Monthly Archives: June 2014

Silver and Moose Colin Kyo bagpipes

Bryan got a new set of pipes in the other day. Colin Kyo bagpipes with engraved silver slides and ferrules and moose antler projecting mounts, ringcaps, and bushes. They are beautiful pipes. Bryan acquired an older, fully mounted set of CK moose bagpipes a couple of years ago that you’ve heard on the blog before (because I bought them from Bryan) and he liked them so much he bought an engraved silver set. Murray Huggins of CK bagpipes is doing some fantastic work these days. Murray is an amazing guy who not only plays the bagpipes really well, but he has designed an excellent chanter and has really honed is pipe making skills including doing his own engraving. His projecting mounts are smaller these days, more elegant, along with short ferrules for an overall very sophisticated looking bagpipe. Check out the pipes!

Currently, I’ve got Bryan’s 15 year old Ezee drone reeds in there with these recordings. I’ll break out my reed collection in due course before I hand them back to him, hehe.

King of Laois, Swallow’s Tail, Gravel Walk – mic drone side

Donald MacLean’s Farewell to Oban, Captain Colin Campbell, Rejected Suitor – mic chanter side

+++++Edit 2016-06-29+++++

Drone reed library has been explored. What follows is my experience with Colin Kyo pipes. Ezeedrone, as above, gives a strong smooth bass with ringing tenors over the top. I recall CK being Hendersonish in nature so ask any gold medalist playing Hendersons why they use Ezeedrone, now you know. The Ezeedrones above were quite old, new Ezeedrones give a brighter ring. I tried Selbies next but being such a bold reed, the tenors were a pain to tune. If both tenors were on, it was impossible to tune them together with a seamless sound. I had the same problem with Selbies in my old Hendersons, these pipes don’t need the tenor volume help that Selbies provide and it becomes too much in the overtone department and become difficult to tune. Selbie bass is solid, but maybe half way between Ezeedrone and Crozier Glass with a tad bit of buzz. Crozier Glass give a big well balanced sound, but it is very buzzy from both tenor and bass. If you want big, buzzy, but also well balanced, Crozier Glass are for you. Canning gave me similar trouble as the Selbie, but were not nearly as troublesome. Canning are Ezeedrone’s brighter cousin in the tenor department. Finally, if you want a little more tenor than what Ezeedrone provide, head over to Redwood. They give great volume but are easier to tune than Selbie. What we have below is my favorite bass, Ezeedrone, which just comes off so smooth, solid, and easy to tune, with Redwood tenor drone reeds. Enjoy!

74ths Slow March, Sweet Maid of Mull, Farewell to the Creeks – mic drone side

It has dawned on me that I don’t have recordings of my Colin Kyo bagpipes with just straight up Ezeedrone reeds in them, gah, you need to hear them with that brighter ring off non-worn out tenors. Check back soon!

Brighter tenors in the casein Robertsons!

The previous post on these pipes had me running Cannings in them but I felt the tenor need a boost so I’ve recorded them with a Selbie bass and either the Selbie or Wygent Duatone tenors. I likey like!

Selbie tenors

Leaving Port Askaig, The Quaker, Angus McKinnon, and Ellenor – mic off my left shoulder

Rossshire Volunteers, Susan MacLeod, Miss Proud – mic behind me

Fairie’s hornpipe, Jolly Beggarman, Pigeon on the Gate, Rocking the Baby, the Panda, Rob’s Shower Shabang, Kesh Jig – mic in front of me, tunes I haven’t played in a long time; trying to mix it up

Wygent Duatone tenors – fingering sucks, beware!

Mist Covered Mountains, Calum Campbell’s Caprice, Big Yin, Rory Gallagher – mic behind me

Inspector Donald Campbell (Ness) and I Laid a Herring in Saut – mic in front of me

Focal Dystonia

Focal Dystonia (FD) is a condition where one loses control of voluntary muscle movements. It is a condition that is acquired when a task is repetitively done over and over again and is therefore task specific, meaning that it only manifests when one attempts a very specific task. A technical understanding of how it acts boils down to a smearing together of the signals intended for separate parts of the body. For example, in my case, when I aim to play an E grace note with my ring finger, my pinkie contracts violently. Presumably then, the signal to my ring finger instructing it to raise is also getting transmitted to my pinkie but is telling my pinkie to contract, albeit not voluntarily.


However, it is not simply the smearing out of nerve signals to nearby fingers, but it also involves the reception of signals by the brain. So, the process of receiving feedback after a signal is sent is also smeared out. Therefore, the entire process of sending a signal from the brain to a muscle, receiving feedback from the muscle, fine tuning the signal and trying again, receive feedback, etc. is seemingly corrupted. This process, sans corruption, is crucial to someone learning a new task. However, FD affects those who have engaged in a specific task repetitively for long periods of time. What is observed is that one gets better and better at the task as it is learned, but at the onset of FD, the ability to do that task diminishes. There have been some genetic and physiological links made in those who suffer from FD, but they are not entirely sufficient for causing FD as not everyone with those conditions exhibits FD. Therefore, FD is something that is self-diagnosed. There is no pain, swelling, or any discrete physiological condition that we can point at and say, that’s the problem we need to fix.

