On piping with Stewart Tartan Pipes and Drums - Year 1

It’s December 2013 and I come to the end of my first year in a pipe band. Last Friday was our band’s last performance of the year, playing for the San Mateo Fire Fighter’s Academy graduation in Atherton. At last count the band performed 22 times in the year culminating with our band’s Scottish Christmas concert at St. Andrew’s Episcopal Church in Saratoga, CA earlier this month!

Mathematically the band played almost every other week. We played in six parades, 3 competitions and a myriad of performances big and small; some with the full band, some with smaller numbers of pipes and drums. We played some in full uniform, others in band shirt and glengary. I played in 16 of the 22 gigs and performed as well as Piper John B for additional weddings, memorials and parties. A tremendously big Thank You goes to my wife and family for encouraging and supporting my musical addiction. I would have to say that I’ve had the best year of piping since taking up the bagpipes! Add in weekly practices with the band and practicing my instrument, I’d have to say that I’ve had almost enough piping for one year.

Playing music, whether wood wind, string, percussion, brass or even bagpipes is a wonderful past time. Playing at one level is the partial mastery (spelled: P R A C T I C E) of a difficult instrument, at another is performing at a level that people enjoy hearing. We practice in hope of improving musically and play to give pleasure to those who come to listen. Some of us also have a competition genetic predisposition that spurs us to perfect our technique. The Stewart Tartan’s competed as a band and improved. Hopefully we will continue to improve in 2014. Some members of the band also competed as soloists. It takes guts to put yourself in front of an adjudicator and be judged on your playing. My hats off to Wes, Dave, Daryl and Melody for doing just that, taking the wins and losses in stride, always striving to become better musicians.

As for me, as delighted as I was in 2013 to be playing weekly with many musically kindred spirits in a wonderful pipes and drums corp., I see work (also spelled P R A C T I C E) ahead in the New Year. Work is also spelled: F U N, as I hope to play in a pattern of continuous improvement in preparation for performing for many friends still be met. There’s certainly new music ahead (starting the year with ‘Mrs. Lilly Christie’, ‘Steam Train to Mallaig’ and ‘Colonel Macleod’ reel, maybe solo competition, certainly more parades, band competitions and performances.

Thank you to all those who listen to our band, and music!

Merry Christmas!

John B

'Behold I bring you good tidings of great joy which will be to all people, for unto you is born this day a Savior which is Christ the Lord.'  Luke 2:11

On piping for a wedding in Yosemite National Park

I’ve written before that two of the greatest honors a piper may be blessed with are first, in  playing for a memorial service bringing comfort and in honoring someone who has passed from this life, and second, to play at a wedding ceremony where the lives and hearts of a couple come together in marriage. The bagpipes lend themselves to celebration in either circumstance.

Just before Thanksgiving this year I was asked to travel from our home in Silicon Valley to Yosemite National Park to provide music for a couple getting married next to the Merced River on the Valley floor. I was excited just to be going to Yosemite in the Fall with my young wife, let alone being honored with piping for a very much in love young couple. The groom described the affair as incorporating one of their favorite places, Yosemite, with Scottish touches of kilts and plaid, wrapped in and surrounded by family to witness their bond of love.  

Yosemite in autumn is a magical place with crisp air, trees dropping leaves of orange, yellow and red, the Merced River reflecting the beauty of the mountains backdrop. The fall also sees fewer visitors to the park, so trails and roads are less travelled and the park in general has a slower pace. You can visit the historic Ahwahnee Hotel and sit by the enormous public fireplace, hike across a valley meadow of golden grasses or sit on a rock and take in views that really have barely changed in 150 years. You may experience a frost in the morning so be prepared for cold nights and chilly mornings. In a word: majestic!

The Sunday of the wedding dawned bright, cool and amazingly clear. My wife and I enjoyed coffee and a snack in front of a fireplace near the Visitor’s Center. Then it was off to change into kilt, warm up the bagpipes then meet at the Swinging Bridge. Years ago, it actually did swing, but today is as stout of a structure as you can find, able to support multitude of tourists and one bagpiper. We arrived at the bridge, by arrangement, before the couple, met both sides of the family then struck up playing 11:45am expecting to play for fifteen minutes. As I played, I marched across the bridge within sight of the granite wall of Yosemite Falls. The bridal party arrived, the bride beautiful in her white gown, shoulders covered with the red plaid of her family; the groom in a kilt of green family tartan. I met them on the far side of the bridge and piped them slowly across to the ceremony to Highland Cathedral, with the couple stopping to greet family and friends. The ceremony began on the banks of the Merced with the Sun giving its mid-day warmth to everyone. Once the ceremony concluded, I played from center span of the bridge while the family and newlyweds received congratulations, talked, hugged and took pictures. One touching symbol of their new unity was the bride removing her plaid and replacing it with the groom’s plaid about her shoulders. It was a beautiful meaningful moment; simple and sweet.

We then drove to Curry Village for the reception held for the newlyweds. I played tunes outside to lead and draw wedding guests to the reception room. Once everyone had arrived, I concluded with one last tune. We were then off to drive home to the Bay Area. It had been a beautiful day of celebration and memories; one that no one in attendance will soon forget.

On piping for John F. Kennedy, 1963

As a nine year old boy growing up in the Central Valley of California, the news of the assassination of John F. Kennedy, 35th President of the US, probably went somewhat over my head. Schools closed, my parents were shocked by the news, there was live TV coverage of the formal state funeral and then life went back to normal for me with my parent’s celebrating their November anniversary and then on to Thanksgiving and Christmas. Fifty years later events still hold an impact on me and my generation. As a history buff and bagpiper, when I heard that there had been bagpipes included at the funeral of a president, I went looking for more details. On the order of magnitude of the September 11, 2001 attacks on the Twin Towers in New York City, nearly everyone from my generation has a story to tell and remembers where they were when the events of November 1963 happened.

