On stepping in for the Pipe Major

Back in mid-August, I wrote an entry regarding standing next to the Pipe Major (Top Ten Reasons Not to Stand next to …). Little did I envision stepping into his shoes and running a band practice. Now there is an example of irony. Crazy? Yes, I know. But fate has a way of taking us out of our comfort zone.

There are times in a band’s year that the Pipe Major and Pipe Sergeant are both out. We have several members of the piper corp. capable of running a practice. Based on what is needed that evening, the effort could be a fun time or a challenge. If it is chanter work on new or existing tunes, tuning the band member’s pipes, then playing tunes in the circle, then it can be managed. Even if a piper is capable, he or she, may not want to. I think that it comes down to confidence to lead and competency on the pipes.

So that’s where I found myself a couple weeks ago. I had direction from the PM as to what he wanted accomplished, so my job was to follow through on his outline. The first time stepping up to leading in the circle is an interesting one. The first question: where is the PM starts the evening followed by a simple announcement that I was asked to run the practice. Done. So let’s get going. Chanters first, pipes second (warm up, tuning to 480 hz, drones tuning, circle up leaving room for drummers, tuning sequence, etc.), then on to playing new and old tunes (bring your music if they aren’t memorized yet). Add drummers, and now the bass drummer and lead side drummer are watching my foot for tempo. You just can’t think about it. Lead in the moment; but remain very much aware of what is happening.

Just as I wrote about the PM hearing my playing, now, the band can hear and see my playing; some are even following my fingering, and, I am more aware than ever of others and their playing. Nervous? Yes. So I focus on playing and keep the tempo as even as I can and the evening moving forward. I’m ever more aware of phrases where the tempo can run away, and they do… arghhh! Stop, recognize it and repeat. Everyone learns from it. Add a little humor.

I thinks PM’s are unconsciously trained on certain praises and actions. Set the tempo; humming the first couple bars of music; ask younger pipers “How many beats of ‘E’” at strike in; stop if early ‘E’ is sounded; encourage control of your instrument; “Good cut-off”, or “watch the cutoff”; “It’s 1, 2,3 off”; we are in this to improve our music; listen to your neighbor for tuning, etc.

The evening flies by, guaranteed! At the end, words of encouragement to all and the DM announces “dismissed”. Then comes the questions and suggestions. I listen to them all and relay how the band did at practice to the PM. Interestingly enough, I hope that I will be asked to substitute again. My thanks goes out to the band for patiently following my lead.

“Irony is just honesty with the volume cranked up.” George Saunders (US Author)

On piping in Hong Kong

When Hong Kong’s pro-democracy demonstrations were in full swing in September, with literally hundreds of thousands of protestors peacefully demonstrating for freedoms, I listened intently to news reports on their demands and progress. They rallied for democratic reform and suffrage that they felt was due them (and all Chinese citizens too); Through peaceful civil disobedience they made a resounding sound that may not have been heard in Beijing. I applaud their efforts to bring democratic values and change to their land.

Even as the protests continued, I thought about Hong Kong as a British colony that until 1997 was the wild west of capitalism, banking and commerce. Its rich heritage is a mix of English, Scottish, Chinese and many other cultures, so it must have included bagpipes. I went in search of piping in the news for pipes and drum bands in Hong Kong, Kowloon Peninsula and the New Territories. A picture from the water of Hong Kong harbor shows a city built on green hills. Surely there must still be bagpipes playing today. A little research quickly shows that Hong Kong has a rich Scottish heritage.

The HSBC Bank was founded by a Scotsman, Thomas Sutherland in 1865. Even today, the firing of the Noonday Gun, a cannon mounted on a tiny jetty, is a daily ritual in remembrance of William Jardine and James Matheson, who were shipping tycoons from Edinburgh. Even at Hong Kong University which incorporates a castle erected in the 1860’s by a Scotsman, Douglas Laprik, the influence of the Scots can be found.

There are two pipe bands in Hong Kong: The Hong Kong Pipe Band http://hkpipeband.com/ and Hong Kong St. Andrews Pipe Band http://www.pipeband.org.hk/. The KH Pipe Band was formed in 1982 and continues to bring the music of Scotland to the city. Looking at their web site shows that they are into performing at many civic and private events as well as competing as a grade 4 band. One of their pipers, Andrew Yu took the top honors this summer at the All-England Championships in the United Kingdom in July. Andrew took grade one first place in the Piobaireachd, 6/8 March and second in the Air & Jig and March, Strathspey & Reel.

The second band is the Hong Kong St. Andrews Pipe Band http://www.pipeband.org.hk/. Their organization also plays our traditional Scottish music, but also plays arrangements of Chinese and Korean folk songs which can be downloaded from their site in pdf. I’ve attached one Chinese folk tune, “Dance of Youth” here. Very fun to play.

