The Bagpipe Society

Newsletter July 1987

This edition is from our archives, so it is presented as scanned pages rather than text.

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NEWSLETTER COPY DATE

Please have all copy, letters, advertisements in to me by September 10th. This gives me one month to get it all together, written, typed, pasted up and printed. If at all possible, please send copy earlier than this date as I can start getting it onto word processor early, thus easing my load a bit. I can take “For Sales”, however, right up to the last minute (about Oct 1st) as they can always be squeezed in easily. Please send Diary information to Robin Nicholls by September 10th. Her address is

THE BAGPIPE SOCIETY

TENTH NEWSLETTER
JULY 1987

MUSINGS

When I first sat down to put this issue of the Newsletter together, contributions seemed a bit thin on the ground and I thought that with the silly season imminent, I would have to start inventing stuff to fill the pages. For those of you not familiar with the silly season, it’s that period of non-news that happens every summer when the Great British Press likes to dig out/invent all the nutty stories that somehow get overlooked the rest of the year: Loch Ness Monster sightings, playing the Highland Bagpipes; Famous Irish piper is really a leprechaun; Prince Charles is a closet Gairden - stop. This amusing rambling and get on with the Newsletter! - help, the pipes are laking over again! Anyway, by the time I got to the last page, the damn thing had grown into another monster issue - not that I’m complaining, mind you (though it does take up a lot of my time!); but please could you get stuff to me earlier so that I can spread it over a longer period? (see ‘Copy Date’ at end) ———

I’ve just acquired a wonderful new toy. Now don’t laugh, especially all you Highland pipers; it’s a practice chanter. I’ve always thought they were strictly for beginners or players of very loud bagpipes with neighbours that lean towards Mantovani. How wrong, I’ve been all these years! I got the thing whilst browsing through men’s accessories shops. There on an oddsmonds shelf along with the Jews, Harps and Arab nose flutes I espied a dire of white plastic that looked decidedly familiar - a pulled it from the shelf and, as I suspected, there was a practice chanter attached. “If you can get it going you can have it,” said my friendly purveyor of things musical. “Not thinking of taking up the bagpipes are you?” said he, at length, as way of ridding himself of the embarrassing object, “Well, er, as a matter of fact…” said I, and quickly piled for a sell of Strathcester strings (well, you’ve got to preserve some street cred in Hornchurch). Before I could own up, it was shoved in a plastic carrier along with the guitar strings and Max Bygraves Greatest Hits Songbook. “No charge,” said he. “Glad to be rid of it.” “Course you ’ll need a reed. That’s the trouble - dying art - nobody knows how to make them any more.” “Tee hee,” chuckled f. clutching the needless treasure to my bosom and hurrying

THE DRONES CLUB

TO THE PRIZE A FREEZE MELTDN BAGPIPE? I’m the next James our Western European correspondent Paul Miller finally lays the ghost (the short answer is yes).

All items for Newsletter to Dave VanDoorn. (also applications for membership).

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out of the shop, ’little does he know…’

So what? you might ask. Well the point is that the thing is now constantly by my side. Even now as I type I am tempted to have a little… just a minute… there, that’s better - by golly I need that! It’s even more addictive than proper bagpiping. The serious side of the tale is that in the couple of weeks I’ve had it, my playing has improved no end (I think?). Somehow the wee beastie is forcing me to do things correctly for the first time. I’m using proper fingerings; with the right port of the fingers; ornaments sound better and are becoming easier; for the first time ever I’m beginning to get properly to grips with ‘rappel’ playing. Why this should be I don’t know. It must be something to do with the fact that with a full set I get so carried away with the overall sound that all I want to do is play things I already know rather than get stuck in to some hard practice.

Now as far as I know (and please correct me if I’m wrong). the practice chanter is a device only used in Scottish and Arcton circles. Certainly the one I acquired is typical with narrow cylindrical bore giving it a pitch one octave below the Highland pipe chanter - but a helluva lot quieter. You can get them for as little as £3.50 (yes, really!), so there’s no excuse - if, however, you’re serious about it e.g. if you play the Highland pipes, then you’d be well advised to steer clear of the cheapos and go for something a bit better; a good quality plastic one will cost you about £17 and a good wooden one about £30. The tuning will be Scottish but you can work wonders with Sellotape if you feel it’s necessary. The fingering is semi-covered but works almost as well with open fingerings; so you can see that most types of Western European pipes are - sort of - covered by the Highland version. Rush out and buy one now!

News of a new record by one of our members: John Agnew and his hand Blackwater Folk have just produced ‘Celtic Fringe’ with John: Scottish Smallpipes, mandolin and Anglo concertina; Sam Allen: English concertina, author and vocals and Alan Lake: hammered dulcimer, guitar, flageolet and vocals. I’ve not had a chance to hear it yet but I’m told it’s quite tasty. You can get copies from John at

Also Bob Cross of the Cheshire Waits has a new cassette out - won’t say any more about it here as it’s reviewed in detail elsewhere in this issue.

Particularly nice to see so many, and such interesting, letters in this issue. As we keep stressing, this is your society - the committee only runs it - so even if we fill the Newsletter with letters this will be no bad thing!

Oilleann pipe makers Dave Evans and Christine Sheard have had a new phone number imposed on them yet again by BT. The advert for Sorfire in Chanter 12 is actually correct and gives the new number: *** ***. but it appears a lot of you (including me) had not noticed this and have been trying to contact them at their old number.

Dave Shaw has a new dance band (in addition to Red Shift and the Moorcock Band). It’s called The Flying Toad Band (after the hornpipe) and consists of Dave: Northumbrian Smallpipes and melodon; Jem Cooper: English concertina and Andy Laurentzenu: fiddle. Dave tells me they play mainly Northumbrian and Border music and have cut away fro

the rhythm and bass kind of line up with the punch coming from the music itself instead. In line with this they intend to be a quiet band so they can actually hear the dancers dancing - a fact which Dave considers rather important. Their regular caller is clog dancing ace (Mrs) Ed Wilson who does the odd spot at bookings as well as calling. Sounds very interesting.

In the last Newsletter, I asked if anyone had come across the term “a pair of bagpipes”. Dirk Campbell has written in to tell us of its use in a folk tale “Tuid the Raggiper”. He has sent an abridged version of the story (see separate item) plus another that features bagpipes which will appear in the next Newsletter.

While on this subject, has anyone any views on the Pied Piper of Hamelin? Personally, I would be very surprised indeed if the guy used a whistle - which is the way he is usually depicted - or, even sillier, a modern oboe which is how the good burger of Hamelin see him as this is the instrument played by the official town piper in their annual re-enactment. Needless to say I think he must have been a bagpiper; but how true is the story? Over to you Dirk.

While musing on German pipes (or should it be dondling?), you might like to know that Jeroen de Groot of Holland tells us there is a German nagarine ‘Der Dudpfeifer’ which is produced by Lothar Jungheinl, p. The cost of an annual subscription is only 14DM.

If you decide to write for further information (for this or anything else you see in these pages or those of ‘Chanter’), please mention the Bagpipe Society as it helps us to spread the name about and to attract much needed advertising.

I hear that utterly reliable, last-forever, excellent-sounding plastic drone reeds are now available from Australia. That’s the good news: the bad is that a) I don’t know where to get them from other than the name Bob Shepherd (sorry, no address; but you might try Highland Gathering), b) they’re only available for the Highland pipes, c) you have to buy a complete set (2 tenor, 1 bass) and d) they’re £23 a set. Yes, it seems a lot, but as Dave Cornish of Highland Gathering (who told me about them) says, is it such a lot to pay for something that’s going to give troublefree playing?

In case any of you have not yet encountered Highland Gathering, it’s a Highland bagpipe suppliers run by Dave Cornish from his home. Dave can supply anything from a reed to a full set of pipes: hemp, seasoning mousse, bag covers, practice chanters etc. The address is

MEMBERSHIP LIST With any luck you’ll all have an up to date Membership List with this mailing. For some of you it’s somewhat late, especially as one of the basic aims of the Society is to put people in touch with one another; all we can do is apologise. Sorry also if some of the details are a bit out of date but there has to be a publication cut-off point and for this it was mid-June so any changes notified after this date are unlikely to be in. But all is not lost! We shall be issuing detailed updates with each Newsletter. These will be on a separate sheet which

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we would like you to keep with the mailing list until it itself is updated next year (does all this make sense? Think I’ll have another hurls). On the old PC……) The list is not complete catalogue of members as some have elected not to be included. Those who have, however, can expect to be inundated with Special Offers of the Benders digest mails of BagpipinG or Special Life Assurance offers for Bagpipers sound of wind and limb (only joking), batches to add. Only members or organisations in some way directly connected with bagpiping will receive copies on any junk mail you get will definitely not result from the Membership List!

I would like to ask that you all check your entries and let me know if there is anything wrong. If you think it’s important enough, say so and I’ll put it in as a change in the following Newsletter’s Membership List update.

Bob Cross, our Regional Coordinator, has done an analysis as to where you all live and has produced the breakdown which is included in the Membership List - over 10 ph for an explanation.

I have given much thought as to how the country should be divided into regions. I have finally chosen a system using the 3 miles to the Inch Ordnance Survey Hotting Atlas. By using the key on the inside cover, the country can be divided into regions in which members can form their own local branches of the Society. For regions with a high density of members such as London, the map page numbers for the region will provide a regional code - London would therefore be Region 24/25. Where members live in regions of low membership density, they will be allocated the region nearest to them with a higher membership and so share the same area number (until their own region builds up).

I have ploughed through the membership list and sorted out all those living in England, Scotland and Wales, then grouped them into regions using the method described. Some ended up with 17 regions which should be agreeable to most of you for getting to meetings. The next thing I shall be doing is to contact those of you who have agreed to organise things so that we can really get something moving in the way of local meetings.

