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.
I have been loaned a set of Atherton Legacy bagpipes to feature for the blog. They were acquired as half-mounted nickel and artificial ivory but were shipped to David Davidse to have the nickel engraved. They’re tied into a medium Gannaway bag (no grommets) and played with a Colin Kyo chanter and custom Husk chanter reed. Bore dimensions lead me to believe Atherton’s Legacy model is based in the Henderson tradition. Drone reed experiments ultimately led to the use of an X-TREME bass drone reed alongside regular Ezeedrone tenor reeds. A close second was just the standard Ezeedrone bass reed, however it blended more readily and was therefore subdued relative to the power of the X-TREME bass reed. Of course the Henderson Harmonic Deluxe bass reed was also good though not as bold, but trouble with consistency from this brand bass reed keeps me from using it. Other drone reeds tested include all commercially available Crozier reeds, Selbie, original Kinnaird, Henderson Harmonic Deluxe, Redwood, and perhaps a few others. The combination of Ezeedrone tenors with a carbon fiber bass is very common as are pipes made in the Henderson tradition, more than a coincidence in my opinion. Popular carbon fiber bass reeds used in this combination include the Original Kinnaird and now Evolution Kinnaird bass drone reeds as is the previously mentioned Henderson Harmonic Deluxe.
I am here to convince you that if you have not yet tried an X-TREME bass drone reed, you have not tried the best commercially available synthetic bass drone reed on the market. I used Original Kinnaird in my Gellaitry pipes for years until acquiring the X-TREME reeds at which point the X-TREME bass drone reed was used due to its superior tone. However, the Original Kinnaird tenor reeds remain in the Gellaitry as they give the tenors the extra power they need. A recording of this setup can be heard in this mp3 recording. Original Kinnaird tenors are too powerful for Henderson based pipes, and that proved true for this Legacy pipe; they were loud and brash. Henderson based pipes are known for their tenor volume and therefore a milder drone reed is needed. The X-TREME tenor reeds are a solid choice however regular Ezeedrone tenors offer a bit more harmonic overtone without being brash or nasal sounding. Following the success of the X-TREME bass reed in my Gellaitry pipes, it is not really surprising that it was also the best reed in the Legacy. It is deep and harmonic at the same time and is tonally superior to any other bass drone reed I’ve ever played, now proven in two commercially available pipes, Gellaitry and Atherton Legacy.
Vacation and illness have taken their toll on my playing ability and endurance. I hope you enjoy the recordings below. This is only a small selection of the music I played during today’s practice. The chanter and drone interaction was harmonically strong and very pleasing. A fine pipe capable of supporting the chanter quite well.
The Piping Press (Robert Wallace’s web presence since he left the College of Piping) posted the audio of an informal recital by Donald McBride on SoundCloud last month. I first met Donald a few years ago when he came down with a couple of his students to the Salado Scottish Games. I don’t remember if his student Griffin Hall was beating me in competition at the time (probably, just to be safe) but I’m sure he could now! We were treated to Donald’s playing in the open competition that year and he sat down down with us Lubbockites for a wee chat later that morning. Back to the recital recordings, Donald reveals a repertoire true to the many places he’s lived with both Scottish and Irish tunes, traditional and modern. I enjoyed his unique arrangements of The Jig of Slurs and The Gravel Walk(s). Another tune that stood out to me was Paddy Clancy’s, July’s tune of the month. It is a happy 2 part jig that I’ve arranged myself based on Donald’s playing mixed with settings found on the popular Irish music website, thesession.org.
Having switched studios, my daughter’s yearly dance recital did not conflict with the Rio Grande Valley Celtic Festival & Highland Games in May (Albuquerque, NM) so I finally had a chance to return to a favorite games of mine, after 15 years if I’ve done my figuring correctly. At only 5 hours away this is the closest piping competition to Lubbock, TX. Two weeks later, I competed at my first indoor competition, the Austin Piping and Drumming Competition; Austin is 6 hours away. If I were not going to Yellowstone for vacation, I’d also attend the Pikes Peak Celtic Festival in Colorado Springs in another 2 weeks (about an 8 hour drive), making my competition season 4 weeks long. But, that’s it really for games that have piping competitions. There’s one in Tulsa, OK in September but I can’t find a website, hrm.
