On Finding Piping Music

PM Willie Lawrie, undated

I stood nervously. “Hi. My name is John and I’m a pipe music junkie”; group response: “Hi John.” With that I opened the 1st meeting of Piping Music Anonymous, Silicon Valley Chapter (PMASV for short). All kidding aside, I have noticed that most pipers love new pipe music. I do. I listen to my fair share of pipe music on-line, on Pandora, on Youtube.com, on iTunes of my own MP3’s and even CD’s in my car. I have more music than I could ever play in books such as Scots Guards Vol. 1 & 2, W. Ross Collection(s), Irish pipe music, Scottish dance tunes, folders and binders of copied music given to me and a fair number of PDF’s. A few weeks ago at pipe band practice I heard a fellow piper playing 'From Maui to Kona' by Bob Worrall. Very catchy tune when played well and at tempo. And I wanted the sheet music; no… I needed the sheet music. So where do you find new music?

In year’s past, I would have fired up my laptop, opened Google.com (or your favorite flavor of search engine) and spent time searching by name (alternate name, composer, composer’s mother’s maiden name, etc.) for a PDF, gif or BMW of the tune. If the tune was a bit obscure, I might get a hit on Bob Dunshire’s forum site finding a discussion that might give me clues on where to find that elusive tune. Occasionally, I’d find a band’s unlocked web site music page with their current play list available in PDF format with my sought after tune included. They don’t call it data (err… tune) mining for nothing. A lot of digging and an occasional gold nugget (of music). I still resort to this process on occasion but with the advent of reliable tune sites, I do it less and less.

Today, I initially visit a couple of sites that publish pipe tunes. My current favorites are:

http://pipetunes.ca/ – Jim McGillivray’s site. One becomes a member, login and buys credits for future tune PDF and mp3 purchases, downloading as you go. Great resource.

http://www.leeandsonsbagpipes.com/ - Jack Lee’s site. Purchase tunes PDF and mp3 as you go with a link to the download emailed to you. Wonderful site.

Coming back to “From Maui to Kona”. My first thought was to go to McGillivray’s site, hoping to download a copy, paying as I go. The composer gets paid a little and the site gets paid a little. And no worries for me about copyright issues. I didn't find the tune there so went to Jack Lee's site where I’ve purchased tunes before as well. Didn't find it there either. I even went online to Ebay.com, then Amazon.com, to see if Worrall’s book was for sale by private party as his book is out of print. No luck there. Like many pipers, we are a determined lot, so I went searching the internet for that elusive PDF. Early one Saturday morning, while the household slept, I made coffee and settled down for a pleasant hour’s search. Going down more than a few rabbit trails, I eventually found a PDF scan of the tune from the original book (I believe). Sorry Bob, I really wanted your book, chuck full of new tunes.

There is also a mountain of public domain tunes. No need to purchase that, right? Technically there is no need to purchase. But the format of the music if you find it may not be neat and clean. Go looking for some of the classic piobaireachd and you may find a copy of a copy of a page typeset and printed in the 1800’s that looks like it was faxed in the early 1900’s. This week, I went looking for classic WWI tune: The Battle of the Somme by William Lawrie and found a copy on pipetunes.ca and a copy as a gif on another site. I decided to spend the few credits with pipetunes.ca and downloaded a beautifully set PDF of the public domain tune as well as an mp3 of the tune to work with. Money well spent.

Starving bagpiper’s aside, paying for tunes is the right thing to do. A composer works hard to create music that is both fun to play and enjoyable to listen to. He (or she) deserves royalties for their intellectual property. It also take guts to publish a book of tunes, yet thankfully some pipers continue to compose. Hardcopy tune books are fun to browse and play through on chanter or even pencil (it just helps to finger a tune as you sight). Maybe soon we will be able to buy a tune book (besides in pdf format) for example College of Piping: Highland Bagpipe Tutor Pioaireached in a form that can be formatted for viewing on and played straight from the iPad or Surface. I think I’ll go in search to see what progressive bagpipe composers are doing.

I might even find a tune I just have to have.