Without the aid of a computer, arranging the membership into regions has been a long and tedious job so there are likely to be a few errors. Will you all please check that you are happy with your regional code. Comments and suggestions are also welcome.

(Bob Cross)

Since receiving the listings from Bob and preparing them for the Membership List, we have had quite a few new members. While we have made every effort to include you all in the actual Membership List, I right up to the day of printing. In fact we are unable to update Bob’s listings at this late stage. But you will not be forgotten and will be added eventually. If you want to check your reference number, the Ordnance Survey County Atlas is on sale in most bookshops. You don’t, of course, have to buy it. A quick look at the key will tell you all you need to know.

Needless to say, no one is limited to attending meetings within her/his area - it´s just a way of getting things moving. And speaking of that, if you want to help in your area, don’t wait for Bob to contact you, get in touch with him. His address is … just a minute,

I’ve got it somewhere - oh yes, in the new Membership List!

Those of you living outside Great Britain, please don’t think we’ve forgotten you. At the moment you’re fairly thin on the ground but we’re relying on you all to help us build up the membership in your own countries. The first step in that direction has been taken with the production of membership forms in French which we will send to all the members in French speaking countries as soon as they are ready (sorry, we haven’t had time to get it translated into oz yet).

Hope you all like the cover design - personally I’m knocked out by it! The artwork was produced by Richard Scollins who tells me it is based upon a painting he is working on of a semi-mythological Derbyshire bagpiper. The headdress is based upon a traditional animal disguise used in the Derbyshire Tip play `The Derby Ram’. The latter costume is worn by Guisers and Morrismen in the area (as well as other areas, of course). Richard says that the pipes are his own design but that he has heard somewhere that rams’ horns/heads were incorporated in the design of Derbyshire pipes in the old days (see separate article in this issue on Derbyshire pipes by Richard).

An amazing coincidence is that, literally minutes before Postie delivered the ‘Ram’ artwork from Richard, Yours Truly had just finished completing a headdress for Guising which is almost identical to the one in the picture (pause to let blond run cold for a bit). And, even stranger, my guise was designed to go with my Grosser Bock bagpipes which have a sheepskin overcoat, the remnants of which are used as part of the headdress. The only difference between Richard’s guise and mine is that mine includes a ram’s skull as well - and guess where I picked up the skull? Would you believe in a field in Derbyshire? All this without knowing a thing about Derbyshire pipes, Pup plays or what Richard had in mind for the cover design (is Somebody, Somewhere trying to tell me something?).

And what, you might ask, is your Secretary doing pacing about looking like an cheaciated sheep instead of getting on with the Newsletter? For the answer, read on…..

GRAND ORDER OF GUISERS

As I think I mentioned in an earlier Newsletter, the Grand Order of Guisers (GOG) is a loose sort of organisation dedicated to preserving the ancient ideals of dressing up in weird and wonderful costumes while having a high old time (plus the more serious business of preserving old folk customs). In June, GOG were in Great Dunmow in Essex to assist in the filming of a TV serial to be shown next winter called ‘The Fear’. Part of the action involves a semi-pagan village fete (modern times) and I was asked to sport the old Grosser Bock as it is rather visually striking’, To quote the TV types - hence the Ram guise (yes, I know a bock isn’t a sheep, but who’s counting?). If it eventually ends up on your TV screens rather than on the cutting room floor, you will notice that the Bock is a bit of a hybrid. My original double chanter has been discarded for the purpose of the filming (too unreliable) and my Renaissance English chanter in G substituted instead. Don’t worry if you can’t recognise me - I’m the one with the beard!

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DERBYSHIRE BAGPIPES
by Richard Scollins

If any members of the Society can shed any more light on a subject very close to my heart - namely that of the Derbyshire Bagpipes. Some years ago, I wrote researching various aspects of Derbyshire folklore and dialect, I came across an article entitled ‘Derbyshire Oddities’ which was reprinted from ‘The Derbyshire Times’ dated January 3rd 1931. The article is accompanied by an old broadsheet illustration of a 17th century Derbyshire celebrity: Hale the Piper (see Fig1. right). This worthy, who we are told was a big hit at London’s Bartholomew Fair, proved his bagpiping skills before three monarchs - presumably James I, Charles I and Charles II (whether or not the music-loving Oliver Cromwell caught an awful is open to conjecture!).

Fig 1. Hale, the Piper

It is unfortunate that the illustration does not show Hale’s celebrated instrument in any detail, and the question remains as to which of pipes these were. The article claims that they were “more properly ‘hornpipes’, from which instrument (the pipe being originally made of horn, and only later of wood) the dance took its name”. Another suggestion is that the earlier pipes were “wooden with horn tips at either end, rather than all horn”. What is certain is that during the 16th and 17th centuries, Derbyshire was along with its neighbours Nottinghamshire and Leicestershire - was famous all over England for hornpipes. Hale himself had a hornpipe tune named after him, and even the great Ben Jonson could write:

“Your firk-him jerk-hum to a dance
Shall fetch your fiddles out of France
To wonder at the hornpipes here
of Nottingham and Derbyshire”

Writing much later in the century - during the 1660s - Philip Kinder observed that: “In the Peak, they are much given to dance after the bagpipes; almost every town has a bagpipe in it”; and Edward Dromond, in describing his journeys through Derbyshire, tells of a visit to an inn in Bakewell where he and his companions “were accosted with the best musick the place could afford, an excellent bagpipe”.

Fig 2. Carving of a Rampiper, Haddon Hall, Derbyshire

I am aware of a theory - though I can no longer trace the source - that some versions of the Derbyshire pipes may have had a ram’s head and/or horns incorporated into their design. Whilst this notion has inspired some flights of fancy on my part as manifested in my own paintings and illustration work (see cover of Membership List…Ed), I have to concede that the ‘genuine’ and earlier bagpipe depicted in a carving at Haddon Hall would appear to be a much less complicated affair (see Fig. 2). However, could it be that this humble, one-drone instrument offers a clue as to the general appearance of a more sophisticated ‘Peak Pipe’ which so impressed visitors to Derbyshire during the Stuart era?

MEMBERSHIP CARDS

Did you like your membership cards (those who got them that is)? Bit naff weren’t they? Enclosed you will find a new, improved membership card which you can now proudly sport when trying to negotiate special entrance rates at festivals or record shops etc. (won’t do you any good mind you!). One day perhaps…

PIG PLATE

One of our members, John Webb, has kindly donated a most superb piece of English slipware to the Society for us to use in fund raising. It consists of a large platter bearing a picture of a pig playing the bagpipes and the legend ‘The Bagpipe Society’. Well, the various members of your committee put their chanters together and came up with the crafty idea that we would present the plate for one year to the member who has raised the most for the Society by busking (money that is, not laughs!).

I now reside with John Goodeare who, you will remember, raised the quite remarkable sum of £65.39p for us while busking last Christmastime. He will hold it until our AGM in December. So remember, if you’d like this beautiful plate to grace your living room wall, get you and your pipes out into the fresh air and start playing. Don’t be put off by the amount John raised last year, by the way. You don’t have to equal this as each year will stand on its own.

WORKSHOPS, CONVENTIONS, ETC.

STOCKTON BAGPIPE FESTIVAL.

This will be held on August bank holiday weekend (29-31st) in and around Stockton-on-Tees, Cleveland. The itinerary is as follows:

Sat 29th evening: Pub session at the Black Bull, Yarm
Sun 30th am: Workshops
pm: Busking in the Preston Park Museum open air street of Victorian shops including a Northumbrian bagpipe show eve: Formal concert in the Stockton Georgian Theatre
Mon 31st am: Formal ‘busking’ on stage in the museum eve: Concert in the Georgian Theatre.

Entry to the museum is free but the concerts will be by ticket only. The guest list has not been finalised but it is expected to include some of the following names as well as many others:
Cheshire Waits; The Goodacre Brothers; Hamish Moore; Peter Stacey & Jean-Pierre Raele; Jon Swayne; Judy Tarry

The theatres has only limited seating so you are advised to book early. For full details and concert tickets contact Dave McQuade.

MORVAN UPDATE
by Judy Tarry

Last month we brought you news of La Pouflee. Here’s an update:

From 3-5th September 1987 La Pouflee (Association pour l’expression populaire en Morvan, BP 51, 58120 Chateau Chinen) are holding a series of workshops on theatre, the mills and architecture of Morvan, the local language, the flora of Morvan, drawing, audio-visuals, and bagpipe workshop. Cost 680 Francs for adults. Contact Pierre Léger (France 85.49.98.49 evenings).

The bagpipe workshop has two sections, one for beginners and one for improving your playing. They will cover things such as pressure control, pitch control, tuning, fingerings, rhythmic playing, learning tunes (beginners workshop), ornamentation, rhythm, playing in a group - including accuracy, rhythm variations, harmony work, improvisation and sole work (advanced workshop). The course is led by Pierre Havel, a piper from Morvan who plays both traditionally and innovatively and Jean Balandrand a professional musician (Beau Temps sur la Provence) and bagpiper specialising in the pipes of Central France. They will be working alternately, by the half-day with each of the workshops.

If my translation is correct, each person attending can borrow a bagpipe from the beginning of August to the end of December, free. The idea is to introduce people to piping without them having to purchase an instrument and to give folk groups a chance to train new musicians.

There is an excellent tutor available ‘En Cornemuse en Morvan’ which tells the history of the bagpipe in the area. There are numerous photos and pictures of postcards plus a tune selection of some 50 tunes with help on ornamentation. There is a cassette with the book - total cost 125 Francs.