A few videos about FD (courtesy Nathaniel on the Bob Dunsire forums):

  1. – The example used to introduce FD is that of a pianist who, when faced with playing parts that required extended reaches, found FD to manifest in his 4th and 5th fingers (ring and pinkie), but there was no problem otherwise (again, very task specific). It would seem these two fingers are the most commonly affected. I know of some people whose FD affects the motion of their B finger (ring finger) when moving their low A finger (pinkie). It should be no mystery that I prefer Colin Kyo chanters. These chanters have the smallest finger spread I’ve ever found among highland pipe chanters. I had a 3/4 John Center chanter at one time, ah, I loved that chanter, it was very small. Hand me a pencil, and I’ll finger bagpipe tunes on it all day, no trouble, E grace notes flying everywhere. Of course, my fingers fall right next to each other and are very relaxed. I am not charged with the task of ensuring that holes be adequately covered. I am so very fortunate that in addition to a smaller finger spread, the Colin Kyo chanter is simply a really good chanter with lots of other attributes you can read about in other places on my website/blog. As a side note, I love playing C smallpipe chanters; they’re like playing a pencil, no trouble what so ever finding the holes. Here’s a YouTube video of me wailing away on one and I hit most of the E grace notes! Gotta love these things!
  2. – Talks about the smearing of nerve signals and the science behind our understanding.
  3. – Briefly talks about treatment as being retraining of the muscles and appealing to larger muscles further up the arm and not focusing on the forearm and finger muscles. Refining of the motions of the fingers is left until after the larger muscles up higher have been retrained first.

and also this one

Regarding treatment via larger muscle groups and the left hand is that those muscles are engaged in squeezing the bag. How will relearning fine motor skills starting from the back and shoulder muscles (instead of forearm and finger muscles) be affected by heavy use of those muscles in squeezing the bag? What I find interesting is that it is not uncommon on a particularly bad day for my bagpipe to choke when I attempt to play E grace notes, indicating some connection to the larger muscle groups farther up the arm. Whether choking due to bag pressure loss is a manifestation of the FD itself or a side effect of consciously trying to correct the FD, I’m unsure. Perhaps it simply arises from tension in my arm as I anticipate the impending E grace note and I lose focus?

This document from the journal Muscle and Nerve shares some info on FD. See page 558, starting at the top of the right side column. Ultimately, treating FD boils down to coming up with ways of making the brain forget how to send the signal, retraining the signals and muscles, and the like. Injections of Botulinum toxin weren’t necessarily effective among other methods. I was particularly interested in references 21 and 72, although the author of the citing work above indicated not observing the same success as the authors below:

21. Charness ME, Ross MH, Shefner JM. Ulnar neuropathy and dystonic flexion of the fourth and fifth digits: clinical correlation in musicians. Muscle Nerve 1996;19:431–437.

72. Ross MH, Charness ME, Lee D, Logigian EL. Does ulnar neuropathy predispose to focal dystonia? Muscle Nerve 1995; 18:606–611.

My “journey” with FD:

My first bout came while in college. I wasn’t actively playing but one day I got my practice chanter out and my pinkie exhibited this strong contraction when playing E grace notes. Oddly enough, I was able to overcome the problem over the period of a few weeks by simply forcing my pinkie finger to stay erect above the chanter. Several years later in my mid-20s, the problem reappeared and hasn’t resolved itself since (I’m almost 31 at the time of writing). The first fix I tried was again holding my pinkie finger erect. Ultimately, this didn’t work the second go around as the pinkie is still contracting, it just has farther to go. I found the increased tension in my hand often made the problem worse. I also tried taping my pinkie to my ring finger but that ultimately detracts from the performance of the ring finger. I have no trouble playing the note E, the specific task that triggers the dystonia is the call for a rapid E grace note. I did at one time try building a pinkie rest to keep my pinkie erect and that sort of worked. I found it essential to get the pinkie back as far as possible, effectively debilitating it by giving it no leverage. I was so excited I made a couple YouTube videos of me playing with it. It was made of a brass colored clothes hanger so it may be hard to see in the videos due to poor resolution:

MSRHJ number 1, MSRHJ number 2, and some 6/8 marhces.