On November 13, 1963, a week prior to the Kennedy assassination, the military band, including pipes and drums of the Black Watch Regiment of Scotland made a visit to the lawn of the White House at the request of President Kennedy. As the band played at the charity event, reports would write that this day with President Kennedy and his family was the last happy time they would spend together. Bruce Cowie, who was just 24 at the time (now 74) and one of the Black Watch pipers that day, spoke with BBC News that he remembered that it was "good fun" but he says: "We all did our traditional moaning because it (the day they played at the White House) was our day off." Later he would reflect on the historical significance the band playing would later have. Much of their appearance has been captured on video linked below.

JFK Presidential Library: Nov. 13, 1963 Back Watch Pipers at White House

On November 22, 1963, nine days after their performance, JFK was assassinated in Dallas, Texas. Within days, the arrangements for Kennedy’s state funeral were in play. One historical note was that Mrs. Jackie Kennedy sent a note to the Back Watch band, then touring in Kentucky, asking if pipers would come and provide some of the music for the funeral procession. The band would send nine pipers.

According to the Kennedy Presidential Library web site: http://www.jfklibrary.org on the day of the funeral, November 25, 1963, nine pipers of the Black Watch of the Royal Highlanders Regiment marched during the procession from the Capitol, but only played from the White House to St. Matthew’s Cathedral. Their musical selections played were "The Brown Haired Maiden," "The Badge of Scotland," "The 51st Highland Division,” and "The Barren Rocks of Aden." The nine pipers had originally prepared what might have been expected in Scotland for such a somber day: standard laments ‘Flowers o' the Forest’ and ‘Land o' the Leal’. When they found out that the marching pace of the procession would be faster, the band chose the parade pieces. Major Ronnie Proctor, Black Watch Association secretary, said: “It is a great honour that a foreign country’s (the U.K.) pipers and servicemen are allowed to take part in an overseas head of state’s funeral. It’s pretty unique.”

As part of President Kennedy’s graveside service that same day, the US Air Force Pipe Band played ‘Mist Covered Mountains’ while the military honor guard carried the president’s casket from the military caisson to Kennedy’s final resting location at Arlington National Cemetery, where the eternal flame was eventually lit by Mrs. Kennedy thus completing the service.

Thanks to a heritage of highland bagpiping in the US and UK that touches lives wherever the pipes are played, whether in joyful fun or in sorrowful loss.

References:

http://www.jfklibrary.org/Research/Research-Aids/Ready-Reference/JFK-Fast-Facts/Funeral-Music.aspx

http://www.thecourier.co.uk/news/local/angus-the-mearns/black-watch-piper-will-honour-jfk-50-years-on-1.155945

http://www.thecourier.co.uk/news/local/angus-the-mearns/an-amazing-experience-forfar-man-remembers-the-day-he-met-jfk-1.157561

On fighting the good fight

November 2, 2013 saw the passing of a brave young woman, Catherine Young, from this life, losing the battle to the nemesis of cancer. I had the honor and privilege and chance to enjoy a short friendship with her.

In December, 2012, my family and I attended the Stewart Tartan Pipes and Drums Christmas Concert at St. Andrews Episcopal Church in Saratoga, CA. There, we enjoyed the music, bagpipes, drums, Scottish fiddlers, Scottish dancing and singing. Leading the program was an impressive young woman and leader, obviously in charge, with all eyes on her musical direction. Catherine was the Pipe Major for the band. I felt drawn during the concert to approach Catherine afterward at the reception to talk about joining the band as a piper. Approaching her took some time, as many people, friends, family and acquaintances all wanting to speak with her, socialize and congratulate her on the band’s (and her) performance.

Not quite knowing how to open the conversation and feeling a little awkward, I was able to finally have a moment of her attention congratulating her on the band’s performance. Her gracious response put me at immediate ease as she asked key questions as to capabilities, years of playing experience, why I might be interested in playing with the Stewarts, etc. She then gave me an encouraging word to send her an email and she’d have my email added to the band’s New Year’s 1st meeting notice for members. After thanking her, she turned to the next admirer and I was ready to go home and start practicing so I wouldn’t look / sound the total dweeb when I showed up at the band’s first practice.  

Catherine started her piping career with the Piedmont High School Kiltie Band.  She was the Pipe Major for the Piedmont Kilties for two years.  She played briefly with the Black Ravens Pipe Band and more recently was Pipe Sergeant of the Monterey Bay Pipes & Drums. Later she founded and was Musical Director of The Piping Circle, a local group of pipers playing informally for a host of gigs. In 2011 she assumed the role of Pipe Major for the Stewart Tartan Pipes & Drums.  Her enthusiastic leadership guided the Stewart Tartan Pipes and Drums to go from a local parade band, improving our level of music, in order to re-enter the Western United States Pipe Band Association’s pipe band competition arena. With a B.A. in music and the natural leadership, Catherine made us want to improve musically on the pipes and as a band ensemble.  She had a drive to never rest on past accomplishments and instead her focus was one of positively looking.

In those early months of 2013 I was blessed to be able to spend a number of pre-band time slots playing chanter and pipes with and for her, going through passages of the myriad of music to be memorized before joining the band for parades, and eventually competition. Catherine made me feel welcomed in the band, as a piper and friend. Her encouragement was inspiring and I found myself wanting to do the best I could for her and the band. Even as she guided the band in those early months, the illness slowly taking its toll, and the doctors doing their best to reverse the course of the cancer, she would still show up to practices and encourage, extoll and demand more and better from us.