It looks a very interesting weekend, even if it does clash with the Blouwabella workshop weekend at Aldershot… but it was Paul James who sent me the leaflets about it!

MILTON KEYNES 1987

All those who attended the Bagpipe Society’s 1986 reedmaking workshop at Milton Keynes will be delighted to know that John Ross is organising another. At the time of typing this, all the details have not yet been finalised so anything I say must be taken with a pinch of salt. If they’re ready in time, a handbill and application form will be included with this Newsletter so go by what it says there.

This year the workshop will involve playing as much as, if not more than, reedmaking. It is being run as a joint Bagpipe Society / lowland and border Piping Society venture and we look forward to meeting up with our Common Stock friends. Those who have definitely agreed to take part for both reedmaking and playing are Jon Swayne, Hubert Kwisthout and Colin Ross. It is also hoped that at least one other big name, from the Common Stock area, will be present. The dates are 16-18th October in the beautiful canalside setting of the Courtyard Workshop, Milton Keynes. There will be a concert on the Friday, workshops all day Saturday and a dance Saturday night. More workshops Sunday morning then a pub session before the off. As before, accommodation will be available for a very modest charge on canal longboats. For more details, phone John Ross on

BLOWZABELLA WORKSHOP WEEKEND, ALDERSHOT

Don’t forget this one! You’ll all have had the leaflet by now so I won’t repeat who’ll be there. Suffice to say there will be lots of piping and you’ll be able to meet, chat to, play with or listen to many members of the Society as well as enjoying all the big names. If you want a booking form send a stamped addressed envelope to Paul James,

Don’t forget, we’ll be running a stall there plus an exhibition of pipes. If you are prepared to let your pipes be exhibited, please get in touch soon (the sooner the better as we have to organise information cards, stands etc.). There will be tight security so you won’t have to worry about their safety and it will be strictly hands-off exhibition unless you, the exhibitor, say otherwise. The pipes don’t even have to be working. Help us to make it a really good showcase for bagpipes - after all, that’s what we’re all about. If you want in, just get in touch with me.

THIRD NORTH AMERICAN NORTHUMBRIAN PIPERS’ CONVENTION

This is the one that organisers Alan Jones told us about in the last Newsletter. By the looks of it this is one not to be missed if you live in America or can possibly get over there. Although it’s called the Northumbrian Pipers’ Convention, it would seem that many other types of bagpipe will be represented. Tuition is by Richard Butler with workshops by makers David Quinn and Michael McIlrarg. I understand that a very famous Irish piper has been approached but nothing has been confirmed yet so I’d better not say who. The dates are August 29th-31st at North Hero, Vermont, USA. If you want to know more, contact Alan at

[Image: poster of NORTHUMBRIAN PIPERS’ CONVENTION]

BAGPIPIST REMARKS

Now we’ve all heard the ones about wrestling haven’t we? Well it looks like subtle since Paul Hognn’s one, about how Derrick Hale sends in the following remarks from friends and family made at various times while he was practising his Northumbrian Smallpipes:

“Do you want to eat your toast while it’s hot?” (very subtle one that!) “You can hear them upstairs” (less subtle). “Foontown” (this one followed the request: “Would you help me check what pitch they are in?”) “I’m Belper” (this one followed Derrick’s remark ‘That would be a nice tune for the pipes" - Belper is a town nine miles away) “Oh good Lord not!!” (this one followed “perhaps I will play/do a spot on the pipes”)

Now listen Derrick. We can’t have all this pussy-footing around. This is what you do, Beg, borrow or make a set of Highland pipes (don’t worry if you can’t play them or they’re not very good - all the better in fact!). Boldly march into the living room in the middle of the Sunday afternoon Estenders omnibus - you know, just as everyone’s dozing off after the effects of the apple crumble, and give ’em hell! Brook no argument; tell them it’s the natural progression from the smallpipes. Then, just as the cat’s climbing down from the curtains and the wife and kids are crawling out from under the settee, you say “Well, I suppose I could go back to the quiet pipes”. Geddit? After that, just the threat of a hurler on the Old Blind Plwr will have ’em like putty in your hands. Only one snag: Highland pipes are known to

cnt strangling and octopus things are getting more than they treat their animals.

If you have no access to Highland pipes, almost the same effect can be obtained with the Binious Khaz, Cabretta or Cajoh.

Derrick also tells me that he is trying to organise local meetings by writing the odd article for local folk magazines and is happy to announce that there have been numerous visits to his home clutching long cases. Great stuff!

If any of you have any more bagpipist remarks, send them in and we’ll publish them.

LONDON MEETINGS

All members are invited to attend the monthly meetings held at our Treasurer’s flat at [redacted]. These are very informal get-togethers held on the first Friday in the month and all are invited to attend whether living in London or not. The next couple of dates are August 7th and October 2nd. Please not that there will not be a September meeting as this clashes with the Blowsabella workshop at Aldershot. If in doubt, ring Chi on [redacted]

MISSING MEMBERS

The saga continues. Now I don’t want to alarm you but we’ve gone and lost another one. As reported in the last Newsletter, Stephen Cressy’s mail was returned by the Post Office with the cryptic comment ‘Gone Away’ on it. Now it’s happened again, this time to Andrew Crothers. I don’t want to alarm our Regional Coordinator but it looks like whoever’s getting at our members has decided to start with the CKs. So watch out Bob; when you go out tonight, look carefully over your shoulder as you walk along the dark alley and don’t stop to speak to strange folk bearing large sacs.

Does anyone know where they’ve gone? Stephen’s last known address was [redacted] Close, and Andrew’s [redacted]

On the subject of addresses, we give Keith Macdonald’s address on page [redacted]. He points out that it should be [redacted] and adds that the people at [redacted] probably suffer enough already from his practicing (yet another Northumbrian piper having trouble - see my comment above under “Bagpipist Remarks” Keith, and put them into practice without delay!)

WELSH BAGPIPES

Nice to see that people are digging deep into the older forms of bagpipe. Not much is known about the old Welsh bagpipe, indeed some think it never existed as the only concrete evidence is a double character inscribed with the date 1701 found in North Wales cottage; it is now in the National Museum of Wales, Cardiff. Although it shows obvious signs of having been fitted into a bag, some think it must have come from the Middle East or North African as it bears a

remarkable resemblance to pipes from these areas. However, just to confound the critics, Simon Owen has unearthed a number of references to bagpipes in Welsh literature:

Iolo Goch, 1400 A praise poem to Sir Howel V Vaynall

‘Achardd chwi-bangl a châd Gwrthrhcens a gyw hynod’ (with the music of the bagpipes, enlivened by the presence of a noted hero)

John Parry (Dardd Alaw), 1843 Order of Bards and Minstrels (according to the rules of Prince Gruffudd ap Cynan in 1042)

‘There are eight kinds of bards and minstrels; four graduated and four frivolous. The first four are: I. Bards who wear the band of their order; 2. Harpers; 3. Performers on the Crwth (a 6-string bowed lyre); 4. vocalists. The four kinds of frivolous ones are I. The piper; 2. The juggler; 3. The drummer; and 4. The fiddler (sic.), or player on the Crwth with three strings (players on the 3-string Crwth were considered inferior to players of the 6-string version). The gravity of each of these is one penny, and they are to perform standing.

John Parry 1543 An allusion to the pipes or perhaps more properly the bagpipes is found as early as the seventh century, when at an Eisteddfod held by King Cadwaladr, a musician was reprieved for playing a tune called Pibau Morfydd (Moryurd’s Pipes); and the cause of the reprimand was that the tune was in the minor key.

Edward Jones 1794 One thing more I shall notice respecting the bagpipe, which in French is sometimes called Musette Gallica and Cromnese Bourdone; the latter term evidently originated from the Welsh Haryddn and whence the English word hurden or drone is derived. When anything got into general circulation this old proverb was commonly applied to it:

‘By n oeth hynny ar gyrn a phiban’ (That is become the note of the horns and pipes)

Anon. (translation doubtful), Englyn on a piper

‘Garw-lias o clywtas nid clâd, i bihydd Ar bahl brat gofod Cerwin ynglcr, fynngnnglod, gwydd gam yn gweiddi o i gnâd’ (A rough voice I hear, a rude menace, For the piper, from his ragged, swollen child In a coarse (key), that accursed horn, A crooked goose shouting from his bag);

Giraldus Cambrensis 13th Century

Ireland makes use of only two instruments, namely the harp and the drum. Scotland has three, namely the harp, the drum and the crwth. And Wales has the harp, pipes and the crwth.

(Simon Owen)

For those of you scholars who are as fascinated by these references as I am, Simon issues me that there are lots more where they came from and he is still researching.

• If anyone would like an ‘authentic’ Welsh bagpipe made in Scotland by an Englishman, Julian Goodacre is now making sets based upon the National Museum of Wales double chanter. Julian originally developed this bagpipe for a journal editor, Peter Stacpy, who needed a reliable instrument in modern pitch. To this end Julian has produced a bagpipe with an overall design and finish which is deliberately basic (in keeping with the appearance of a primitive instrument) yet having a refined bore and reeding for practical use. The instrument is mouthblown with only two sounding pipes (the two parallel bores of the double chanter) which are tied and waxed with a common yoke. Each chanter terminates in a horn which multiplies the sound and gives a characteristic hollow tone. The chanters use double reeds and the yoke fits into a stock in the bag for easy access to the reeds.

Julian says that the most effective fingering is closed ie. Northumbrian. Both chanters have a full set of fingerholes, each pair being covered by the same finger. The result is an exciting sound as each pair of notes can be tended to give a slight bent (as with the twin courses of a 12-string guitar). An alternative arrangement is to have one pipe as a drone with one or more scalable vent holes, thus providing a selectable drone

If you want to know more, contact Julian (see separate item in this Newsletter ‘Meet Your Maker’).

