection yet, shame on you; you should have bought it right after acquiring Donald MacLeod’s Collection (no sheet music this month as I don’t want to infringe on Ross’ copyright of the arrangement). The tune itself is relatively easy; there’s a throw at the end of each line, a B –> C grip in the first part, a few doublings scattered around, and that’s it aside from timing issues. GDE and GD gracenote rhythms in reels is essential to getting the flow. I hold the first note of GDE patterns, DOT cut dot: look for this in the 5th and 6th parts. This tune also has the GDGD, cut dot cut dot, rhythm most associated with the reel The Smith of Chilliechassie; in this case I make sure to hold the second note, cut DOT cut dot = tach-ummmmmmmmmmm da-daaa: look for this in the 4th part of my recording. And while I was thinking about those things, I should have held the D on the throw a little longer at the end of each line and held those DOT cut dot, ABC and ABE, patterns in the first and second parts, respectively. Doh! Well, that’s why I record my practices…I’ll update with a new recording after I no longer have to sight read the tune.
Jacky Latin (mic off to the left) – not the audio from the video above (Pipes are Colin Kyo with Ackland prototype drone reeds = why you get two sound perspectives. Chanter is Colin Kyo with Shawn Husk chanter reed.) (recorded 2019-08-14)
A friend of the blog has had Jim McGillivray send me one of his polypenco Aurora JM chanters to try out before sending it on to them. Jim has had a hand in designing several chanters, including the CE Kron Medalist and The Gael from Jim’s previous collaboration with Roddy MacLellan. The Aurora JM comes out of the shop of Dunbar bagpipe makers, which is consistent with all the work they do for him restoring pipes and making reproductions of old pipes for his piping retail business. The Aurora JM is different than both the Medalist and the Gael.
The Aurora JM is designed to be a flatter chanter (like the Gael in that respect), and it accomplishes that being a full 4 Hz flatter than a Shepherd MK 3, which I consider to be the flattest chanter used by pipe bands. Where my MK 3 comes in at 479 Hz with a Shepherd Bb reed, the Aurora comes in at 475 Hz. As an aside, this particular Bb reed is unlike my other Shepherd Bb reeds which actually tune to Bb in my Shepherd Orchestral chanter; this one is a few Hz sharp of Bb. The sharpest I got the Aurora was with an easy Gilmour playing at 25″ H2O and even then, I only got the pitch up to 480 Hz.
I found the finger spread easy to adapt to. Below is a photo with the Shepherd MK 3 on the left, Aurora JM in the middle, and a Colin Kyo on the right. You’ll notice the Aurora has a longer spread between the D and E holes, but the spread on each hand is normal, the same as the Shepherd, slightly longer than the Kyo.
I found the E to be a tad sharp and D to be a tad flat; C# and B were also flat for some reeds. After playing the chanter for 3 days in a row, I might be inclined to move B, C#, and D up the chanter a tad, leaving low A where it is. There’s plenty of room considering the gap between E and D; though that would increase the bottom hand finger spread. But, it’s not my chanter, in any sense of the phrase. One could also simply tape low A down to the rest of the notes, and that’s exactly what I did for the 3/5 reeds that had sharp low As to the rest of the bottom hand. Every reed had tape on high G.
Now for some audio. All recordings are of a set of 1950s Hendersons with X-TREME regular drone reeds; The Zoom H4n Pro field recorder is off to my left at head height. I haven’t been playing all summer due to travel and being home with the kids all day. So, my fingers aren’t in the greatest form. I particularly hate how tight my doublings are; sometimes the second grace note is non-existent. Kids are headed back to school in a few days so I’ll have to resume a more routine practice schedule once they’re out of the house. We start with recordings of the 25″ H2O easy Gilmour at 480 Hz. You’ll notice my drone reeds are set for a harder reed.
Hector the Hero – a tune I usually avoid because it’s close to being over done, but sometimes you just gotta play one of James Scott Skinner’s classics
Next we’ll have some recordings with the Shepherd Bb reed which eased some during the session, ultimately settling at 29″ H2O, so it needed a wee push to get the drones in as well. This combination resulted in having tape on E and high G and pitched around 475 Hz.
For comparison the following recording was made right after those above with the same Shepherd Bb chanter reed, but set in a Shepherd MK 3 chanter. This chanter has tape on high G (half the hole!), D, and C#.
Returning to the Aurora JM chanter, I tried a third reed the third day. I pulled a non-ridge cut Sound Supreme out of my solo Colin Kyo chanter. It was not as good of a match as the Gilmour or Shepherd Bb reeds above. I had to tape low A (a last resort for me) and D and C# were still a tad flat, though all the tape came off the E; so tape only on high G and low A. This was a long session as well and I think my bag is due for another seasoning as moisture seems to be accumulating on the chanter reed. Most noticeable was the pitch that fell from 475 to 473 Hz as the reed got wetter. This reed plays a little harder than the previous at 31″ H2O.