We’ve lost a good friend to cancer. My prayers go out to her family. Catherine’s life and influence goes beyond her passing: to the family she loved, to the music she played, to the leadership she showed, to the love of life she lived, to the courage and bravery she demonstrated during her illness and to the many friends she made wherever she went.

I, among many, will miss her.

On piping for a wedding

Of all the requests as a piper which I’ve been given, the honor and privilege of piping for a couple to be married is at the top. To be part of such a joyful ceremony that brings two people who are in love to become one in the eyes of God is very humbling, very enjoyable and a challenge all at the same time. I count myself blessed to be part of such occasions. Whether in a church, other enclosed site or outside venue, the challenge to ‘be your best’ is here.

The occasion, as part of the whole wedding plan, begins months earlier with the bride or couple deciding to use the bagpipes in their ceremony and /or reception. Once contacted, my job begins with offering time in conversation or on the pipes with the engaged couple. On one such occasion, I offered to join the couple for a music ‘tasting’. Much like cake tasting, a sample of music that may be played is presented to the couple. I arrive tuned and warmed up, and present myself at the home, or venue chosen, and play several pieces. Most likely, I will have had a conversation as to what music the couple is looking for. Once, the couple asked me to play several hymns in order to choose the music for the bride to walk down the aisle. I played the tune with the couple listening. We then talked about playing two, the first as a prelude to the bride’s entrance, then the second for her to enter and walk to the alter. As the bride herself is a musician, she knew the tempo in her mind, which we agreed upon. The ‘tasting’ went very well. Then after playing a few more tunes, I paused to discuss with the couple only to hear from two or three doors down a pair of dogs crooning in harmony in response to my playing. It made us all laugh.

Before the wedding I like to preview the venue in person and play the music through (at least in my head) as I march down the (imaginary) aisle. I’ll do this, if possible, a week to ten days before the ceremony. I also confirm with the bride in that time period and the wedding coordinator that everything is set, and confirm the detailed times for rehearsal and wedding. Once the rehearsal day arrives there should be no surprises. Yet a piper does have to remain flexible and open to any last minute additions or changes. After all, it’s not my big day, but the bride’s and groom’s big day.  If any changes are requested, I make those changes happen, confirming with the bride as the final arbiter of changes.

The rehearsal will be a time of waiting for the piper to do my part for the bridal party. I make it a point to show up early, tuned up and ready to play. I may even play a few tunes for fun while we wait for someone to arrive, or some aspect to be handled.  It keeps people entertained and my pipes warmed up. I expect to be there are a couple hours and will probably be asked to do the run through twice. I’m not there to joke around or goof off, but I’m there to act professionally and be at the beck and call (musically) for the bride, groom and/or wedding coordinator.

On the day of the wedding, I plan on arriving early, dressed and tuned, prior to guests arriving. While the caterers are setting up, I’ll check in with the wedding coordinator, say hi to the groom and his men and officiating pastor, and do a final run through in my head. This is where the time in preparation will pay off. The tunes are ready. I’ll do a final tuning sequence in a practice room, if possible, and then wait for the ceremony to begin. Here’s where the experience in bagpiping can pay off. The waiting and then the final OK to play can make one nervous, and may even cause over blowing and take oneself off one’s game. Don’t fall into this trap. The key is being prepared mentally and having confidence in your instrument and playing. Enjoy yourself as the piping commences and play with a surety that will elevate the event from a performance to the experience of a lifetime for the bridal party and all in attendance. Your confidence will shine through. I make myself available for photos with the bridal party and whoever the bride wishes me to be photographed with.

Once the ceremony or reception duties are completed, I make sure to congratulate and thank the bride and groom, wedding coordinator, etc. for the privilege of being part of the day before saying my goodbyes. I will also follow-up a performance with a thank you note to the bride and groom.

On memorizing pipe tunes

Highland bagpipes are certainly one of the loudest instruments you may find; yes, this instrument cannot vary in volume; there is no playing pianissimo or crescendo, just fortissimo, and yet the musicality is still there when played well. As a performance instrument, bagpipes are also always performed with music memorized. So how does one go about memorizing multiple tunes? Is it as simple as playing the tunes over and over again? No. Whether performing solo or with a band (especially with a band!) one needs to play the notes and embellishments as written. One reality that I’ve found is that not everyone memorizes as easily as another. I have to work hard to memorize a piece. Here’s what I found helps and works:

Practice the music – You’ve heard the music played somewhere and you like it! Before it can be memorized and performed a piper must be able to play the music correctly and with proper embellishments. So just start by playing the piece on the chanter. Play it slowly, and correctly with embellishments, until you have the notes played with the grace note embellishments. Soon after, I recommend playing the music on the pipes in practice. This also helps later in transitioning from memorized tune of the chanter to memorized on the pipes.

Phrase recognition – Almost every pipe tune has sections, phrases or bars of music that repeat. It may be a starting or ending theme in a part of music. Recognizing these phrases is key to memorization and helps a piper to better understand the music. Phrases may be from two to four measures of music. Some instructors encourage using highlighters of different colors to show any repetition. This may help inputting the tune together in your head.

Start with the end in mind – Pipers often notice that the ending phrase is one of the most repeated in a tune. Start memorizing these phrases. It will build your confidence in working on other phrases. Tying other phrases into the ending phrase will come easier as you practice tying them together.

Bagpipe music is often composed of two or four parts. As I start memorizing, I break each part of the tune into lines of music and then phrases within each line. As you memorize, you’ll recognize in yourself how your mind works and how long each phrase to be memorized can be. Phrases may be shorter if the complexity of the tune is greater, or conversely longer is the tune’s complexity is easier or that the tune is more singable.