GLOVOPHONIUM

• While on the subject of Welsh bagpipes, you will all doubtless remember the business of the modern Welsh bagpipe made from a rubber glove (Chapter 1.2). Some even, would you believe, thought it was some kind of April Fool joke (would we do such a thing?). Well here’s her proof: Phil Edwards who made and plays the creature has sent in the following cutting from his local newspaper to prove it’s all above board. He also says that shortly after the broadcast he was asked to do a show in local cabaret/special club where he was asked the immortal question: ‘Will you be requiring the services of the organist and drummer sir?’ - sir indeed!

Looks like we shall soon see the price of shares in the rubber glove industry going through the roof. It’s catching on you see, with not

page 12 page 13

least one other member threatening to stamp bits of Early Music woodwind into harness - and why not? say I.

Two towns battle it out

WHO SAYS JOSEPH McDONALD WAS PREJUDICED?

by Julian Goodacre

In the last Newsletter an extract was printed from the S.R. Publishers reprint of Joseph McDonald’s ‘Compleat Theory of the Scots Highland Bagpipe’ No 1750 which expressed some strong anti-lowland bellows pipe opinions.

I mentioned this to Gordon Mooney who told me that this extract was never written by Joseph McDonald, the original manuscript is in the Edinburgh University Library. Gordon referred me to Peter Cook of the School of Scottish Studies, who told me that it was Joseph’s brother Patrick who eventually published the book in 1803. He included in it new sections, many omissions and an equal quantity of errors - 70 % of the

old musical illustrations contain errors. This section on the lowland pipes is one of the additions.

It was again reprinted in 1927 with more inaccuracies. When, in 1971, S.R. Publications reprinted the 1927 edition they made no reference to the original manuscript or any attempt at corrections. It was inexcusable for a modern publisher to do this as it perpetuated all sorts of confusions and myths such as the conclusion that we naturally drew from this extract that there was a strong anti-lowland pipe feeling over 200 years ago.

LETTERS

Dear Bagpipe Society,
Thank you for Newsletter 9 which was very interesting. I especially enjoyed the April Fool joke - fancy German Jo giving up bagpipes, you didn’t fool me for one minute!

I was intrigued to hear of Dougal Cranie’s encounter with Old Man Jornwashny and so pleased to hear he is still going strong (wasn’t his brother Will a piper too?).

I have reconstructed my own ‘Oaten’ pipe which I have improved with a bag. Just one query though; Baines gives the fingerholes as 10th - is this correct? Perhaps you might ask Uncle Octavius his opinion on this matter.

Yours, Moneybags

PS Judy Tarry does not play Highland pipes - the ‘Judy’ illustration is a fake!

Dear Bagpipe Society,
I am unsure as to how serious Margarind Pitblito of Spitalfields was in her letter regarding AIDS and mouthblown pipes, but I thought an answer may be important.

As one who has worked with the AIDS problem, may I say that only very small amounts of the virus have been found in saliva, and there is therefore NO risk at all. Also, there is absolutely no documentation of anyone contracting AIDS through contact with saliva. You may therefore sleep with as many mouthblown sets as you like! Don’t worry!

As for legionnaires disease, it is very rare indeed.

Can I also add that I have just received a set of Jon Swayne’s Halflings, which are the closest thing to a sexual experience I have had. Thanks Jon.

Yours, Duncan Moss (SBIN).

Ed’s note. I have spoken to Duncan on this subject to assure him that, while the original query was couched in jovial terms, there is a genuine worry among some players, particularly makers who have to have their instruments available for customers to try. Duncan assures me

that the likelihood of catching any disease from playing the bagpipes is so remote as not to be worth worrying about. You stand more risk driving to your digs by the way, human has neglected to mention that his highly erotic bagpipers, being pitched in D, have so much longer chanters than most Highland bagpipes — but I’m sure he didn’t want to boast.

Dear Bagpipe Society, Here comes the second instalment of the Greek Bagpipe story along with a picture of a genuine Cretan piper.

Actually the hole is not as dramatic as I’d hoped, for enquiries of various Cretan worthies generally resulted in them dismissing me as a harmless foreign lunatic. As for as they were concerned Cretan bagpipes do not exist.

It was on the morning of the last day of a splendid fortnight amidst startling archeological wonders on a sub-tropical island carpeted with a profusion of flowers, that my companion (she who was still reeling after the ecstatic purchase of a large Frigate wickerel - she’s an environmental archeologist specialising in fish remains, you understand) pointed to the enclosed postcard on a stand. Naturally I ought the man’s entire stock of three and we both staggered off down the road in a delighted stupor.

I was sure that was the closest I’d get to the pipes of Crete for we would be off home in the evening, and I was confident with the prospect of a final glorious mountain walk with a halfway beer and “mezes” (whatever snacks of olives, tomato, curds, or sugary little cakes a cafe owner may care to proffer for your delight). We strolled dowards the ancient church of Kera; we thought we’d take in a few 14th century icons, but I was brought to a disbelieving halt by the sight on a peasant gentleman squatting beside the track cutting reeds (up out) in and tuning 5 hold reed pipes for sale at 20 drachmas, about 95p. I had time to have a chat and, by way of explanation, I gave him The York Welsh leaflet, showing me with my “Gaidn Anqlechn”. Instant friends! He raised his finger and his eyebrows and withdrew from his bag a chunky bouliba harpipe. This was just like the local bagpipe chanters with no bag and he played it while I enthusiastically failed to photograph him with the end of my last film.

I quickly learned what I had suspected for some time: these primitive pipes are definitely that. The two pipes play in sort of unison, slightly out of tune. If thy design…. well it’s an interesting and not unpleasant sound, but the five holes with a pretty arbitrary scale mean that a single instrument probably has just its own simple tone (NB two fingers left hand three with the right). This is not really the instrument of the creative musician but means of having fun with homemade “toys.” I hope I haven’t totally misunderstood my experience but these pipes are too primitive to do very much. Even as

the sound they make, especially in their natural environment, charming but not a patch on the sound of a good lyra (Greek rebec); player accompanying himself as he sings the emotional poetry that pours from the soul of the beautiful Island of Crete.

Yours, James Merryweather.

Dear Bagpipe Society, Following up the enquiry of Brian Wilson and the letter in NLS from James Merryweather on Greek pipes other than Macedonian, I’d like to draw attention to the Pontian piper we have here in Australia. Pontians are Greeks who lived in Turkey at one time and were thrown out during a downturn in relations between these two countries. These Pontian pipes are very like the Greek Island and Cretan ones in Basics. Our man here, Kostas Theodoridis, was tracked down, through the Pontian club in Sydney, by J. Kinney Pollak and with his help got his instrument back into working order. Kostas was given a hint the first Bagpipe Convention at Tullamulla last October. I asked him how many people played his type of pipes and he replied that the best only ever of five: his mother who made his one and was a hell of a player, his brother and himself and two other non-related players. Of those his father was dead and his brother did not keep up the playing and the other two he was unsure of. I cannot describe his music but no doubt there were plenty of tapes made at the convention and a hunt through the list of those who attended would produce the record (contact me for a copy, pls). By the fare made by the buffs of eastern Mediterranean music here, I’d say Mr Theodoridis was quite a find!

Myself, I’m into Hellenic pipes and have been making them now for ten years nearly and am particularly interested in the early 19th century styles. These we call flat pipes today because they are lower in pitch than the modern standard 7 instrument. Although all Hilleant pipes get lumped together in one group, the old narrow bore pipes are quite different and call for a separate understanding than is regards playing and reedmaking. I am one of the lucky few however, learned to play on original set from pre-famine Ireland. This has lead me away from the modern trends in making and I make all my new sets using the old bore sizes and tonal balances. Working away in peace and solitude with my old pipes I have discovered much that I feel has been lost, mainly about the making and setting up of sets from that lovely period of Hilleann piping during the first half of the last century. I’ve now decided to embark on a book to record these findings and to make available plans of good sets by the best makers of the period. One of the major problems with a study of this class of pipe is that few bulk of surviving instruments have been butchered in some way (often to try to tune them or change the pitch) or have the all important chanters missing. However, there still exists a handful of unfinished instruments and I intend to rescue all I can of them before they disappear into obscurity. If you have ever heard one of these old sets putting along and working so well, you will understand why I feel it is so important. I will be over in the UK touring August and September to further my research and will not be happy to talk to anyone about pipes of any type. I will be at my mother’s place in London, London Tel: I will be at Sidmouth and doing a workshop there, I think, and will be available for the rest of my stay for workshops and folkclub spots if anyone wants.

Geoff Wraoff,

Geoff Lam also sent some details of the pipes he makes for our traditional Directory of Makers and Teachers. As it will be a little while before this is ready I thought you might like to see what he has to offer now — certainly his letter had me drooling?

Uilleann pipes in h,C,B and Bb. These are copies of old sets by the famous makers of last century (Eggn, Coyne, Harrington and Kenna). Made in the traditional manner from boxwood or ebony with hand-rolled ferrules in brass, nickel silver or sterling silver with imitation ivory mounts. Standard full sets (including stokepy head, hollow mainstock, detachable bass regulator, hand-sawn leather bag and forscy chanter; £34500, half sets without regulators: £14750, Dredric sets: £24500.

Northumbrian Smallpipes, Robert Reid style in F, G and B with tapered ferrules in brass, nickel silver or sterling in African blackwood, ebony or box with imitation ivory or sperrweal. 10 inch mounts, seven key chanter and four drones with tuning heads, hand-sewn leather bags: £41400. With ivory and silver mounts: £46500.