The Rock and Hollerin’ for Haggis – two hornpipes by Texas composers, and both tunes were previous tunes of the month (so sheet music is available on the Free Tune Page, as are my compositions and a bunch of other stuff)
Turns out the wife was still at work and my daughter was, thankfully, STILL standing in for me on the Nintendo Switch playing with her little brother, so despite how tired I was from the first set of tunes on the Sound Supreme reed above, I figured I needed to knock out a couple more reeds before the weekend zapped my time. I would certainly like to get this chanter on to its real owner. So, next we have a Troy/McAllister reed. I had to tape low A to get it down to the flatter D, C#, and B. No tape on the E here, so just tape on high G and low A. I had modified this Troy reed at some point in the past, taking some cane off the very tips in an effort to bring the high G down (I don’t recall this working, oh well). It did, however, make it one of the batch I received actually playable, haha. The other two I can’t even make squawk. My McAllister reeds come from back when I was trying the RJM chanter, it being the reed that Roddy MacLeod prefers and it also brought the flat D of that chanter up to the rest of the scale.
The Blackbird and Hilton McLaurin’s Jig – another tune of the month (this one was an Irish tune I rearranged for the pipes) and a tune I wrote for my father (the 2nd tune I ever wrote, and still one of my favorites and best, I think)
Last, we have uno recording with a Husk reed because I forgot to turn the recorder on. Doh! Again, the low A is taped down to the flatter D, C#, and B. This 32″ H2O reed came in at 473 Hz. Just a tad of tape on E and the most tape on high G of the 5 reeds tested (1/3 of the hole).
The high G seems well controlled with regard to pitch. While every reed needed tape on high G, what chanter doesn’t?! The fact that I never needed to cover more than 1/3 of the hole AT MOST says a lot in my opinion!
The chanter is definitely flatter than most (non-Bb) chanters, coming in at an average 474 Hz with robust 30″+ H2O reeds. Really, it is just as flat as many Bb chanters which don’t actually get to 466 Hz unless you have the right reed, though I believe the Aurora will not get to Bb naturally, that is without taping of the bottom hand after pulling the reed out to get the high A to the Bb reference.
I believe the D, C# and B are consistently flat enough that you’ll likely find yourself taping the low A down to their pitch, depending on the reed.
The finger spread for both hands is normal. It isn’t the smallest, but certainly not the largest.
Low G was generally very well pitched, with only one reed coming in about 10 cents sharp of the -31 cent tuning required by just intonation (I don’t recall if it was the Troy/McAllister or the Husk), but this is easily corrected by taping a tone hole or two (though I did not because I was already into recording and I’m lazy).
F# was also well pitched. I never put tape on it for any of the 5 reeds and it sounded good to me. I never put tape on high A if I can help it, and it never needed it here.
The reed seat is threaded. You’ll love this feature when fine tuning a reed means a simple clockwise twist further in. You’ll hate it when you twist a reed out and it pulls the bottom wraps of hemp off the reed and you have to rewrap it entirely losing all track of where the reed was sitting before.
You probably know that I’ve spent some time learning uilleann pipes so I’ve been staring at a lot of Irish music recently. July’s tune is one that has previously found its way to the highland bagpipe repertoire as it can be found in Terry Tully’s Collection of Traditional Irish Music and on pipetunes.ca (both arranged by Terry), though the setting I provide here is different.
Within a Mile of Dublin <- pdf of sheet music (I didn’t play all the gracenotes written here in the video below, and neither should you!)
You may be aware that I’ve been collecting and arranging tunes for the Scottish smallpipes which are applicable to those interested in playing in Irish music sessions. Most of the tunes are for A smallpipes, though no small number require you to turn your drones off as the tunes resolve on G instead of our usual A or D. In addition to that, a similar number require you to have the C natural note which uses an extra hole on smallpipe chanters as their cylindrical bore does not facilitate alternate fingerings to achieve “accidentals” (notes outside the default key). You could very heavily tape the normal C# down to C natural, but the note becomes very muted. However, for the tune of the month, I have identified The Mooncoin Jig as being one of the more behaved tunes with only a single high B that I have also taken the liberty of arranging a replacement phrase for those of us without a high B key.
You might notice in the video below that on the repeat of the first part I reverse the order of the end of the 5th bar with the beginning of the 6th bar (swapping the birl with the GDE on low A), as suggested in the notes in the sheet music (although I referenced them as the first and second bars in the pdf). The second time through the tune, in the *2nd* part: I also play the 7th bar twice (as the 6th and 7th bars) as an alternative to the high B section.
Shout out to dunholmpiper on Instagram (Paul Martin) for making me aware of this awesome tune: The Rusty Gulley (Wee Totum Fogg). The first three lines are pretty much his setting and then from there out I arranged it based on an amalgamation of other versions I found (which include thesession.org, Breabach’s track Farsund off their most recent album Astar, and my own head). It can also be found in LBPS’s suggested Session Tunes tunebook. If you’ve got a high B key, there’s some cool stuff you can do in the 4th line on the high hand in the first bar as is done on the low hand in the 3rd bar.