From a history perspective the Royal Gurkha Rifles, a regiment made up of Nepalese soldiers, loyal to the crown since 1857 became British regulars in 1949 following Indian Independence. Their regiment and pipe band were stationed in Hong Kong soon around 1962 and remained on station there until the draw down and final with drawl of all British troop in 1997. Today their piping tradition continues in in the Singapore Police Force Gurkha Contingent Pipes and Drums Platoon. Here’s a set performed by them on YouTube: https://www.youtube.com/watch?v=yH-Y9kdWbjk

It is great to think that we have piping brethren across the world. From many cultures from Nepal to South America, from Canada to Dubai, my guess is that we have more than just bagpipe music in common. I think of those families in Hong Kong wishing for a life free to follow their God given rights.

On music programs in the Bay Area

Fall is in the air. Yesterday I saw a young student on the way to school carrying a large musical instrument case. In a heartbeat I was transported back to Lindbergh Elementary, in my home town, where in 4th grade I carried my saxophone to and from school, beginning a lifelong love of music. That year I was introduced to my music teacher who for the next nine years would guide us students each band period to excel in making music. We benefited from his passion for music, and his love and no nonsense approach for his students, that we might catch the beautiful creativeness of the arts.

Without a doubt, reading, writing and math are essential to a quality education. To that point, research studies have demonstrated how including music education in a child's life helps them to do well in school, developing confidence and self-discipline, creativity, a sense of accomplishment and openness to other cultures and their music. Playing instruments, I learned how to be part of a team, from concerts to half time shows, parades to jazz ensembles. We learned how to work toward goals and accomplish hard things. Music united us in purpose much like an athletic team might under the guidance of a coach, but giving our minds and hearts to the music and the audience.

Musicians of every genre speak of music as an expression of our humanity. Famed violinist Joshua Bell recently spoke after a New York performance that "Music is something that should be a part of everyone's life." I agree. Can we in the Bay Area, as a people of great cultures and beliefs, in an economic and technical hub, not pay attention to the need for music in our children’s lives? Join me this fall to encourage music students, their teachers and administrators, and school music programs to continue to thrive, not just survive.

So leave your windows open as that young student next door practices with all the excitement of a virtuoso, even as he or she hits a few wrong notes. Or maybe wave encouragement to that student with that over-sized case on their way to school and to new adventures through music.

With a perspective,
John

Top Ten reasons why not to stand next to the Pipe Major

One evening on my way home from a grueling sweaty summer pipe band practice I found myself thinking about standing and playing next to our band’s Pipe Major. In the church where we practice, the narthex is used for both its space to form a band circle and has somewhat less reflective sound than the main church. It’s tight, it works and I have found myself standing at times either next to or near the Pipe Major (PM).  Seems like when I have practiced the ‘right’ tunes for the evening I find myself standing across from him, my sound mixing with all pipers. On other nights, when I’d practiced ‘other’ tunes I found myself next to the PM, or Pipe Sergeant, or, in between both! You can guess how those evenings’ turned out (insert nervous laugh)… So I thought about the top ten reasons why not to stand next to the PM.

10. When standing next to the PM, I may get a stiff neck from craning my neck left or right depending which side of the PM I stand. - This is the only one of the ten that does not rely on the PM hearing me play. In a piping circle, everyone should stand facing the center, with only our heads turned toward the PM to follow his fingering and feet. My blow pipe is perfect for standing facing forward, but when I turn to the left the blow pipe feels too long. Getting used to playing in different physical piping circle positions makes a piper more confident, versatile and useful in the band.

9. The PM hears my chanter or drones are out of tune – We spend a lot of time tuning at practice and before competition, always seeking that ‘one sound’ from the band. Tuning at practice or before a performance I may match the PM perfectly. And yet during competition when the adrenaline is coursing through my veins, my pipe’s pressure may elevate and both drones and my upper hand 'D', ‘E’, ‘F’, ‘G’ or ‘A’ may quickly go out of tune. It take practice, confidence and control over my own emotions and physical excitement to play steadily with the group on the march or in the circle.

8. The PM hears my pressure waver as I play – A band’s sound depends on both a solid drone and chanter sound, as well as volume.  Maintaining pressure through the tune to its cut-off is important. Knowing that my arm can maintain pressure through that last birl and until cut-off should be part of my practice routine, always listening to the sound (how about recording your solo practice?). Without confidence and concentration you will (not may) lose focus. When that band ‘one sound’ occurs, you no longer hear your own playing. Practicing helps, but practicing your breathing and arm pressure technique properly is key. 

7. The PM hears my chanter drops out – Maybe the reed is too old that over blowing finally killed it, or it is too stiff and not properly broken in (“Sorry, but I just changed my chanter reed the morning”), or lips are shot to hold blowing pressure at end of a performance. Then I’m reminded why I practice. The chanter may stop in practice but on the day of a competition may end up with me being cut from the field, or the band losing a placing.

6. The PM hears my drones cut out – The band needs the drone sound of every piper. Maybe they worked perfectly at home, but because I’m now over blowing or drone reeds are damp, one (or more) drones cut out. Controlling my instrument and having ‘nerves of steel’ to drop out and re-start my drones and chanter is a difficult task in performance or competition. I should practice this at home to be prepared for performances.