Cornemuses in G/B and C/G, chanters with thumb hole for lower hand and small drone working; single block stock or turned double stock (choaked style) with bass drone; in ebony; bellows-blown: £4950. Mouthblown: £4850. Other special instruments made to order. Waiting time 6 to 12 months.

Dear Sir, I wish to put on record that I have never had anything to do with any other sort or bagpipe than The Great Highland - in my very humble opinion the only bagpipe? I fear, sir, that you have been the victim of a dastardly practical joke and that it must have been some others who searched these “Lincolnshire” bagpipes. I shall not, in this instance, be referring the matter to my solicitors as I am aware that there are some absolute scads about who will stop at nothing for a cheap laugh. Other than this, I feel certain, isolated incident, I find your little newsletter quite amusing and would like to suggest that a regular warm puzzle, based on the names of famous bagpipers or makers, would be quite a jolly idea.

I remain yours faithfully, Dougal Cranjoie.

Dear Bagpipe Society, Responding to two pleas at once, enclosed are various bits and books:

The Spanish firm Mendir SA deals with Spanish (what else?) cane for reeds. 500 frames of drone reed cane come in a box about 10”x8”x1”. Since the bill comes in $5.00 per can and I am on personal cheque which is very handy.

Another handy firm in these parts is J Smith and Sons (Clerkenwell), ——————————. They can supply brass, copper, aluminium etc. but have a minimum order of $10 per item.

Some books I have found useful are: The Northumbrian Bagpipes by Corks and Bryan, published by the

Northumbrian Pipers’ Society ————–, contains detailed plans and constructional information.

The Irish Bagpipes Their Construction and Maintenance by Wilbert Garvin, Blackstaff Press - similar to Cocks and Bryan but for Uilleann pipes and more detailed.

The amateur Woodwind Instrument Maker by Trevor Robinson, published by John Murray. This doesn’t actually mention bagpipes but is about Renaissance flutes, shawms, crumhorns and various brass. I disagree with his chapter on reed making but the rest is good for ideas.

Acoustical Aspects of Woodwind Instruments, Cornelis J. Nederveen. For nutcases only. Basically an MSc/PhD thesis from the Delft Institute of Technology on the mathematics of woodwind instruments. Southampton University Library (Music Section) is the only place I have seen it, and it takes a lot of copying!

Regards, Simon Hopper,

page 18

MEDIR S.A. FABRICANTES DE CAÑAS PARA INSTRUMENTOS DE INSTRUMENTOS MUSICALES CURTIDO Y SELECCIÓN DE CAÑAS PARA INSTRUMENTOS DE INSTRUMENTOS MUSICALES MANUFACTURA DE ARTICULOS DE CAÑA

SAN ANTONIO 39, 7th May, 1987 BARCELONA 08006

Mr. Simon Hopper

Dear Sir:

I acknowledge receipt of your kind letter 26th Jan. past concerning the cane for Bagpipes.

Of course we are opened to supply all necessary in tube cane and today the prices and terms are as follow:

For Scotch Bagpipes: Pipe Chanter 23/26 m/m 6,5£ Practice 20/23 m/m 6,7£ Drone 7,5£

For the Uillean Pipe (set quality) 23/26 6,5£ Miniature Drone 4/7 m/m 11,–

Per 10% net FOB Balance.

For the Drone the only specify what is the diameter requierd to tolerance of 100 millimeter for the tenor and for the bass drone.

For the cornet reed, remain mail package postal service by returning all the order and the payment must be done when you will receive the cornet reed showing the just amount of the cane and several kind stamp of shipment and the freight payed here.

In the await of your posible order remain Dear Sir,

Yours faithfully MEDIR, S.A. (signature)

page 19

The following two letters (somewhat abridged) are from the same person. I have included the reply I sent to the first letter (also abridged) for purposes of continuity:

Dear Bagpipe Society, The aspect of building up a repertoire for the English Bagpipe (Chanter 1.1 and 1.2) interests me and when my Leicestershire Small Pipe arrives in the summer I should have ready a small collection of suitable pieces to play on it. Ideal candidates for selection are, for instance, the French village brnlles collected by Praetorius (1612) and many of the dances published by Susato and Gervaise half a century earlier. Continent? In origin, yes; but in those times catchy tunes spread through Western Europe as fast as the dreaded AIDS seems to be doing today! A lot of tiny folk form, of course, is very suitable, but later English folk dance tunes need modification - if they fit at all.

Chris Shard works in the same Manx Government department as I do) is dearer to the evidence of a Manx bagpipe, but as the Manx Geneiic word ‘piob’ is ambiguous as the English word ‘pipe’ we can’t be sure what local reference it imply. Perhaps Julian Goodacre should ake the problem in hand and design a Manx Bagpipe that can cope with Manx music.

With Best Wishes, Yours, Adrian Pilgrim

Dear Adrian, It occurs to me that modern Irish whistle players use a very similar style to the one they use on the bagpipes (and, to a lesser extent, Highland pipers in the Folk world). If you have a Manx tradition on any sort of woodwind instrument, particularly whistle, quite a lot could be deduced from its ornamentation which might also have been used on Manx bagpipes.

In this country there are many carvings, stained glass windows etc. of early English bagpipes to be found in churches and similar old buildings. Might I suggest that you end Chris explore the older churches on your island for something similar? Of course, you must pegler the museums and libraries until they’re sick of you. You never know what they’ve got tucked away in the vaults in the way of references (or even the real thing?).

Then there’s the local historical societies, Manx language society, Tynwald records, pan-Celtic societies etc.

I think this sort of thing is all about detective work. Unless you’re very lucky, you’re not going to strike gold on any one attempt. But you should be able to pick up enough clues as you go along, to enable you eventually to home in on something of value.

Good luck, Dave VanDoorn

Dear Bagpipe Society, As regards the situation locally, the position is not a hopeful one. Manx folk music is flourishing as never before, but there was, it seems, no living tradition in existence when the recent revival started. The fiddle and cello used to be played and the older pipe (presumably 6-holed though none survive), but details of gracing and ornamentation don’t survive. Nor are Manx churches of much help; the few old churches there are to be seen are very plain indeed, and stained glass windows, carved pews etc. are all Victorian and post the Methodist suppression of folk culture in the 18th century. English village churches always munze me by their age and ornateness, but things are very different here. Manx Gaelic was mainly a spoken language and is now extinct, though still spoken by enthusiasts like myself. Written Manx consists mainly of translations, mostly religious, and also gives no clue as to what used to be. The Manx Museum is perhaps the greatest hope and research into Manx musical traditions is already underway there in an unmontr way.

There is in existence only one Manx song tune which does not have variants in Scotland, Ireland, Wales or Northern England (culturally the Manx showed little initiative!). This tune, as it happens, would take a drone on the tonic very well, but its range is an octave and a third, with the lower leading note. A lot of Manx music covers the same kind of range or wider, not unlike English folk music. To cope with it, I think a bagpipe would have to be rather more in conformity with the Villainian pipes, or the old conception of a new English bagpipe than the more primitive one octave kind.

I must confess that, whilst I am sympathetic to and interested in the recovery of a local musical tradition, Manx music is not what appeals to me most. My origins are in Leicestershire, hence the interest in what is happening on the East Midlands bagpipe scene, and the Goodacre discoveries and developments, which I find really exciting! That said, I do hope that Chris Sheard and other local musicians do uncover something of value.

Adrian Pilgrim

Do keep us informed Adrian, and you too Chris. Some of you may remember from an earlier Newsletter that Chris has been involved in starting up a Breton style bagad with Highland pipes and bombards in the absence of a native Manx pipe. I wonder how that is getting on? I also wonder about what is happening in that other outpost of crushed Celtic culture, Cornwall. We hear rumblings from time to time of Cornish bagpipes but nothing ever seems to materialise. Any of you Cornish folk care to give us an update? On the East Midlands scene, Adrian and I would expect the rest of you - will be pleased to note the beginnings of research into Derbyshire bagpipes - see separate article.

Dear Bagpipe Society, I am now in possession of my first pipes but have come up against a problem which is going to affect me greatly in the future if I don’t find a remedy. Being sure that I’m not suffering alone, I’m writing to you for advice. Where can I practise? If I play then in the house I’m ignored by the neighbour for weeks and she plays her Meatloaf albums at full blast. I really am getting quite desperate and would welcome advice from anybody.

By the way, my bumbarde is also gathering dust……

Yours Hopefully, Val Woollard, Manchester

Oh Gawd, here we go agnain. Looks like this is going to be something
we are going to hear more and more of. In fact Simon Hopper has a
similar problem with his Leicestershire Smallpipes and his lodger. The
lodger has even written directly to Uncle Octavius for help (esc next
Newsletter for reply) — something to do with stuffing rugby sacks into
things (don’t bother to try it Val — apparently it doesn’t work).

Course of action: 1) Burn the bombarde. Bombardes are not like
bagpipes. For a start they’re louder, secondly neighbours just will
not tolerate them at any cost as they do not offer the same
opportunities for humorous banter as do the bagpipes (see next item —
Three Men in a Boat) — they are seen merely as nasty, noisy little
sticks (not by me i hasten to add!) . 2) Beg, borrow or make…. on
second thoughts — quick, pull the bombarde out of the fire….. on
third thoughts I doubt if the little wheeze suggested to Derrick Hale
will work as there is not sufficient difference in volume between your
pipes (which I believe are Swanne Studer pipes) and the bombarde.

Looks like we’re going to have to treat this one seriously. Right,
let’s start again: 1) Buy a practice chanter (see Musings). If you can
afford it, get your maker to make you one that will have exactly the
same fingering as the proper chanter. If you ask him nicely whilst
pouring sufficient golden coins into his palm, I’m sure he’ll even
make one that will fit into your chanter stock so it can be used
either with a reed as on a bag. If you decide to go for a
bog-standard Pakistani £3.50 job, you might possibly be able to make
this fit in the stock as well. A word of warning though: if you’ve not
all unsure what you’re doing, don’t try it without expert advice as
you might crack something. A Highland chanter will, of course be in
either Bb or A so it’s unlikely that your drone will work with it.