With owning many pipes, the first thing to do is pick which set of pipes to play in competition. The pipes I play most are my band pipes, my old Hendersons. The only other two currently in rotation are my Colin Kyo and Tim Gellaitry sets. It had been some time since I featured Tim’s pipe in competition and so I decided to go with them. This decision was reinforced by the glorious drone tone I’ve been getting with them. I have always loved the tone of them as one of the best and most stable using all original Kinnaird drone reeds, however I have recently switched to Chris Armstrong’s X-TREME bass drone reed and it is all sorts of fantastic. THE BEST BASS DRONE I HAVE EVER HEARD. Coupled with the tenors still using original Kinnaird, I get a most excellent, harmonic drone tone. I got many compliments from fellow competitors and judges alike on the tone of the drones. It should come as no surprise, my chanter of choice is Colin Kyo. A custom straight cut Husk was used in ABQ as their weather is similar to Lubbock’s but it started double toning on F in the humidity of Austin so about 10 minutes before I was to start my series of performances in Austin, I had to switch to a different CK chanter equipped with a Gilmour reed that’s as probably as old as my 7 year old son, luckily it played nicer with the humidity.
Below, you’ll find recordings of the pipes as played in Austin, though the chanter isn’t quite settled in for non-humid Lubbock as I’m still moving the reed and tape back to where they were prior to Austin. EJ Jones once told me it takes days to tune a bagpipe. TRUTH.
The mic is behind me so you can hear the drones clearly (understatement of the month). Most of the tunes below are competition tunes and some are ones I actually played, but not all.
One topic I have pondered much in recent years is tempo. I grew up listening to recordings of pipe music about as old as I was. Much of my MSR repertoire mimics the 1984 Grant’s Piping Championship album (available on iTunes if you can tolerate the random distortion from the “old” recording). While digitizing this album yesterday from my old cassette tape, I took a few tempo measurements. Iain MacFadyen played one of my MSR: Kantara to El Arish at 74 bpm, Inveraray Castle at 142 bpm, and Captain Lachlan MacPhail of Tiree at 95 bpm. Truly an engaging performance. The slowest reel came from Hugh MacCallum’s John MacKechnie at 85 bpm, Malcolm MacRae’s at 98, Murray Henderson’s at 92, Gavin Stoddart’s at 90, and Bill Livingstone’s at 94. Other strathspey tempos were anywhere from 128-138. Marches in the low 70s. I feel that common tempos have fallen to slightly lower values at the current time. Marches are often in the mid 60s, strathspeys right around 120, and reels in the low to mid 80s. While I have enjoyed more measured performances, with great care taken in rhythm, and have tried to mimic them on occasion, I have come to the conclusion that I prefer slightly faster tempos. Marches are for marching and strathspeys & reels are dance music (and I don’t mean modern highland dancing). Strathspeys are a derivative of reels evidenced by, if nothing else, the often quoted SWMW emphasis in 4/4 time strathspeys which directly coincides with the cut time of reels: 2/2. Piping has many idioms, and I find myself favoring the THIS IS A HIGHLAND BAGPIPE AND I’M GOING TO GET YOUR BLOOD PUMPING style because MACPHERSON HOLDS THE FLOOR.
I have not been in the music as much recently and so this is the first month I didn’t have a plan for the tune of the month (or I forgot the plan, haha). While digitizing an old cassette tape of the 1985 William Livingstone Sr. Memorial Invitational (a fantastic event requiring an MSRHJ) I ran across a hornpipe I did not recognize as it is not in the common repertoire. Of all the tune types, I know the fewest 4 part hornpipes and so I figured I could feature a 4 part hornpipe as tune of the month, perhaps the one played by Ed Neigh on this album, “The Owl’s Hoot” by Bruce Anderson. I discovered this tune could be found in Chris Hamilton’s “The Tone Czar Collection” Vol. 1 on page 78 using the Bob Pekaar Tune Encyclopedia (thank you Bob!). Luck would have it, I have that book and if you do too you’ll note this is a neat 4 part hornpipe. However, the ending phrase is a dreaded lone E gracenote from B to low A followed by a terminal birl. As you’ll note in some recordings on the blog, I have worked a lot to retrain my E gracenote in compound movements (GDE, taorluaths, etc.), but lone E gracenotes have no pattern to rewire in my brain and so the focal dystonia still manifests mightily in such instances. The same movement appears in Doctor MacInnes’ Fancy, another tune I considered since I need to sit down and learn more 4 part hornpipes. Since I’m a bit obligated to play the tune for the blog, I decided to shy away from this nice tune. I then considered my reworked version of “Doctor MacInnes’ Fancy” but thought that might be a bit heretical for such a classic tune. Another good 4 part hornpipe is on the facing page from “Doctor MacInnes’ Fancy” in Donald MacLeod’s book 3, “Clydeside”. So, there’s 3 good hornpipes you might want to seek out, but none of them are the tune of the month.