Sing the tune in your head as you learn the tune on the chanter or bagpipes. This allows you to reinforce the memorization. Then when you play the tune, sing the song in your head as you build muscle memory.

Build phrases into parts – Play what you can from memory. Then go back and review the music for what you played correctly and what you didn’t. Memorizing tunes is both humbling and honest work. It’s one exercise where we can’t cheat. For me, it’s just plain hard work. Even while continuing to play a piece of music, building each phrase into a line, then into a part, then into a tune. I use my smart phone to record these memorized phrases, then play them back while I read the music. Great for self correcting.

Keep playing the parts you know adding to them, building each phrase. Envision each line or phrase or part, or repeated part with pick-up notes until you are playing it well. I like to alternate playing a phrase or part by memory then play it the next time with the sheet music. This reinforces playing both the notes and the musicality correctly. Combine that with recording and playback review with music.

Another tried and true technique for memorizing is to do it from the last phrase of a part backward. Take the last phrase, add the next to the last to it and so on. Keep doing this until you have the part memorized. Continue this until the whole tune is memorized.

As I work to memorize, I tap my foot to establish the tune’s tempo and use a metronome to aid in forcing me to memorize to a proper beat. I encourage using the metronome while recording playing as you will soon hear where you are off the beat or are rushing a phrase on run down the scale.

After all that hard work, knowing you’ve mastered a tune, play with all your heart and mind to bless others with your music. Be that at a memorial service, a wedding or a party your practice will pay off in the confidence you have in mastering a beautiful and unique instrument.

On Piping in a parade

Pipers, as musicians, for the most part, live to perform. There are many different personalities that take up piping. Some are quiet, some boisterous, some bossy, some followers, some very dedicated, some are in it just for fun, some humble and some outwardly proud (the list could go on and on). Yet to a man or woman, we love the sound of piping, and I believe we all hope to be asked to play for others. Playing solo can be daunting in that you are putting yourself ‘out front’ for all to hear and see. Some of us love that; others not so much so. Here is where playing in a group or even a pipes and drums band can have its advantages. Parades give us all a chance to perform in the company of others to entertain many who we may march by. The band (pipes and drums) acts as one unit, each supporting the other.

The band on parade is both a musical and visual performance. The picture: the skirl of the pipes, accented by the Scottish snare drums, tenor drums twirling their sticks, the base drum keeping the tempo, band members marching in tight formation all feet marching in unison, lines and diagonals straight, kilts swaying to the temp and music. The music is heard above all else, yet rivets spectators’ attention as the band performs, or even marching sprightly to the drum line’s cadence. The pipe major as the band’s leader calls the tune; the drums roll off; the pipes strike-in in unison; music flows with an ancient musical sense sometime with two part harmonies of the pipes. Combine that with the visual of the band wearing kilts of a specific tartan, jackets, shirts, hats, hose, spats, shoes and you have a stunning performance on parade. In the lead is the Drum Major in his (her) regalia including the traditional long mace used in commanding the band’s march. The Drum Major is not just a figurehead, but functionally leads the band throughout the parade and represents the band at reviewing stands with his salute. 

But there are challenges in piping for parades. First there’s the music, both piping and drumming. A band such as ours has a sense and focus on including all who love the pipes (and drums) and want to participate. We encourage every level of piper to improve the musicianship in learning tunes and improving technique. And from all levels and age of piper we encourage each other to improve and join in whenever possible. This year the Stewart Tartans marched in five parades and a myriad of performances. All are encouraged to join in. I love that about this band. The circular argument comes into play here. No matter your level of play, you are encouraged to join in, but by doing so you need to dedicate time to your instrument and musicianship to play well as you join in. And build the physical stamina to play for extended periods of time. There is a learning curve, but it’s not an insurmountable one.

Second challenge is marching and playing. Ok, I may trip on occasion when walking and chewing gum at the same time. Piping and marching is akin to that. It takes concerted practice. Beginning with learning the music to the point where you can concentrate on both playing music and marching in formation. Add on top of that the visual commands of the Drum Major or Pipe Major (if the DM is unavailable) indication when tunes begin, stepping off, when to mark time (marching in place), when to stop playing (or repeating / keep playing), etc. Are your arms swinging to the height of the other pipers; are you dressing (aligning) yourself to the person to the right, and in front. Then to put it all together as a marching performance and make it look easy. That’s all part of the performance.

Yet, when done right, the band sounds and works as one. The crowd appreciates the professionalism of the band’s performance music, marching and appearance, and the clapping / cheering rings in your ears. Afterwards, someone may come up to you and say a simple thank you… making all the hours of work worthwhile.

On bagpiping in Yosemite

Ask a bagpiper what he did on vacation… or better yet ask a piper’s spouse, companion, girl friend, kids, friends or spouse what they did on vacation, and you’d probably not be surprised to find out that he or she played the pipes somewhere along the way. Much like the golfer, snow boarder, tennis player or runner who takes their fun with them, piper’s do the same. Through the years there have been many such getaways. Playing the pipes at the beach in Santa Cruz, Eureka or Santa Barbara, at the snow, in the mountains, Scout Camp, Church Camps has brought many great memories for me.  One of the longest traditions for me has been to bring the pipes along backpacking in Yosemite.

I remember years ago hearing bagpipes played outside the Yosemite Lodge in the valley. My wife Janet and stood spellbound listening to the piper play. I’ve no idea what he played as it was before I picked up the pipes. I hoped then that someday I could return the favor playing for others. I have carefully packed the bagpipes, strapping them to a backpack and played in the back country of Yosemite. My grown kids and I have backpacked every year but one the past twelve or so years. The stories are numerous so I’ll just share a few.