The next thing is to explain to your neighbour exactly what you are
doing and demonstrate the soporific qualities of the old PC to her.
She will, of course be immediately impressed that you have spent such
enormous sums with her sanity in “mind (don’t forget - Pakistani PCs
cost hundreds of pounds!). Ask her when she is going to be out so that
you may practice the full set at that time, oh, and don’t forget to
tell her how you and mine Meatloaf (an alternative solution would
be to learn all the Meatloaf tunes on the bagpipes and simply play
along — The trouble with that is, you’ll have a job playing in F major
and what you finally become proficient at will not exactly go down
well in bagpiping circles) .

But to continue with the serious suggestions: you might also like to
consider getting a tin whistle (even cheaper than a PC). You can man or less get away with bagpipe semi-covered fingerings but you won’t
have a thumb hole. A recorder does have a thumb hole but you simply
can’t use bagpipe fingerings.

The other obvious solution is to find another musician in your area
who doesn’t have problems with the neighbours and is willing to let
you prove a bash at her or his place. You might also like to consider
getting in with, say, a local Morris side or some other local folk
musicians so that you can play out of doors or in a folk club.

I haven’t yet mentioned the only proper solution: soundproofing.
I wouldn’t really recommend it as it can be very expensive and
time-consuming and may not do the trick anyway. So unless you feel
like practicing beneath a pile of egg boxes, coin! bother.

page 22

I do hope that among all the silly comments you can find a solution to
your problem. The main thing is, at all costs, not to give in to the
Philistines!

THREE MEN IN A BOAT

The following excerpt has been sent in by Simon Hopper from the book
Three Men in a Boat by Jerome K. Jerome and is somewhat applicable to
the last letter:

“I knew a young fellow once who was studying to play the bagpipes, and
you would be surprised at the amount of opposition he had to contend
with. Why, not even from the members of his own family did he receive
what you call active encouragement. His father was dead against the
business from the beginning, and spoke quite, unfeelingly on the
subject.

My friend used to get up early in the morning to practice, but he had
to give that plan up, because of his sister. She was somewhat
religiously inclined, and she said it seemed such an awful thing to
begin the day like that.

So he sat up at night instead, and played after the family had gone to
bed, but that did not do, as it woke the house such a bad name. People,
going home late, would stop outside, listen, and then put it about
all over the town, the next morning, that a fearful murder had been
committed at Mr Jefferson’s 1h. night before; and would describe how
they had heard the victim’s shrieks and the brutal oaths and curses of
the murderer, followed by the prayer for mercy, and the last dying
gurgle of the corpse.

So they let him practise in the day time, in the back kitchen with all
the doors shut; but this more successful passages could generally be
heard in the sitting-room, in spite of these precautions, and would
affect his mother almost to tears.

She said it put her in mind of her poor father (he had been swallowed
by a shark, poor man, while bathing off the coast of New Guinea ,
where the connexion came in, she could not explain).

Then they knocked up a little place for him at the bottom of the
garden, about a quarter of a mile from the house, and made his take
the machine down there when he wanted to work it; and sometimes a
visitor would come to the house who knew nothing of the matter, and
they would forget to tell him all about it and caution him, and he
would go out for a stroll round the garden and suddenly get within
earshot of those bagpipes without being prepared for it, or knowing
what it was. If he were a man of strong mind, if only gave him fits;
but a person of mere average intellect it usually sent mad.

There is, it must be confessed, something very sad about the early
efforts of an amateur in bagpipes. I have felt that myself when
listening to my young friend. They appear to be a trying instrument to
perform upon. You have to get enough breath for a whole tune before
you start - at least, so I gathered from watching Jefferson.

He would begin magnificently with a wild, full, come-to-the-battle

page 23

sort of note, that quite roused you. But he would get more and more piano as he went on, and the last verse generally collapsed in the middle with a sputter and a hiss.

You want to be in good health to play the bagpipes.

Young Jefferson only learnt to play one tune on those bagpipes; but I never heard any complaints about the insufficiency of his repertoire - none whatsoever. This tune was “The Campbells are Coming, Hurray - Hooray!” so he said, although his father held that it was “The Blue Bells of Scotland”. Nobody seemed quite sure what it was exactly, but they all agreed that it sounded Scotch.

Strangers were allowed three guesses, and most of them guessed a different tune each time.”

(Obviously Jefferson had never come across practice chanters?…..Ed)

THE BAGPIPE IN JAZZ A RUFUS HARLEY DISCOGRAPHY

by Julian Goodacre

I think it was in 1975 that I heard on Peter Clayton’s Jazz Night (Radio 2) Sonny Rollins and Rufus Harley play “Sweeney Low Sweet Chariot”. It was recorded in, as the Montreux Jazz Festival 1974. Sonny Rollins is one of America’s legendary tenor sax players, but who was Rufus Harley? I was intrigued - because he was playing fine jazz on the Scottish Highland bagpipe. Over the next few years I tried to track down this LP and finally bought a copy while in Tokyo. A snip for 2200 Yen.

SONNY ROLLINS. THE CUTTING EDGE. Original US record on Milestone M9059. My copy is a Japanese pressing SMJ 6077. It’s a great LP which amply demonstrates what a great sax player Rollins is. Harley is only featured on one track, but this lasts nearly fifteen happy minutes. It starts with a warmup – Rollins and Harley just playing around, getting the feel of each other. Then the band swings into action with drums, congas, electric bass guitar and piano. Everyone gets a solo - I find this track infectiously happy. To quote the inner sleeve;

2. スインク ・ ロウ・ スイートチャリオット カンベツキー・ ルーレッツ、 チョはスイングしならがら。 こ では丁ベローが 手本を示して、 ピアノとドラムが巧みに絡み 合い、 バシーが これに応え て ジョ井ーイングする。 楽しカ った。 と同時にズンパ、 に関して再び関心をもつようにな つ た。(解説／寺本 龍)　

LAURIE ANDERSON. BIG SCIENCE. Warner Brothers Records K57002 (1982) On the LP that contains the churbusting track “O Superman”, Harley appears for 2 minutes 18 seconds on the track “Sweaters” wailing on his pipes with some hefty drumming by Dave Van Tieghem much in the style of early northeast drumming. Anderson starts the droning with her voice and drones with her luminous bowed violin. It’s a tragic song; it is music to wash your socks to; “I no longer love the colours of your sweaters.

I no longer love the way you hold your pens and pencils. I no longer love it.”

Incidentally, I notice from the sleeve that “O Superman” was mastered by Bill Kipper. I wonder if he is an American relation of our fabulous Kipper Family?

RUFUS HARLEY. KING/QUEENS. Atlantic Records. SD1539 (1970) I was lucky enough to get a secondhand copy of this rare US import several years ago. On this LP Harley plays some real classics - the Rydz ‘Eight Miles High’, “Donn River” and ‘Love is Blue’ with a bunch of Atlantic studio musicians. Tuning was obviously a problem as most of the time the band cook gently in the background while Harley cuts the solo as stated. Musically it doesn’t come together the way it does on the Rollins LP, though I find “Love is Blue” a rather charming track. Sharon however describes it as terrible and awful. Side two features a rather dire version of “Windy” and two tracks of improvisation with Nadi Oman on Madagascan Harp and Mamadoukehira.

On the record sleeve Harley gives a brief history of bagpipes and then relates the bagpipe to the universal oneness….“when blowing up the bag, it is like blowing life into a newborn baby”. He then lists the various elements for playing the pipes: 1. No smoking of any kind, 2. No types of strong drinks, 3. Complete vegetarian, 4. Daily exercise, 5. Learning the full power of the mind, whether it is positive or negative.

I would be very interested to hear from anyone who knows of any more recordings of Harley, or information about him. It would be good if we could get him to join the Society. Also, does anyone know anything about a Jazz musette player called Don Dewey? page 24

FESTIVAL NEWS

DRANOUTER, BELGIUM

31st July to 2nd August. This excellent annual event always features bagpipes heavily. Sorry we couldn’t let you know about it before but we’ve only just received details. This year bands with pipes featuring this year are: the Bisserov Sisters (Bulgaria), Carpesilius (Scotland), Maran (Australia), Trys Ann (Brittany) and Calenotto (Italy). Casting my eye down the list I see numerous other bands that I suspect might feature bagpipes too, Trop of the hill are non-piping St Colsyeps Spain and John Prince, Dranouter is on the French/Belgian border, 25 miles from Ostend.

RUFS FOLKLORE TOUR

By now you should all have received a communication from the British-Bulgarian Friendship Society concerning one of their tours to the Rhodope mountains of Bulgaria in 1984. August. The tour members to Rhoden Regional Folklore Festival at which north bagpiping will be heard; the Festival opens with a massed band of 300 Gaida players. Bloody Hell! If you haven’t received details and want to know more, contact Mrs. Parton Tel: page 25

Mrs Burton will also soon be sending us details of a scheme whereby Irish and Bulgarian pipers will be able to participate in an exchange. Apparently the scheme is already in operation between groups such as schoolteachers and she feels that something similar could be arranged between pipers. We’ll keep you posted.