The Piper - By Robert Louis Stevenson

The Piper

By Robert Louis Stevenson

AGAIN I hear you piping, for I know the tune so well, -
   You rouse the heart to wander and be free,
Tho' where you learned your music, not the God of song can tell,
   For you pipe the open highway and the sea.
O piper, lightly footing, lightly piping on your way,
   Tho' your music thrills and pierces far and near,
I tell you you had better pipe to someone else to-day,
   For you cannot pipe my fancy from my dear.

You sound the note of travel through the hamlet and the town;
   You would lure the holy angels from on high;
And not a man can hear you, but he throws the hammer down
   And is off to see the countries ere he die.
But now no more I wander, now unchanging here I stay;
   By my love, you find me safely sitting here:
And pipe you ne'er so sweetly, till you pipe the hills away,
   You can never pipe my fancy from my dear.

Memorial Day (In July?) Semi-Annual Back-to-Basics … Part 3

I remember taking my bagpipes for a spin when I first got them. I took them out of the old wooden case, initially seasoning the leather bag, then put reeds made out of actual reed into the drone stocks, added a chanter reed, inflated the bag, struck in the drones, then chanter and heard a cacophonous sound far out of tune. I was painfully aware that I was doing was probably done in excitement, and ignorance of how to tune. I needed to learn more; I was eager to learn more. That’s how we sometimes learn, by trial and error, learning from our mistakes.

In my Memorial Day Back-to-Basics, Part 1, I talked about the need to strengthen lips, lungs and arm. In Part 2, I spoke to bagpipes basic maintenance. Both parts are about the set-up of the pipes. In part 3, I want to look at tuning. You can have the strength to maintain a steady tone and you can have the lips to play for an hour plus, and your pipes may be set up to play functionally correct, but if your chanter and drones are out of tune, a great performance can turn into a dismal, painful sounding exercise.

Two schools of thought come to mind regarding effective tuning: Tune the tune the drones to the chanter or the chanter to the drones. Won’t they both get your pipes set-up correctly to play? I say yes, but consistent (and correct) technique leads to good piping. There is wisdom in the generations of pipers that came before me. So ask experienced player how they tune and play. Pick their brains. Watch their technique. Try things. Ask more questions, observe how others approach tuning, and playing technique for that matter. Let’s start with tuning the chanter first.

The chanter, made of blackwood or polypenco (a wonderful dense type of plastic), has been designed and refined for a hundred or more years for sound resonance with holes designed for bagpipe fingering. Eight finger holes for creating the scale of notes and two holes at the side of the base of the chanter for sound resonance. Without going into the music scale and it’s fingering, suffice it to say that each of the nine notes on the chanter must be tuned. To tune each note one adds (or subtracts) tape to the top side of the hole open nearest the fingering being played. Many pipers use black electrical tape, others a clear pipe chanter tape. Both work. Both need replacing as they will warn and slip causing a note to go out of tune.

But where to start tuning? Begin by warming up your pipes. Tuning will mean nothing if you start tuning while the pipes are cold. Of course you are developing your ear for tuning correctness. As I warm up, I will adjust my drones and chanter to sound good to myself. Practicing in tune is more fun than playing out of tune. If you are tuned when ‘cold’ as soon as you run through a couple tunes, your chanter and / or drones will be out of tune. Last weekend I played for a wonderful family who held a memorial service for their deceased Dad, sister and friends. I warmed up and tuned in 60 degree F, foggy weather. For the first 15 – 20 minutes of my playing, the weather held, but by thirty minutes into the pre-memorial playing, the sun was out, only wafts of fog remained and I started to go out of tune. If you find yourself in this performance circumstance, between tunes take time to make small adjustments to the drones to match the changing environment. Don’t panic, just take 30 seconds to retune the drones. Then soldier on.