Early on a group of twelve men from church hiked from Tuolumne to Vogelsang, elevation 10,100 ft (3078 m) and played for the guys there, later playing at Merced Lake then on top of Half Dome. I’m sure people looked at me playing on the Dome (elevation 8800 ft) and thought I was crazy, but loved it. Playing at that altitude is not that easy, and the concert was short but sweet. Broken down, the pipes weigh close to eight pounds.

I’ve played the pipes by lakes and streams. One favorite time was last year with family and friends. We had hiked from the Cathedral Peak trailhead to Sunrise trail camp to Little Yosemite, climbed Half Dome and then down to Happy Isles in the Valley. We stopped for lunch at a pristine lake on the way to Sunrise, so pulled out the pipes and serenaded our group. The first night we stay at Sunrise which has always reminded me of Lord of the Rings land of Rohan in it’s beauty. Played pipes in the evening, this time entertaining the adjacent  High Sierra Camp. The next day it was on to Little Yosemite Valley hiker’s camp where I played a medley of tunes for the backpackers.

The only negative that I have ever received backpacking was from a Park Ranger. We had stopped for lunch at the bridge over the top of Nevada Falls. So I marched and played across the bridge. Just so happened that a ranger was nearby and felt my playing was too noisy and intrusive. As I finished my set, he approached me asking me to stop or he could issue me a ticket based on some obscure park regulation. I said I’d stop, much to the laughter of our party. Friends were able to capture Highland Cathedral on video.

If you play the pipes, take ‘em with you. If you hear ‘em, encourage the piper to keep playing!
Cheers, John B

On Piping in the Bay Area

The US has a number of large Scottish communities in New York, Chicago, San Francisco and Los Angeles. Each is unique in how it supports the culture, arts and music of Scotland. Each also has a large number of excellent pipe bands. The communities of our fair bay support bagpiping in a big way. I’d like to share with you why the San Francisco Bay Area is a great place for bagpiping. Here are a few ways that make piping here so wonderful:

Great Bands – Growing up in California’s Central Valley, if there were any pipers, I did not know of them; pipe bands were unheard of. Today, in the Bay Area alone are many fine band; Prince Charles Pipes and Drums, Stewart Tartan Pipes & Drums, Irish Pipers Band of San Francisco, Monterey Pipes and Drums, Piedmont Highlanders, Santa Cruz Pipes & Drums. All are nonprofit organizations that welcome visitors as well as give training to pipers and drummers alike.

Highland Games – Within one to 1.5 hours driving in the Bay Area there are many Scottish Games featuring bagpiping, dancing, etc. Ones either recognized by the Western United States Pipe Band Association (WUSPBA.org) or are just plain fun are: Ardenwood Celtic Festival (April), Sacramento Valley Games (April), Modesto Scottish Highland Games (June), Mt Tamalpais Piping & Drumming Competition (June), Santa Cruz Scottish Festival (June), Monterey Scottish Games (July), Pleasanton Games (Labor Day). Big or small each of these has charm and enough bagpipes to keep most of us satisfied.

Year round instructors & bagpiping Summer Schools – The West coast attracts a number of high quality, amazing energy Summer schools. Balmoral School of Piping and Drumming (Sonoma State Univ. - June) has been part of the Bay Area scene now for several years and features some of the world’s best pipers as instructors. The rest of the year the Bay Area has a number of world class pipers who give instruction from basic chanter work to professional level training.

Scottish Community – Scottish culture has flourished in the San Francisco Bay area for almost 150 years. The oldest society is the Caledonian Club of San Francisco which organizes and puts on the Games in Pleasanton over Labor Day weekend. They and the East Bay Scottish Society and South Bay Scottish Society also sponsor other events during the year. One of the prominent traditions is the Burns Supper celebrating the life of poet Robert Burns who was born January 25, 1759.

Food lovers - The Bay area has attracted Scottish, Irish, Celtic and British cuisine lovers since the Gold Rush when men and women were drawn hear for the wealth that California promised. Like people of all cultures, tastes and smells of the old country have always been desired. There are many Pubs throughout the Bay area worth visiting for a pint and a taste of homemade foods.

Weather – The Bay Area has great bagpiping weather through most of the year. With the exceptions of a few really hot days of summer or the cold blustery days of winter, you can play bagpipes outside almost year round. Last evening for example: In the South Bay (San Jose) the day’s high reached the mid-80’s and yet by 7:30pm I was out practicing in in t-shirt and shorts in temps of low 70’s with a slight breeze. Last April, in preparation for the SF St Patrick’s Day Parade, our band was practicing our marching into the evening in light jackets. You just canna beat the weather here!

On Bill Millin - D-Day bagpiper, June 6, 1944

William “Bill” Millin is remembered for playing bagpipes during the D-Day landing in Normandy. During the war, British Army regulations restricted bagpipes to rear areas. Bill’s commander, Simon Fraser, 15th Lord Lovat, Commander of 1 Special Service Brigade, ordered Bill to play during the landing. When Bill mentioned regulations, he recalled Lovat saying, “Ah, but that’s the English War Office. You and I are both Scottish, and that doesn’t apply.” Bill played "Hielan' Laddie" and "The Road to the Isles" as his comrades fell around him on Sword Beach. Millin recalled later that he’d spoken with captured German snipers who claimed they did not shoot at him because they thought he was crazy. Long remembered and honored, Bill passed away in August of 2010.