BENEFIT CONCERT

Sunday 14th July saw the second Bagpipe Society Benefit Concert, this time held at the Cheshunt Folk Club in Walthamstow, East London. Well, what can I say? Where do I begin? Those of you who managed to get along will know that it just had to be the most exciting evening of Pan-European bagpiping that there’s ever been! The pace was fast and furious (it had to be with 10 separate acts plus interval and raffle in the space of 3 hours). I don’t know how it affected the players but I can tell you as MC that it left me pretty drained. The place was packed, the atmosphere amazing and the performances all superb. The only thing that perhaps marred an otherwise perfect evening was down to yours trily. With so many performers in such a short space of time it was virtually impossible to keep each act tightly to schedule; this meant that those at the end, hobbyist, had to shorten their spot by half — a great shame as they could have taken more of their encore. As if this they finished the evening with an electrifying set of Avenue Doublees with Mel Stevens nothing less than stunning on Gabetrote.

Just what of the rest of the evening? Well, as I said before, the playing by all the performers was, in every case, a real tribute to the craft of piping (not to mention that of the other instruments we heard). We had excellent early music shots from Ian Harrison, who opened the evening, and the spine-tinglingly exciting Noise of Mistrels who opened the second half. Judy Tarpey demonstrated just how magnificent the Flemish pipes can sound in really competent hands; and John Goodacre was the perfect showcase for his brother Julian’s reciters/versifiers on Scottish Smallpipes — as was Peter Shaw for his own Northumbrian Smallpipes.

Paul Roberts showed in the space of 15 minutes just why he was three times North piping champion. It was really nice to hear an ad hoc Blowzabella sounding more relaxed than I’ve ever heard them with ex members Jon Swayne and Cliffs Simpleton sounding as though they’d never left. We had magnificent Balkan piping from Paul Miller on wheeldriving array of dead sheep. Paul, expertly accompanied by Nanceka Kotiyan on falbin percussion, proved once more that he’s the number in this country for that sort of piping.

I still can’t quite get over the sheer beauty of the sounds generated by the various combinations of different types of bagpipe, alto sax and plucked strings generated by Jean-Pierre Rasle, Peter Sharey and Paul Martin. Their last set was almost brought to premature end by the failure of spring in Peter’s sax as he slid, grunting, gave up playing the bagpipes because they were considered to be so unreliable. But all was well again after a gentleman (who I’m sure came straight off the set of ‘Last of the Summer Wine’) supplied curious quantities of elastic bands with which to latch the offending key.

It would appear that everyone — performers and audience alike

thoroughly enjoyed themselves — I certainly did! May I offer the thanks of the Bagpipe Society to all who gave up their time without payment; to Alan Brennan of the Chestnuts Folk Club for kindly donating his club for the evening and for Paul James who organised the entire thank (unfortunately the silly sort got double booked and couldn’t make it himself); and last but not least, to all of you who came along to be such a splendid audience. As well as being the most magnificent showcase for the Society and for bagpipes in general, we actually managed to raise well over four quid despite the costs. Thanks again to all of you.

BAGPIPES ON RECORD

CHESHIRE WAITS Cassette Only CW111 1987

• by Simon Owen

This tape contains music of Cheshire and its environs dating from the 17th and 18th centuries. The assembly of tunes must be the result of considerable research and musicalological sleuthing on the part of the Cheshire Waits, who are Anne and Bob Cross, and include several pieces, which were originally for the Lancashire bagpipes (last heard in 1741). Since our knowledge of the appearance and characteristics of said Lancashire Bagpipes hovers perilously close to the zero mark, it is most gratifying to have at least one direct link to them in the form of some music specially written for them.

Between them Anne and Bob play shawm, guitar, the traditional Lancashire kalimba, violin, fiddle, concertina, viol, cornetal, half-long and Flemish bagpipes and set of small pipes (which I assume are Northumbrian) dating from 1640, all of which are played with a high level of expertise. While on the subject of praise, the exceptionally clear recording quality made this cassette a pleasure to listen to even on a tiny portable player.

Some of these instruments would, of course, be contemporary with and appropriate to the music played, but all the instruments used sit very comfortably with the tunes on which they are used, particularly Anne’s lovely fiddle and concertina work.

Approving material is mine is very hard work in order to keep up the level of interest and to maintain a balance between melody and accompaniment. They have succeeded very well in both respects and I especially like Bob’s gentle work (turtle on all strings?). Most of the time only two instruments play at any one time, although some individuals use of louder tracking is made, usually to give a rhythmic or harmonics basis for two melody instruments to work together such as on Cheshire Round on side 2.

The tunes concerned with the Lancashire Bagpipes are treated in a quite different ways. The first, called ‘Lancashire Bagpipes for lyre Violin’, is played solo on bass viol with lots of double stopping. I don’t like it as a set actual bagpipe tune or called thus because to the bagpipe-like feel that can be obtained by using drone strings on the viol.

The second set, of four actual Lancashire bagpipe tunes, is played on the smallpipes. As an antique set of pipes they sound in fine form and have a bright sweet tone. The four tunes are given a very short

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treatment, possibly a little too short to do them justice, each being played only once or twice through.

Plough and Malfong pipes crop up on several other tracks on this cassette, although I found it difficult in any which pipes were played or on which tracks (some tapes are excellently on matching the tones — workers music carefully avoided?) sound excellent, in perfect tune and very well played. Outstanding amongst the pipe trackers is “Thy Tub Dancer” (half-long), a lovely quaint, haunting arrangement, and “The Warrsman’s Dance/Mr Preston’s Hornpipe” which leaps along at a most uninhibited pace. My other favourite is a non-piping one, “The First Mc Dutch Skipper”, a real cracker.

Apart from having an obvious bias to the bagpiping side of this tape, I am concerned it most highly on all counts — choice of material, excellence of playing and clarity of recording. It shows that cassette-only releases can have crystal clear sound and not appear to have been recorded down a telephone.

Look in your thousands to buy this from Anne and Rob Cross, [redacted] (£5 inc.

Who’s going to be the first to invent the Lancashire Bagpipes I wonder?

(Well, there’s this bloke in Edinburgh……..Ed)

LIST OF SUPPLIERS

As will as the suppliers listed by Simon Popper (see letters page), we have the following information sent in by Julian Goodacre:

The Scottish Development Agency publish an 86 page booklet: “Suppliers to Craftsmen Musical Instrument Makers”. It was last revised in 1982 and contains some useful addresses; I think it is £1 — SDA.

I can supply made-up Scottish Highland reeds — chanter, practice and drone; also hemp, hot seasoning, pipe brushes and tying-in cord.

(Julian Goodacre)

FOLK TALES AND BAGPIPES

by Dirk Campbell

Several uses of the term ‘a pair of bagpipes’ occur in the folk tale ‘Tilidhu the Piper’ from the Crimson Fairy Book edited by Andrew Lang, translated from a German collection of folk tales called ‘Fhinnishe Märchen’, published in the late 19th century. Infuriatingly the country of origin is not given, though from the names ‘Tilidu’ and ‘Kungla’ I would say it was the Eastern Baltic — (can anyone definitely place the country of origin from the names…. Kd?).

These tales were collected as the fairy tales had the respective connotations they have today — to be lasting impoverishment of our culture, as I believe.

One of the teachings of the fairy tales is that those who are destined to achieve greatness may begin by spending many years in a state of extreme indolence, even sleep. In Tilidu the Piper, piping is seen as a high art in which Tilidu alone excels, and which brings him fame and fortune if he attends to it, but disappointment and ruin if he neglects it. Piping is used here as a symbol of the true talent corresponding to the inner nature of every human being.

Whenever references to bagpipes occur in the Lang collections (generally regarded as the most comprehensive yet published) they are never derogatory, but always express respect and admiration for both the instrument and player.

TILIDU THE BAGPIPER (source unidentified - from Klehmische Märchen)

Once there was a lazy boy called Tilidu who did nothing but sit under a bush and play the flute. One day an old man passed by and asked him if he did not want to become rich, like his brothers who were merchants. Tilidu said “no” but the old man persisted, telling him that if he were to go into town and play his flute there, he would earn enough to buy himself a set of pipes. After some reflection, Tilidu followed the old man’s advice and proved it to be so, and so he quickly earned enough money to buy a beautiful pair of pipes.

“Then he felt indeed on the high road to riches. Nowhere could pipes found as fine as his, or played in so masterly a manner. Tiludu’s pipes set everybody’s legs dancing. Wherever there was a marriage, a christening or a feast of any kind, Tilidu must be there, or the evening would be a failure. In a few years he had become so noted a piper that people would travel far and wide to hear him.”

From a lazy boy, Tilidu had been happily transformed into a hardworking musician. At the Kungla Country, a wealthy place where musicians are popular and highly paid, Tilidu determined to go there and make his fortune one and for all. By a ruse he made his way on board a sailing at Kungla from the port of Narva, and, after a safe voyage during which he delighted the sailors with tunes on his pipes, he arrived in Kungla. Strongly, he seems to have forgotten his musician’s art and took a job as a kitchen boy which made him virtually no money at all. Sitting dejectedly under a tree one day, he caught sight of an old man who seemed vaguely familiar, though he could not tell why. The old man spoke to him, and asked him what he had done with his pipes. Tilidu recognised him and told his tale while the old man listened, shaking his head.

“A fool you are and a fool you always will be! Was there ever such a piece of folly as to exchange your pipes for a scullion’s ladle? You could have made as much by the pipes in a day as your wages come to in half a year. Go and fetch your pipes, and play them here, and you will soon see if I have spoken the truth.”

Though it was a long time since he had touched his pipes, Tilidu fetched them and sat down on the bank with the old man to play. A largecrowd formed and, when he held out his hand, poured large amounts of money into it. Tilidu played in the same place every Sunday, and grew so rich that he could afford to have his pipes covered with gold, so that they glistened in the light of the sun or he fire at night.