Tuning starts with low ‘A’ on the chanter, the drones shut off. Typically, one changes the depth the chanter reed is seated to tune ‘A’. If you are part of a band, the Pipe Major or Pipe Sergeant will tune to a certain calibration, and let you know. Your job is then to come close to his (or her) tuning before the band tunes for practice. Lately our band has been tuning at 478 – 480 Hz using a tuner. A number of manufacturers have small tuners with digital readouts. My favorite is an iPhone app (not currently available on Androids) called aptly, Bagpipe Tuner from Blair and uses the iPhone mic and has an optional Bluetooth mic to clamp onto chanter or drone. I find that this app works very well. Once ‘A’ is in tune, slowly proceed up the scale adjusting each note, adding or removing tape in very small increments. These notes should be measured against the tuner.

A goal for every piper is, or should be, tuning without the aid of the tuner, tuning by ear. This take practice, and not every piper has the ear to accomplish this. When one plays solo, as long as the chanter and drones is in tune to middle ‘A’ then the performance will sound good. For a band the tuning becomes much more critical. A band is to sound and act as one, playing in unison with both chanters and drones playing the same notes. Extra care need be taken in the upper register of notes as these more easily can shift out of tune. High ‘A’ and middle ‘A’ need to sound essentially the same. One can’t play them simultaneously, but alternating one to the other will help, as long as you blow steadily.

Once the chanter is tuned, play middle ‘A’ on the chanter while the outer drone sounds middle ‘A’. If there is a beating sound, or a sound of ‘wa-wa-wa’ then the two are out of tune. To adjust, sound ‘E’ and reach across with your right hand and adjust the drone in (to shorten / sharpen the tone) or out (to lengthen / flatten the tone) to slow down the beating sound. Note that you can over lengthen or shorten the drone so that there is no beating sound. The drone is in essence on a different note altogether. Sound ‘A’ and repeat until the beating is gone. Here’s another reason to have your pipes properly set-up. Your drone should slide easily, but not too easily. If it’s too tight, you’ll have a hard time sliding the drone; to loose and the drone will move as you play. Next add to play the middle drone and adjust to the outside drone. The chanter can be silent during this, with the chanter eventually being played to hear and adjust the drones to chanter. Finally, stop the middle drone and start the third drone, the low ‘A’. Listen again to the beating adjusting the lower drone slide to match the outside drone tone. Then strike drones and chanter in to sound ‘A’ and listen. It can help to alternate to ‘E’ to listen for dissonance.

Finally, play a tuning scale listening all the while for out of tune notes and drones. If all is good, play a slow air or 2/4 march to hear the tuning. Play something you know by heart (e.g. Green Hills) so you can concentrate on how the pipes sound. Playing something familiar will allow for playing without stress and give your body and ears chance to play ‘normally’. If you are stressed while tuning, your blowing will be higher pressured, your arms and hands tighter and you’ll play elevated and sharp.

So just relax, play tuned, play, then re-tune, and play as if for an audience of only one… yourself.

On piping while sailing

When a loved one passes away, we celebrate and mourn. Such occasions are a mix of joy in celebrating the life of the deceased and a strong sense of loss for a cherished loved one now gone. I get that, having lost parents over the past few years. Several months back I was honored to play for a marvelous family whose deceased father and husband had requested that his cremated ashes be scattered at sea and that there be bagpipes.  He’d been an avid sportsman and sailor having traveled with his wife to many countries including Scotland. The family, their friends and I rendezvoused on the dock at a San Francisco yacht club.

We all dressed warmly for a crisp clear March day. Dressed in kilt, Argyll jacket and vest, white shirt and tie, and glengarry, I also made sure to wear sport shorts so as not to worry about wind accidentally revealing too much. I casually mentioned it to the host is case someone was a wee bit worried about what might be under a Scotsman’s kilt. ;-) Onboard the family friend’s 40 ft. sailboat, I added a light weight self-inflating life vest, as I would be standing on deck. Using a self-inflating vest is less bulky and much more comfortable than what one thinks of with a ‘normal’ bulky life vest. For any day of playing one should always ‘be prepared.’ I tuned before arriving at the dock, away from my potential clients' hearing. I also brought sunscreen (pre-applied), and, black cording and safety pins to attach my glengarry to my jacket in case the wind blew it off while playing. The same goes with sun glasses having a strap in case they fall off. A side note. I almost never play a gig while wearing sun glasses. But, playing aboard a boat may be that one exception. The exposure to the sun and glare from the water makes wearing glasses acceptable if done with prior permission from my host. Once aboard, I stowed my extra gear and pipe bag below deck, then struck up a march-medley on the foredeck as family and friends boarded.