Thanks to all the thousands of servicemen who have sacrifice! - John B

On the Scarlet and the Black, and Bagpipes in Rome, June 4, 1944

When we think of World War II, many different areas of the conflict come to mind. Many of us have parents or grandparents who served in the Pacific, or Europe or the Africa campaigns. Some family stories are legend (wait for it) …dary and are shared generation to generation. Say the words June 1944 to a WWII veteran or history buff and the first thought will probably be D-Day, June 6, 1944. Yet a scant two days earlier combined British, French and US forces liberated Rome, Italy on June 4. In the S.F. Bay Area, we have a rich heritage of patriots who served or currently serve in the armed service. Bagpipes, in both British and US regiments have been, and are, part of that heritage.

Summer, for me, means more time to read. I’m not sure why exactly. Maybe it was the years of growing up in a small town where kids went to the library for summer reading clubs. Whatever the reason, I seem to find more time to read during the summer months. This past week I finished reading a book: The Scarlet and the Black: The True Story of Monsignor Hugh O’Flaherty, Hero of the Vatican Underground,  by J.P. Gallagher. It chronicles a great story of the selfless sacrifices made to save and hide Italian Jews, downed Allied airmen and escaped Allied POWs in the Vatican and surrounding areas of Rome during WWII. The story revolves around Monsignor Hugh O’Flaherty, an Irish priest working in the Vatican under Pope Pius XII and O’Flaherty’s team responsible for saving some 6500 men, women and children from under the noses of the Nazis and Italian Fascists. The book was a delightful read about a marvelous Christian who reaches out to hide and care for and protect those opposing the Axis. Then interestingly, he reaches out to one Nazi with the love of Christ who were captured after liberation of Rome, put on trial and sentenced to prison, specifically Colonel Kappler, the Monsignor’s wartime “archenemy.” After the war, Kappler had only one visitor, O’Flaherty, who visited him each month. The love of Christ must have been present and through their conversations as Kappler became a Catholic, being baptized by O’Flaherty in March, 1959.

But what about the bagpipes? The passage that prompted my comments above came near the end of the book:

At 7:15P.M., on Sunday, June 4, the head of the American Eighty-eighth Division entered the Piazza Venezia in the heart of Rome. Across the Tiber the sound of the pipes reached the Vatican. Pope Pius heard the skirl through the wide open windows of his study.

Looking on the web I found references to bagpipes and a news reel of the Liberation of Rome on YouTube: http://www.youtube.com/watch?v=yc9iCEZeb2M

Note: Hollywood found out about the Scarlet and the Black and made a movie in 1983 starring Gregory Peck as O’Flaherty.

On blackwood for bagpipes

The tone and look of bagpipes owes much of its beauty to the wood from which it is made, blackwood.  Harvested from the Mpingo trees of East African countries, the wood’s density and color are desired for making not only the chanter, drones and blowpipe of the pipes, but other orchestral instruments such as clarinet, oboe and wooden flutes are made from this amazing wood.

Take a look at your pipes; feel its weight, look at the detailed work done of the instrument. Most of us just know that their favorite pipe maker has the wood and the skill to literally turn the blackwood into a fine sounding instrument. Theirs’ is a story work looking at as well. Bagpipe makers such as David-Naill & Co. season their Blackwood up to four years, according to their site: http://www.naill-bagpipes.com “ensuring that bores remain true and mounts do not come loose due to wood shrinkage, thus insuring the stability of the finished product.”

The Mpingo tree is grown predominantly in Tanzania, Kenya and Mozambique. Some estimate that Kenya is all but harvested out of wood with Tanzania approaching such within the next 15 to 20 years. Because of their seasonal growth patterns, the mature tree takes from 70 to 100 years to reach a harvestable size. When cut crossways, the tree’s heartwood has the prized blackwood surrounded by a layer of softer cream colored wood and bark that is unused and is considered scrap material. The older the tree’s growth, the more dense and darker the wood.  Because of its growth patterns, the tree is often very grizzled in appearance. This gnarly grizzled appearance translates into heartwood that is not always usable for wood that is to be turned by lathe for straight instruments such as the pipes. The Mpingo conservancy states that as much as 90% of the heartwood is unusable for instrument product. Its use remains valuable to wood carvers who can use the wood grain patterns to enhance their work.

Yet the Mpingo tree is coming close to commercial extinction by some accounts. The Mpingo Conservation & Development Initiative is working with international agencies to better manage this amazing tree.  For more information on such check out:  http://www.mpingoconservation.org  Their web site has quite a bit more information on tree growth, harvesting, quality, black market harvesting etc.

We play them, maintain them, some of us even pamper them, but at times we all take our instruments for granted. The next time you pull them from the pipe case, take a minute to look at the wood and reflect on not just the material or maker of the instrument, but think about the creator of the universe who created the lowly mpingo tree and it’s biosphere unique particular to just that small patch of planet Earth.

On preparing to compete with bagpipes

So you are thinking about competing! This is an excellent decision and one that will kick-start your musicianship into high gear. Here are some thoughts on getting ready to compete. I’ll speak to the full preparation for going to the competition and all the particulars of the day at a later time. Here, I’ll address you, your music and your instrument.

You’ve made a great decision in wanting to improve your music by competing. For most pipers, the idea of performing for someone is part of our decision to play the bagpipes. Some may play merely for the pure academic effort or just self-enjoyment. That’s great. Most of us, however, want the opportunity to play for someone. At church, a wedding, a reception, or even a funeral, most pipers have an innate desire to perform. We have one (if not the) loudest instrument around, so might as well play for someone. So in preparation to perform, we need to bring together our music, practice and instrument together to a high enough level that our performance will be pleasing (hey, they might even pay us for doing a good job). Simply put, competing is a performance. You are performing for a judge, other competitors and even family and friends supporting you. And overall you’re not competing with anyone but yourself. You may be performing for a placement (or medal), or for the accolades of those who hear you. Or you may be competing to get the professional critique of the judge. To me, if you do your best, regardless of the outcome, you are a winner. Sounds like good reasons to play and sound your best.