While I had Chris’ book out I was flipping pages and came across a tune I’ve heard before and liked very much. A two part hornpipe by William MacDonald, “The Champion of the Seas”. This is a lovely tune as arranged in Chris’ book, page 68. This is an older tune and it appears in several collections as indicated by the Pekaar Encyclopedia. In fact, an older arrangement can be found for free online in Logan’s Collection of Highland Bagpipe Music as provided freely by Ceol Sean (www.ceolsean.net). The sheet music to the arrangement I play here will not be provided as I do not want to violate Chris’ copyright, you should buy his book (if you still can, I dunno). Since a slightly older arrangement is available already in Logan’s Collection (click the link above to be taken straight to the sheet music), please use that as a resource and you can mark up the differences.
We’ll continue April’s trend of a hornpipe composed by someone who has spent a lot of time playing in Texas, and specifically The (Scottish) Rogues, with “Hollerin’ for Haggis” by Thomas Campbell. Also included are two 4 part jigs written by Tom, “Henry Blessed the Kitchen” and “Binker’s Birthday.” If you’ve ever played in a band with Tom, you would have received the music to these three tunes in a sheet music pack and Tom has generously allowed me to publish them for all to consume. These tunes are recorded on a couple of The Rogues’ albums. I have recorded Hollerin’ for Haggis before, it can be heard below following April’s tune of the month, The Rock.
The Rock – a round hornpipe by Jimmy Mitchell (“The Rock” is a nickname that was given to Jimmy)
Growing up in Texas, I got to hear this tune from various groups Jimmy was associated with: Hamilton Pipe Band (precursor to the St. Thomas Alumni Pipe Band) and The Rogues. Hamilton featured the tune on their album “First and Ten” coupled with Hector the Hero (by James Scott Skinner). As with many other albums, these groups and their music influenced my repertoire and I’ve played The Rock for many years. Fate would have it that the first two parts became our introductory tune for the Lyon College Pipe Band medley at the World Pipe Band Championships in 2001 (2nd place in grade 3B under Willie Muirhead). I ran into Jimmy after a long hiatus at the North Texas Irish Festival where he and The Rogues are still jammin’ with Doug Frobese filling out the pipe section (Doug followed Donald MacPhee as pipe major of Hamilton). I get a request for the sheet music to The Rock regularly and so I asked Jimmy if I could share it as a tune of the month and he agreed! Yay!
In homage to its roots, I perform it here with Hector the Hero and the graduated tempo increase into The Rock. Played on my Gellaitry pipes (original Kinnaird tenors/X-TREME bass) and Colin Kyo chanter (Shepherd Bb reed that is as hard as a rock, pun intended).
Well, I’m just about done being sick since Thanksgiving. Being married to a pediatrician, having 2 kids, and teaching at a university of 35,000 students keeps one exposed and infected with every respiratory illness that goes around each year. But I’m coming back.
My original goal for Tunes of the Month was to expose people to great competition type tunes that were seldom played, e.g. Murdo MacGillivray of Eoligarry. However, I got into a really big Irish music kick (could you tell? polka polka polka) over the winter break and so I’ve been throwing that stuff at you instead. And…it continues! Sort of.
Willie’s Fling – Novice Tune of the Month – A great little 2 line strathspey you’re supposed to play like a reel. Don’t let the tempo catch you off guard, it sounds good slow also.
Muineira de Casu – Intermediate Tune of the Month – A great 3 part “jig” from Galicia that’s a hoot to play and will challenge your Scottish based idiomatic playing like no other. I’m playing the first of 2 versions provided in the file; the second version is more common in the folk bands I’ve heard play the tune.
Here’s some audio of me playing these tunes in a set together, though if you keep up with the blog recent posts have included these tunes for a little while.
Intermediate Level: The Uist Reel, which packs a punch for being only 2 parts! The tricky thing about this tune is the back and forth between birls and C# which really gives your pinkie a work out. One source of the tune is Elizabeth Ross’ Manuscript on page 180, tune number 146.
Uist Reel – simple and embellished arrangements inspired by Iain MacInnes from his album Tryst.