We cast off from our slip and were in the Bay in little time. While exiting port, I stayed quietly seated so the boat’s skipper could both see and hear as the boat was leaving harbor. Then, with permission from the skipper, I stood, feet and back firmly braced against cabin, deck and second jib fore-stay, I played a 15 to 20 minute set as we sailed under the Bay Bridge, past the Embarcadero, past Pier 39 and out into the Bay toward the Golden Gate. I don’t know how far my music traveled with the slight head wind we were motoring into, but I do believe the family enjoyed the set.  After a break, we’d passed under the Golden Gate Bridge and were traveling outbound into the Pacific Ocean. There also a level of anticipation for events to follow, even as we looked up to the bridge far above us and heard the cars traveling across. Many of those aboard had not been out of the Golden Gate aboard any vessel and were thrilled to be experiencing such. It reminded me of my own family’s sail out the Gate in order to scatter my grandmother’s ashes at sea aboard my Dad’s sailboat.

There is a quiet dignity in performing a time honored ritual such as we experienced that day. The weather cooperated for the family I was piping for, with a light breeze and gentle swell on the ocean. We were able to motor to nearly a stop to scatter the Dad’s ashes and flowers in solemn tribute. Additionally, a wreath of flowers was laid on the water as the boat gently turned in a slow circle; I played Amazing Grace and Going Home twice through. A moment of silence was then observed. I broke the silence (pre-planned) with the tunes Flower of Scotland into Green Hills of Tyrol and Scotland the Brave.

As we motored back into the Bay, we had a light picnic lunch (me included, although I very rarely eat during a service). The family popped champagne toasting the Dad’s full loving life. As we traveled past the Embarcadero, I struck in my pipes for a medley of tunes on the fore-deck and played until we reached harbor. After the yacht was docked, my life jacket off, I jumped to the dock and piped the family and friends ashore. It had been a stirring, emotional day for all involved. Having said my farewells to the family I headed home thinking of the beautiful day spent with a family in mourning and celebration, and of my own loved ones now departed.  

On if our band lived by the Scout Law

Last weekend I participated in a Boy Scouts of America Eagle Court of Honor in San Jose, playing the pipes and marching the Scout troop into the ceremony. It’s always a pleasure to play for these kinds of events and this one was no different. Honoring the years of dedicated work by a young man in scouting, the Eagle award represents a wonderful achievement strived for and attained. At one point in the ceremony all scouts present stand and repeat the Scout Law, reciting from memory, “A Scout is trustworthy, loyal, helpful, friendly, courteous, kind, obedient, cheerful, thrifty, brave, clean, and reverent.” From the age of 10 or so, until age 18, the boys will recite this weekly at troop events and outings, and it becomes part of a boy’s scouting DNA, if not their personal DNA.

A guest speaker at the event extolled the values of scouting and living by the Scout Law. He spoke of how, although not attaining the Eagle award as a young man in Scouts, he always took the Law to heart. After college he established a business, and, incorporated the twelve points into running his organization. It gave me pause to think, what if pipe bands ran this same way. What if our band lived by the Scout Law? How would the band function? Would it make a difference in the lives of the members who embraced the ideals the Scout Law represents?

If all members of the band were trustworthy to commit to events and practices? To make our yes, our yes, and our no, our no. As we make a commitment to our band, we then stand by it. If band members were loyal to the agreed upon principles of our band as a 501 (c) (3) non-profit created to educate the general public in piping, drumming, dance, and other art forms associated with Scottish and Celtic culture. Loyal to the leadership, even when we disagree with minor issues such as style, choice of music or communications. We would see our leaders loyal to the membership as well. We are to be helpful to one another at practice or in performance. We should arrive to any band function ready to do our best, dressed ahead of time and our instrument functioning properly and pre-tuned? Are we helpful to the Pipe Major with tuning? Are we doing our part to help with drone shut offs as we tune, quietly waiting our turn with the PM or assigned piper?