Sounding your best is more easily said than done. It takes dedication and focus on our art. It takes untold hours of practice with your instrument (and practice chanter). It takes maintaining and knowing how your pipes are set-up. As our pipe major repeatedly says, “you must have confidence in your playing, from the attack to the last note. It will show in your music” We sometimes think that practicing our tunes is paramount to any performance.  Yet there is much more. Here are a few ideas to consider.

Daily skill exercises - Take part of your daily practice to review your base skills. Practice your D-Throw, doublings, grace notes, grips, etc. Let’s be real, you won’t (and can’t) do it all every day, but you should do some every day. Even ten minutes of structured exercises will improve your overall performance. Concert pianists and professional singers do warm-up exercises prior to their performance. You should too.

Music - Choose music within your ability. Ask your instructor, or pipe major or fellow pipers what they are playing or might suggest for you. Listen to pipe music on CD’s, MP3’s, go to Youtube.com and watch/listen to other performers and competition bands. You want to be able to perform well, so choose tunes you like and are technically within your capability. Go looking for the music. Friends may have it to copy, or you may find a bagpipe supply shop that sells music books. There are a couple bagpipe web sites that have compiled tunes and where they were published. Being comfortable with what you play is key to a solid and pleasing performance. Liking what you play aids in keeping you motivated. I personally like 6/8 marches for their feel, yet a steady diet of such would become boring. Try different music styles. As you choose tunes consider that you may wish to compete with the music through both grades 4 and 3, or longer. You can always change, but it does take more to bring the piece of music up to speed.

Practice on chanter – Your chanter is your friend. It’s not a substitute for playing your pipes, but it’s a wonderful tool for honing your skills and can be played almost anywhere. I play mine in the car at stop lights (get used to more than a few looks from other drivers), or on the couch at home, etc. Sometimes I play blowing through the chanter. Other times I’m just practicing fingering. Start your tune on the chanter. Start slowly, playing every phrase with appropriate embellishments. Memorizing tune take time and concentrated practice. I recommend not learning tunes on the pipes. Sometimes I will practice with my feet tapping left, right, left, right, as if marching to the tune. It can help with putting emphasis on the music. When you have the tune technically down on the chanter, you may wish to play with the sheet music on the pipes. I find that the squeaks and squawks of learning a tune best left for chanter work.

Practice with a metronome – The time signatures are there as an aid to you. Practicing for everything but piobaireachd (which is a whole different music form) with the metronome. As you compete, you will be judged on your timing and tempo, so work with metronome. Start by getting used to playing that 2/4 march at 68 beats per minute then gradually increase the tempo to 85 BPM. The metronome will force some discipline into your tempo and force you to correctly play new embellishments within the beat, on the beat, etc.

Practice your pipes – Even while you are learning your competition tunes, play your old standard tunes to keep your bagpipes working at their best. Play every day for 20 – 30 minutes if you can. This will build and maintain stamina in your breathing, arms and lips. Add your competition set as you learn them. This will increase your confidence in playing as you come up to speed on the tune(s). March! If your competition requires you to march, then practice marching as you would in the competition. You will be playing on the march at some point. It’s great to practice. It will help you be better prepared for competition day. If you plan to complete a slow air of two minutes length, you should be able to play triple that length without getting winded. On the day of competition you will be pumped up with adrenaline and the only way to counter this is to practice and be prepared for whatever you might encounter.

Record your practice – This takes guts, but as they say, “no guts, no glory.” Recording can be an audio recording of the music, or a video of your playing. Even if you are not ready to compete, watching yourself play should inspire you to correct parts more readily that just playing. It is not a depressing to be avoided thing. Most pipers, at some point, think with confidence, that we are better players that we are. Recording your practice will give you a dose of reality. I like to use a small digital camera on a small ‘monkey grip’ tripod that I can take with me and setup to record as I play. I can review immediately (and then delete J) and correct my playing. I can also take it back home for review.

Practice, practice, practice – Practice until the tunes are ingrained in your memory. A piping instructor I know said it took playing a tune 100 times to become competent with the tune. He added that after that the hard work begins in refining the tune. I was taught to memorize tunes one line at a time (approx. 4 bars of music). As it becomes ingrained, you may be able to envision the page of music and focus in the moment on where you are in the tune. At competition time you don’t want to lose your place in the tune. That would not be good.

Tune your pipes – Get in the habit of always tuning your pipes. It takes practice. How you tune is a topic for another day. Suffice it to say that every performance should be on a well-tuned instrument. Buy the tuner that can tune up to 480+ Hz or app for your iPhone, etc. and get into the habit of tuning your pipes to the best they can be. And not just low and high ‘A’. Get used to taping and re-taping holes. The goal is always the same, at practice, performance or competition; your pipes should be in tune. Tip: When you compete, arrange ahead of time for another piper, or your instructor, to help you tune.

Play for people – It could just be a friend, family member, piping instructor, or other piper. There’s a certain amount of self-imposed pressure playing before a recording device, but playing for someone takes the pressure to a whole new level. Remember, you’re trying to prepare your playing for a performance in front of a judge. Play for a friend and fellow piper. You want the honest feedback, but from someone you can accept criticism. Take turns judging each other. If you have a piping teacher, play for him or her as if in competition. This should include tuning, warm-up, telling the judge name and tune, marching for the 2/4 march, saluting at the end, etc.

Watch competitions – Before you compete, go to another competition and watch solo competitors compete. Watch how a friend has competed. Always be respectful to competitor and judge alike. Clap, if appropriate. Also, if appropriate, bring your camera and record a couple competitors in your grade for review at home. (Think of football coaches recording the competition and reviewing later). This will help you prepare mentally.  