5. The PM hears my drones strike in early or late – Controlling my pipes is equal to correctly playing music. Striking in IS part of the music. Both music practice on pipes and bagpipe maintenance must be part of my practice regimen. A band depends on producing one sound so striking in together is key. No early drone sounds allowed! Proper strike in sounds solid from the start, not wavering and is maintained. This takes concerted effort, confidence and practice.

4. The PM hears my fingering mistakes, both tune and embellishment – “Question: What’s similar between lightening and a bagpiper’s fingering? Answer: Neither strikes the same place twice.” The old joke holds some truth. Have you ever been ‘encouraged’ during band practice to revisit your music before the next band practice? I have, and on music I have played for years! How could I even mess up on a tuning sequence? Everyone, from the PM on down to the neophyte piper makes mistakes. Rushing embellishments or ending phrasing? Or "The 'D' in D-throw is to be heard but not held." When mistakes happen, play through, not wincing or making eye contact with the PM. Make like it never happened, then go home and correct with practice. If asked in practice 'Who played the note errors in bar 27?" Just owe up to it and move on to perfecting your music in practice at home. In performance, as a band, we must play to the PM’s foot and fingering, and as an ensemble with the drum corp.

3. The PM hears my ‘E’ strike in, early or late – Even more pronounced than ricochet drones is a band with ricochet ‘E’ strike in. As a band we practice this many times. That crazy strike in exercise of repeating the roll-off, strike in, ‘E’ and first four bars of a march then repeat makes sense to do, but I don’t have to enjoy it. The almighty ‘E’ depends on the confidence of each band member controlling their pipes and striking in together. Practice at home on the march and with a metronome will make a big difference.

2. The PM hears me cut-off late – OMG! If practice teaches me nothing, it is controlling my instrument. Ending the tune solidly together is as important as starting together. Cutting off late, or having trailing drones after everyone else cuts off will cost a band. Using drone valves may help (I’m in favor of these, but that’s just me), but learning to be present in the moment of the tune ending, anticipating its end is key. Keeping enough air in the bag to complete the tune with proper drone and chanter pressure is paramount. Cut-off together should be the norm. To hear the PM say “Nice cut-off” should be a rarity.

And the #1 reason not to stand next to the Pipe Major is:

1. The PM wants to hear me play solo so he volunteers me to lead out on a build-a-band tune. We play a very loud instrument: at home, in a park, and certainly before band practice to warm up. Why is it that I become so nervous when asked to play solo in front of fellow band mates and PM? My friends are probably just breathing a sigh of relief that they were not picked, or, are concentrating on practicing fingering technique while I play. Learning to play in any situation builds your confidence and makes you a better piper.

Nine out of the ten points has the Pipe Major hearing me play. I am truly amazed that the PM can hear what is happening while concentrating on tempo and playing correctly for the pipers to follow. It’s not walking and chewing gum that may cause me to stumble, but… roll off, marching, arm swing, dress right, strike in, ‘E’, one beat ‘E’ (or two?), playing the tune to the PM’s beat, mark time, turn into circle, stop, continue playing focused on the PM’s fingering, transitions between tunes, cut off, then breath once again.

I value the PM’s constructive criticism (most of the time) and his praise and support (all the time). I also feel comfortable speaking to him about what I observe or think about practice, competition, band matters, etc. Whether my PM implements the ideas is secondary to the communication line being open. I may sometimes prefer not to be in the PM’s watchful gaze, or him being in ear shot of my playing. But playing next to the Pipe Major is to play with a better player than me, and can only improve me as a piper and musician. I think I see a mantra: practice and control improves confidence and performance. Next practice, I’m standing next to the PM.

On The Battle of the Somme as a massed bands tune honoring WWI

Today, July 28, marks the 100th anniversary of the beginning of the Great War, known today simply as World War I. A fellow band mate and piper, Melody, sent me a link to the BBC Special “Pipers of the Trenches" on http://youtu.be/4oXiAu3P0LM (great show by the way). After a short email discussion about the show, she suggested that the classic pipe tune The Battle of the Somme become a tune to be played with appropriate fanfare by massed bands over the next four years, honoring and celebrating the lives, valor and sacrifices made by the men and women who served during the Great War, 1914 – 1918.

The tune: The Battle of the Somme is attributed to Pipe Major William Lawrie (1881-1916). He was PM of the 8th Argyllshire Battalion of the Argyll and Sutherland Highlanders in 1914 and remained as such until pneumonia, pleurisy and meningitis contracted in the trenches of France took his health, was sent home and succumbed to an early death.

Prior to the war, Lawrie was a student of the pipes under both his father, Hugh, and the great John MacColl, winning many awards for his piping. He left the piping community a legacy of compositions of which ‘Battle’ is considered one of the best and remains a classic 9/8 march played by pipe bands to this day.

The setting of the public domain tune pictured above is included for download: The Battle of the Somme

To add your voice to the discussion go to Bob Dunshire’s forum at: http://forums.bobdunsire.com/forums/showthread.php?t=156316

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.