To those who love listening to our music at highland games and public events, to band members and visitors to practice we should always be friendly. Would our band members’ speech and actions demonstrate friendliness to guests after we play, by answering questions and giving thanks and encouragement? What if we were courteous to each other? Courteous is defined as polite in a way that shows respect and a gracious consideration toward others. How would that play out during band practice or away at a highland games? Are we kind to one another and encouraging as we practice and play? There’s always someone who plays better than me (and maybe some who aren’t up to my level). Am I kind in my comments to the ‘better’ player? Do I offer my time and experience to ‘younger’ less experienced players? We could demonstrate kindness to one who misses practice, emailing or calling to see if they are alright. How deep does our concern for our band mates go?

Going to practice and events has a certain social component. We enjoy chatting away about the last band gig, latest music or upcoming road trip. We need to learn when the mingling ends and be obedient to instruction and requests from one another. “Would you listen to my D-throws?” “Would you help me with the timing of a sticky passage in Battle of Waterloo?” We should extend the same level of obedience to the Pipe Corporal as we do the Pipe Major. We should listen to the young player and the old. And do such with a cheerful heart. Having marched a long parade, or completed a lengthy practice, do we leave grumbling about decisions made, or are we cheerful and grateful that we belong to a corp. of pipers and drummers who love Celtic pipe music? Piping isn’t an over the top expensive hobby but running a band does take money earned in gigs and donations. We have a responsibility to be thrifty in how the band spends money. Besides, I’ve never heard of a spend thrift Scotsman. Have you? ;-)

Brave? I had to think about this one. Pipers and drummers have a core of bravery in them in that we put ourselves in front of the public to perform. It takes both guts and a touch of bravery to give without really expecting in return. Am I brave enough to admit when I’m not ‘getting it’ in practice and ask for help? As a band, for the most part, we are a clean bunch. Yet how would we look if we ALL cleaned and bleached our spats, made sure our shirts are clean (and pressed) before a performance, shoes ALWAYS polished, no tears or wear on our uniforms, even our glengarry ribbons pressed? My best guess is that it would be very noticeable. And reverent… in a pipe band? Are we just musicians who love a good time? Webster’s 1828 Dictionary defines reverent as “Expressing reverence, veneration or submission.” We all God’s children created for a purpose. Piping may well be part of that purpose for me. To do our best for God and country, and ourselves in part of that reverent attitude. To uphold this one point is to epitomize the other eleven.

We should and must approach running our band with an attitude honoring to the heritage of great pipers and bands who played before us. We must consciously determine to make our band worthy of the next generation. We are pipers and drummers, not Boy Scouts. And yet, we have been given a talent for music, for performing, for leading by example and for living up to the points of the Scout Law. Each point is relevant to each of us. In answer to my original question, what if our band lived by the Scout Law, I say we would be better for it. May we each incorporate these into our own DNA.

On honoring those who gave their lives on D-Day, June 6, 1944

Today, June 6, is the 70th anniversary of the D-Day Landing on the beaches of Normandy, France in 1944. As a nation we honor those gave their last full measure of devotion during this one battle, and yet it is also symbolic of the many battles fought for freedom around the world during the world war. Even as the last veterans of the conflict pass away, we should not forget their sacrifices.

By the end of the first day of Operation Overlord, the Allies (US, British, French, Canadian, Australian, Belgium and others) stormed the beaches of Omaha, Utah, Juno, Gold, Sword with more than 175,000 troops, 600 warships, and nearly 10,000 bombers and other warplanes. Almost a million Allies will be on French soil by the end of the month. For this year’s remembrance, Bill Millin’s son, John, age 59 and third generation piper, played the pipes (pictured above) in memory of the many who fought during the world wide conflict.