I spent my afternoon Sunday playing with the different widths of tongue blades on these Ackland prototype drone reeds. I discovered the wider tongue gave a smoother, simpler tone whereas the narrower tongues gave a more harmonic tone. I much prefer the narrower tongues. The previous post featured the wider tongues, so this post will feature the narrower tongues.
I recorded this go around with the Zoom H4n Pro feeding the audio into my iPhone 8 via a Blue Mikey Digital (the previous blog post used recordings made with just the Blue Mikey Digital’s microphones instead of bypassing them as I did this time).
I have been testing drone reeds for Terry Ackland for a wee while and I feel his latest reeds are his best yet. These reeds started out VERY bold and the current iteration is just bold, which is good I think. Early versions were incredibly harmonic (and loud) and were fun to play, but unlikely to be adopted due to the sheer imbalance between chanter and drones. So the volume has been dialed back a far bit, so upon listening below you can imagine how loud they initially were. Other recent (using that term loosely here) blog posts of prototype drone reeds would have been older versions of these reeds.
I’m currently testing different tongue widths. I’ve tested both extremes that he recently sent me, I haven’t gotten around to the two middle sizes. Both narrow and wide are incredibly air efficient and rock steady. Due to these two qualities, and despite their harmonic boldness, they are quite easy to tune. They also hold their tuning so the only thing you have to stabilize is your chanter pitch. The wider tongue is less prone to squealing when filling the bag and stopping. These are the wider tongues in the recordings below. The reeds really don’t need a strike to the bag to get started, you can just blow up the bag and they’ll come right in; I strike out of habit.
My entire practice session with the wider tongues was recorded on my iPhone 8 using a Blue Mikey Digital Recorder. It has 3 gain settings: 1) Loud environment 2) Auto-gain 3) Quiet environment. All the recordings were on auto-gain (I think) except the MSR which was recorded with the Loud environment setting (because bagpipes are loud), which resulted in a quieter recording. I usually just use the Blue Mikey as an interface between my iPhone and Zoom H4n Pro recorder through its input jack, but I was lazy today. Although the practice session was broken into 8 pieces, the recorder was going for ALL instances of playing. Tuning, mistakes, etc. are all included. (I just lied, I did omit setting the bridles and initial tuning, but oh well.) There was a gap of time between takes 2 of 3 where I had to retie the middle and outer tenor drone stocks due to a nasty leak that just appeared. Make sure you’re NOT tying bags near the star cut hole, but a bit below! Details of the sets are in the YouTube description field which probably doesn’t appear in the linked videos below, so if you want the tune names head over to YouTube.
Just a tune I found scouring thesession.org and recognized from some highland pipe recording; the ending of the first part is rather distinctive. It is embellished rather simply, preferring half doublings over full doublings, especially for smallpipes (trying to minimize use of the piercing high G grace note). This tune is one that can be played in Irish sessions as it is already in the correct key signature for smallpipes in “A”. I have taken 2 versions of the tune that fit the range of the smallpipes from thesession.org and simply added highland bagpipe embellishments. Along these lines, I have created a new page on the blog cataloging the tunes I’m aware of that (mostly) fit the A smallpipe scale and can be played at Irish sessions, borrowing from the Irish session repertoire. The tunes that I don’t risk violating copyright are located in a Free Tune Book. Please let me know if you are aware of any other tunes that need to be in the list and/or in the tune book, it’s a group effort!
I probably found The Canongate Twitch browsing through thesession.org looking for tunes that fit the range of the different kinds of bagpipes I play (6 now, I think, though 3 of those nominally have the same, Scottish, scale). I thought, “what a great tune, shame about the first line phrase endings.” So I rewrote them, as I was in a bit of a composing fit at the time.
Turns out this tune has been covered before by The Battlefield Band and The Tannahill Weavers (cannot verify). Perhaps it references the Canongate district of Edinburgh? The tune has similarities in the first part to The Woman of the House in the centre in David Glen’s Irish Tunes for for the Scottish and Irish War Pipes. Woman of the House is yet another tune that has similarities but isn’t close enough to be quite the same tune, in my opinion (I’ve added it to my list of tunes I’m going to learn on the uilleann pipes though).
If we take this source (which attributes the Tannahill Weavers for the setting), the Tannies and the Batties play very similar versions of The Canongate Twitch, so there’s history somewhere in there, I’m just not sure how to connect the dots. Below I’ve provided the Batties/Tannies version along with my own so you can decide which you like better for yourself. If you feel my setting lacks the usual number of gracenotes expected for a highland pipe setting, I decided to cut back on the number of gracenotes my brain was automatically adding because I felt it was just too much and they got in the way of the melody.