Musically, being unable to play an E grace note due to the violent contraction of the adjacent pinkie finger wrecked havoc on the musicality of my playing. What effectively happens is a big giant pause as my brain waits for the ring, E finger, to pick up, which it rarely does. Doubling tachums in strathspeys were very square and even, GDE timing suffered severely, taorluaths didn’t happen (don’t even mention crunluaths!), and D doublings amounted to G grace notes. Ultimately, the timing of my tunes suffered as I tried to accommodate the problem and you can hear some of that in the YouTube videos just linked. Furthermore, constantly thinking about the coming E grace note left little time for thinking about phrasing. There were times I toyed with just replacing every E grace note with an F grace note. But then taorluaths sounded really weird, trust me. The next thing I tried was to rest my pinkie on the chanter thinking if I was able to prevent the pinkie from descending below chanter level, at least it wouldn’t be pulling my ring finger down and maybe I could get the E grace note out. This was a great and a terrible idea. It sort of worked, but the tension in my hand still persisted. I’ve spent a great deal of time unlearning the habit of letting my left pinkie touch the chanter. Don’t try it.

One of the easiest cures for the problem was to just totally relax, absolutely and completely. Sort of like playing a pencil. Unfortunately, the overall quality of performance is diminished due to EVERYTHING then sounding rather mushy, something a few E grace notes can’t make up for. It is apparent then, that relaxation or releasing some control over the muscles is essential for retraining the fingers. Over the last couple years I’ve managed to learn to play a taorluath fairly well although it gets sketchy from C to C. I did this by basically relearning how to play it devoid of any knowledge about E grace notes. The piobaireachd dre movement came easily once I played it like an edre, the difference being whether you’re coming from a note below or above E, respectively. Coming from above E, you’re forced to effectively play the big note E on the way down to low A. From a note below E, you play an E grace note to low A; however, I play a full E note just really quickly (again, it’s about how you think about it) and fall back down to A to finish the movement with the F grace note, etc. This has influenced my crunluath playing, as I now play it by playing first a grip followed by this method of playing a dre with a “full E” grace note in the middle. GDE rhythms are coming along and the occasional, very slow D doubling happens every once in a while. Individual E grace notes from, say, C to low A still don’t happen all too reliably. It is still a very forced motion. Come to band practice and watch me play Flett from Flotta and you’ll see my dystonia rear its ugly head with every c{e}A movement. That, or practially the ending of every 2/4 competition march in existence.

As of recently, I’ve had success with returning to keeping my pinkie erect but with less of an effort of keeping it up, but keeping it over my ring finger, as odd as that sounds. Mechanically then as I push up the E ring finger, it physically pushes on the pinkie finger. It’s a bit tricky but seems to work. This is akin to taping the pinkie to the ring except the ring isn’t constrained by the motion or weight of the pinkie.

Other thought processes I’ve experimented with in the past involved simply forcing all grace notes to be large and that also sort of works. In all, the things that work best are the things where I don’t think about the E finger at all, but nothing has been a completely effective cure. You may or may not hear the effects of FD in my playing as distributed via this blog. You certainly only hear the best of the best of my recordings. I record a lot not for distribution specifically, but also to listen to my playing and improve, for critique. More than anything, I can listen to it and sometimes think to myself, “Hey, that was pretty good, I don’t suck as bad as my dystonia (or lack of practice in other areas, haha) makes me feel sometimes.” That is probably its most valuable asset; it provides me the motivation to once again break out the pipes and give it another go knowing full well that I can do this, because I have in the past. There is no encouragement like the struggles you’ve already overcome.

Work in progress….

Ebony Robertsons, again!

I once again have a (different) set of Robertsons on loan to me. Casein ringcaps and bushes, nickel ferrules with scribe lines around the center, ebony pipes with, I guess, ebony black casein projecting mounts. They are beautiful pipes, the casein, if that’s what it is, hasn’t gone all chalky and ugly.

First up in what will probably be a series of posts, some old Canning drone reeds I had laying around. It’s a very bass dominant sound at the moment. What is striking is that the bass tunes quite low relative to all other Robertsons I’ve played. But, these reeds have been around a while so who knows.

Cowal Gathering, Inveraray Castle, Lochiels Awa to France – facing mic

Donald MacLeod and Rakes of Kildare – facing away from mic

Echo Lake, Highland Harry, Bessie McIntyre, Captain Lachlan MacPhail of Tiree – facing mic

Tenor tuning chambers are .02″ shy, consistently, of what I have on record for nominal Robertson, but otherwise all bores are what you’d expect to see. I’d be keen to spice up the tenors a bit so some Kinnaird will be next to try, Selbie may be a good bet as well. I also closed down the bridles a bit on these Cannings, perhaps I should just open them up a tad to regain some volume.

On a whole other topic, Austin, a subscriber, sent in some interesting audio files of his two Sinclair bagpipes, one from the 50’s and the other from the 70’s. Both played with exactly the same setup (Ezee tenors and original Kinnaird bass). Interesting the different sounds emitted from the same maker, just different time periods.

50’s sinclair_Ezeedrone tennors_Kinnaird bass

70’s Sinclair_Ezeedrone tennors_Kinnaird bass