Preparing you, your music and instrument for competition has many facets to consider. It’s never too soon to start. Like our parents told us, practice does make perfect (or closer than w/o practice). If you work, at a full time job, fitting in practice may be challenging. Can I fit in 20 minutes chanter work at lunch, and add practicing pipes after work for 20 minutes more? I’ll speak to the day of competition and the sundry things to consider at another time. Start today.  And if you think about it, most, if not all of these thoughts apply to a non-competitor who wishes to master his instrument. They are just sound habits to get into in order to be the best musician for any performance.

On the Lost Piper

There are a number of both informative blog concerning bagpiping. Bob Michaels (link below) has one that I've enjoyed. He posted this story which I will repost here. Cheers1

As a bagpiper, I play many gigs. Recently I was asked by a funeral director to play at a graveside service for a homeless man.  He had no family or friends, so the service was to be at a pauper’s cemetery in the Eastern Oregon back country…

As I was not familiar with the backwoods,  I got lost and, being a typical man,  I didn’t stop for directions. I finally arrived an hour late and saw the funeral guy had evidently gone and the hearse was nowhere in sight.  There were only the diggers and crew left and they were eating lunch. I felt badly and apologized to the men for being late.

I went to the side of the grave and looked down and the vault lid was already in place.  I didn’t know what else to do, so I started to play. The workers put down their lunches and began to gather around.  I played out my heart and soul for this man with no family and friends. I played like I’ve never played before for this poor, homeless man.

And as I played ‘Amazing Grace,’ the workers began to weep.  They wept, I wept, we all wept together. When I finished I packed up my bagpipes and started for my car.  Though my head hung low, my heart was full. As I opened the door to my car, I heard one of the workers say, “I ain’t never seen nothin’ like that before and I’ve been putting in septic tanks for twenty years.”

Apparently I’m still lost…

Re-posted from Bob Michael’s Blog

On joining a pipe band

Early in my piping life the discussion was made that being a solo piper (hence piperjohnb.com) was the best and only way to go. I’m not quite sure why I believed that. It may have been that at the time my family of loving wife and three kids was young. I wasn’t ready to make the commitment to a band. Family always came first along with work and church commitments. I still had a great deal of fun playing. If I wanted to compete as an individual, I could. In some ways I felt that the life a soloist was considered the ‘top’. As a solo piper I was free to play gigs and hopefully touch and bless lives through my piping. Years later, I’ve changed my tune (no pun intended). Being in a pipe band, while maybe not for every piper, does offer many good things for you. Maybe it’s a new look of the band uniform, or the discipline of preparing to and then marching in parades and ensemble performances, or the humble camaraderie of being with a bunch of great musicians.

Being in a pipe band you will be surrounded by like-minded people, who (for the most part) will support and encourage you. During band practice there is very little time to chat, banter, and even jest with one another. Before practice (but mostly after) there is time to do such as well as compare notes on music, bagpipe gear (reeds, bags, tying in bag techniques, etc.), musical embellishments & timing, the choice of tunes, tuning, competitions, etc. In essence, all facets of piping that you may have pondered over or searched for on the internet, but can now balance against others’ practical experience. And, there is a guarantee that there will be others with more experience, better technique, cooler tunes, faster fingering, etc. to inspire. The good part of this is that most pipers are only too willing to help you improve.

Next: practice and commitment. Practicing multiple times per week (well… at minimum once a week at band practice) becomes a natural sought after part of your week. Time on practice chanter vs. pipes can be challenging. No one wants to come to band practice un-prepared for practicing the parade set, competition set, or the latest tune. Practice will give your music strength and confidence because your technique will be improving. Practice will enhance your blowing giving steadier tone as you transition from blowing to arm compressions. Practice will enhance your music as technique is refined and practiced. Practice will improve your strike in. Practicing on the march will bring new challenges to master. Can I hear my own playing? Practice. Can I watch the pipe major’s fingering while focusing on my own? Practice! As a soloist, time is on your side; as a band, to strike in together is key to the band’s sound in those first critical notes of a tune. Then there’s tuning and maintaining your instrument. They go hand in hand. Keeping the bagpipe maintained allows for the best tuning, and pipe bands must do their best to be in tune. Getting to practice early enough to warm up, then tune up to the decibels the pipe major is tuning to, then tuning to the pipe major. Another day I’ll speak to tuning. All of these pieces of practice add up to commitment. How committed are you to your art? Joining a pipe band can help to focus you as a musician.

Music! As a soloist, you practice for the next gig or competition,  or practice to enhance your play list, or for fun in trying new music. Yet having to know the band’s music repertoire raises your musicality to a new level. You need to memorize and match the musical timing of each piece. As a soloist you can play music with your own timing and embellishments (e.g. Amazing Grace, etc.). To play with the band, you need to match the other pipers. There’s little hiding during the performance or gig. Plus, you learn a lot of new music. Upon joining the Stewart Tartan Pipes & Drums of S.F. (StewartTartan.com) there was maybe 20 pieces to learn. Even several oldie but goodie tunes had slightly different arrangements with new changes to learn. You start by playing along with a half dozen, focusing on memorizing one, but playing the others to focus on the timing. After several months of practice you start to feel you have the tunes down, only to realize that NOW you need to perfect your musicality. Then to play with the ensemble of both pipes and drums adds to the need to raise the bar on your music.  It’s all good.

Joining a pipe band, while forcing commitment to an organization, does bring a new level of musicianship to the piper with whatever band (Grade 5 to Grade 1) they join. Cheers to the pipers and thanks to the people who listen to our music.  – John B