Bagpiping on D-Day made Bill Millin, then a 21 year old Royal Marine Commando, a hero to many a Scot and Brit. He is remembered for piping on D-Day during the initial landing. For an account of his bravery / craziness see my entry from last June. A few things you may not have known about ‘Bill’. His father was a piper in WWI. ‘Bill’ played in the pipe bands of two separate Highland regiments before volunteering as a Commando during World War II where he became the personal piper to Simon Fraser, 17th Lord Lovat, commander of the Special Services Regiment landing on June 6th. Bill played to bolster the spirits of the men as they left the River Hamble (East of Portsmouth), standing on the bow, playing for all to hear. As his battalion waded ashore, Bill held his pipes above his head, his kilt (he was the only one wearing a kilt) floating around him until he reached the shore. Lord Lovat asked him to play, so Bill marched and played many traditional favorites: “Highland Laddie”, “The Road to the Isles” among others. A fellow soldier, Tom Duncan, remembered Bill years later, “(His piping) reminded us of home and why we were there fighting for our lives and those of our loved ones.”

So take a minute and silently remember the men and women who gave their lives for the cause of Freedom in WWII, Korea, Vietnam, Iraq, Afghanistan and many other conflicts around the world. Freedom isn’t free, and that freedom is often paid for in blood spilled on foreign beaches and lands, for you, and for me.

Memorial Day Semi-Annual Back-to-Basics … Part 2

In part 1 of my Memorial Day Back-to-Basics, I talked about the need to strengthen lips, lungs and arm, in order to play the music we love. With these three working with strength and control, you will be free to relax and play the chanter with more skill. With the big three working together, your mind will be free to concentrate on musical performance. In Part 2, let’s look at the bagpipes themselves.

Maintaining your instrument is fundamental to playing well. Even before playing, you should inspect your instrument, tuning, and warm-up. We sometimes (I know, because I have done it!) jump right into playing our latest and greatest tune without making sure our instrument is ready to be played. This inspection is not necessary every time we pick up our pipes, but certainly before our weekly band practice and any performance. A good rule of thumb is to do the maintenance the evening before an important event.

Start with a quick inspection. Are the drones (both stock end and drone slides), blowpipe and chanter properly hemped? Do the fittings sit too loosely in there stocks. Do the drones’ slides move smoothly but firmly? The last thing you want is to loose the top of a drone when it bumps a door, branch, etc.  Inspecting and adjusting these is to control your instrument to minimize changes in pitch and air loss. If any of these is loose (or too tight), the piper should work with hemp, waxed hemp and Teflon tape to insure the pipes can be adjusted.

You should also check the air tightness of the bag on a quarterly basis. If I’m going through the effort of playing, I sure don’t want to waste any air in keeping my pipes going. Cork the chanter stock (the chanter is removed). Then blow up the bag to the point that the installed drones have all stopped. Set the bag down and listen as the air slowly escapes. Listen and time on a watch for which drone plays first, which is second and third.  The drones should all hold and then moan at about the same time, in thirty to 40 seconds. If they don’t, then there may be a need to adjust the drone reed and / or drone valve (if you use valves). Also listen to the blow pipe for any air exiting due to the flapper valve not seating properly. Fix or replace as needed.

Then look at the pipe chanter for any tuning tape applied. Review that the tape is new and not slipping from the hole it is tuning. If it’s slipping or sticky when removed and re-applied, then it is time to replace the tape. Some pipers use black electrical tape, others use a clear bagpipe tape. As the weather changes, so does our tuning. So always have a piece (or two) of fresh unused tape stuck to your chanter sole in case you need to replace a piece.

Do you use a moisture system with your pipes? Moisture is one of the enemies of our pipes staying in tune. I highly encourage the use of moisture control systems. I use one moisture trap attached to my blow pipe and then secondary moisture capture to each drone. There are many different ways to capture the moisture in our breath. Some people swear by one brand over another. The key is to be using one. To use one, also means to maintain them. So I use a pipe bag with a zipper that lets me access the bag and moisture systems. I will regularly clean and dry the moisture systems. Another time we can speak to the different types on the market.

One last comment about maintenance. Do you have a maintenance kit with your pipes? You need one with tape, drone stoppers, hemp (waxed and un-waxed), Teflon tape, small scissors, etc. When you are confident in your instrument’s maintenance, you are ready to warm up and tune up. Stay ‘tuned’ for part 3.

Happy piping.