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!