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One day he remembered his parents and decided to go see them. He loaded Pill his wealth on to a ship and set sail. Unfortunately the ship ran into a storm and sank with the loss of everything. Tildo was marooned on an island, becoming his unhappy fate an especially the loss of his pipes. Faint with exhaustion and hunger, Tildo picked an apple and ate it. To his horror, his more suddenly grew down to his waist. If discovered, picked a nut from mother tree and found, to his great delight, that his nose was as large as its normal shape. “This might be dreamed of his friend and benefactor, who I told him at,” as he had mourned his pipes above all else, he would give him a pipe, when he awoke, sure enough, there was a pair of pipes lying beside him.

Tildo sailed a passing ship and returned to Hungary with some of the apples and nuts from the island. When he arrived in the capital city, he decided to make his fortune with the apples and the nuts, and contrived to sell some of the apples to a palace servant. Being positively and Tildo’s name were taken to the royal family. When they had eaten them and been afflicted with the results, they were in despair at their inability to find someone to cure them until Tildo, dressed as a great magician, announced that he would certainly ren own the royal noses to their proper length, but only in return for an immense sum of money. He served them the nuts in a powdered form, which had the desired effect. With his payment he received from the grateful king, he hired a small ship, returned uneventfully to his native country and was happily reunited with his family.

When the meeting was over, he began to make enquiries about a small estate that was for sale near the town, and after he had bought it the next thing was to find a wife to share it with him. This did not take long either; and the people who were at the wedding feast declared that the best part of the whole day was the hour when Tildo played to them on the pipes before they had each other farewell and returned to their homes.”

In the next Newsletter we will be featuring another fairy tale about a bagpiper, “Jack my Hedgehog”.

DEAR UNCLE OCTAVIUS
Pipers’ Problem Page

ON BORING
I have started to use talc as a lubricant when boring, in addition the more usual linseed oil (as suggested in a recent FoMRHI article). It can prove very effective and lowers a much smoother bore. I have heard that some makers prefer drone bores to be quite hairy as this gives a better tonal quality. Is there any evidence for this?
R.O., Borehamwood

What a deeply penetrating question, R.O.! I congratulate you on your evident ability to plumb the depths of emmi. My colleague (and I speak here in my journalistic capacity) Mr. “Mapple of the Daily Telegraph used from time to time to reporter) and for all know will continue to do so ad aeternam - on the progress (or lack thereof) of the interlocutic Boring Contests, you as you know under the aegis of the British Boring Board of Control ) from their London Headquarters,

Catalepsy House. Over a period of several years of falling unconscious over his occasional pieces, I never realised the potential of bagpipes for brain numbing radius. As a connoisseur of monotony, I felt at once that tell-tale droop of the eyelids on reading your letter, and I am strongly moved to suggest that you straight away seek sponsorship as a contestant in the 1988 Boring Olympics to be held in the reading room of the Library of the Regional Association of Bank-tellers at Bor, Yugoslavia. To answer your question, it is self-evident that many drone bores are very highly indeed - fine specimens you might say of the hirsutely humdrum. As to superior tonal quality, who knows? Personally, I can never remain conscious long enough to form a definite judgement. On a general note, may I say that I have always felt that I am generally sadly lacks a figurehead of the sort that, say, the Marquis of Queensbury represents in relation to Boxing. Perhaps our members may care to nominate candidates for this supremely enervating position.

BALANCING THE DRONES
How should I adjust my reeds on a mouthblown pipe so that I can play just drones (in tune)? and then bring in the chanter without the drones becoming unstable? I also need to be able to start drones and chanter simultaneously. The situation gets worse as the reeds become damper.
M.B., Bar Hill, Cambs

I am afraid I cannot go into detail without knowing more about make of pipes, but basically you need to adjust your drones so that they respond to a wider range of pressure than your chanter. Knowledge of your instrument, and sensitivity to the pressure requirements of the drones and chanter respectively should enable you to start the drones by applying gentle pressure, then by increasing the pressure precisely but firmly you can bring the chanter in on cue. To start chanter and drones together, you need to inflate the bag so that the reeds are not quite speaking, then firmly increase the pressure to full, when all reeds should cut in together. If these adjustments are beyond you, then I can only suggest that you consult the maker of your pipes.

A STORY OF OBSESSION
I seem to spend a large proportion of my life involved with bagpipes or with those also involved with bagpipes. I play and dabble in making; I listen to tapes and records and get a reel bug from hearing the pipes played live. All the tunes I write end up being in one octave and I have even been known to fall in love with pipers (and, I suppose, their pipes). Is this natural or should I try to moderate my obsession?
Worried, Pipe & Lyde, Herefordshire

So what’s new baby? Did you suffer a very strict upbringing dear? I know it takes many people a long time to break out of the rigid restrictions of their early years. What you say sounds perfectly healthy and normal to me. Relax and go for it, say I! One thing strikes me as odd, and that is that you say that all the tunes you write end up being in one octave. Does this mean that you have not yet heard of pipes which will play more than one octave? Sounds to me as though you have a real treat in store!

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That’s all for now from Uncle O’.

Apologies to those of you who have queries in the pipeline; they’ll be in the next Newsletter. In the meantime, I will pass on the answers directly, in advance of publication, as soon as I get them.

FOR SALE

Early Music Shop (reactions barpipe (made-up); £120 ono, Duncan Moss,

Highland Pipes; Highland Costume (tunic - 42” chest; plaid garters; hose) and hooks on piping; £250 Northumbrian Pipes (Hedworth); £120 English drapes (Jon Swayne); £400 Bombard; £20 Dick Shepherd,

Dulcimer — this instrument is an Appalachian dulcimer with a Dobro type resonator. It is entirely hand made by Homer Ledford of Kentucky and has to be the most beautiful looking and sounding dulcimer around. Can be played with steel (Dobro style), motor or fingers. Carved and inlaid fingerboards; fine tuners for each of the six strings; lined case; books, tutors, magazines, steel, motor, plectrums etc. All cost over 2000 plus import duty. Absolute bargain at £200. Also 4-string dulcimer by Frank Bond (London). Julian Watson,

Practice Uilleann Pipes, maker unknown. Well regulated reed, black- wood chanter with synthetic mounts, leather bag and bellows; £150 Bernard Ellis (see separate block ad. for address).

Leicestershire Smallpipes (bellows) in D by Julian Goodacre; £100 Tenor Cornetns by Gunter Kolber; £80 Chi Allen, Tel:

And now, with Great Embarrassment, I would like to present the last and, for this issue, likeli a kingsize Wally, when this one has panned through, I forgal to make a note of the seller. So, if that person will contact me, I will redirect any enquiries to him /her. English Renaissance Bagpipe in G (Jon Swayne); £275 Spanish Gaita in D; £50 Northumbrian smallpipes in D (Dave Shaw); £220 Contact Dave Vandloorn Tel:

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BAND NEWS

TAPESTRY OF MUSIC

Tapestry of Music is an duo featuring Brian and Glynis Radford whose aim is to present music from the Medieval to the Baroque period on authentic instruments (or copies of the originals). They regularly perform recitals of Baroque music, (lecture recitals, programmes of Medieval and Renaissance music (with additional musicians), rely musical instrument exhibitions (with Glynis and Brian in attendance to discuss and demonstrate), courses, workshops, masterclasses and private lessons.

Of particular interest to members of this Society is the fact that they regularly perform on a wide variety of bagpipes including Musette Deerchan in G, Veuze in C, Gaita in C, Binion Koz in Bb, Shuttle pipes in D and various others from their collection of over 600 instruments.

If anyone would like to see them, an ideal opportunity would be at Sledmere House, Sledmere Driffield near York on Friday 28th August at 7.30pm. This will be a preview evening for a flower festival with Brian and Glynis providing an evening of Baroque music. Brian will be performing on recorders, Baroque flute, hurdy-gurdies, bagpipes and bombard, Glynis will be performing on spinet and chamber organ. Details of tickets from Anne Hines tel:

If you want to know more about Tapestry of Music, contact Glynis or Brian on

BLOWZARELLA

Blowzarella now has a new member, Jo Fraser. Jo is primarily a vocalist but also plays a low D whistle and D whistle, keyboards and sax. She is probably best known for her playing of Southern English dance music, particularly with the Old Swan Band; but she also plays in a variety of solo/duo/trio combinations with a predominance of song material. It will be interesting to see the new lineup and hear how the material is developing.

FELLOW DRONES

From time to time people ask what other instruments go well with bagpipes. Well, to some extent the answer to that is one of personel taste; however many other instruments that relys on a drone effect can be considered to be in with a fair chance provided it matches in other respects such as volume and key. In the first of a short series of articles, I shall be looking briefly at some of these instruments and how they can be used with bagpipes or how they can provide a useful second instrument for bagpipes. We start with the Appalachian dulcimer.

This instrument has little in common with the hammered dulcimer, though it can itself be hammered to produce a not dissimilar sound. As the names suggests, its roots are in the Appalachian Mountains of the

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USA although similar instruments such as the Epinette des Vosges of France can be found in many other countries. Although it is a fretted instrument, and the drone strings can be fretted in a similar way to a guitar, it is essentially a drone instrument with a single (or double course) melody string which is fretted and plucked at the same time as plucking unfretted drone strings (normally two, although these can be doubled up or in octaves giving up to 6 strings; other permutations are also possible and are occasionally encountered).

Now the Appalachian Dulcimer, or Mountain Dulcimer as it is sometimes called, is in many ways remarkably like a bagpipe and can be thought of as a string version of one. The frets are arranged to give a diatonic scale (no notes being available in between other than, sometimes, an extra fret to give the choice of either a sharper or flattened seventh). The drone strings are either octaves of the tonic or fifths or both. So you can see that with a continuous strumming motion across all strings the result can be very bagpipe-like and it blends well with quicker pipes. It is essentially a quiet instrument and is overpowered by anything louder than, say, Uilleann pipes.

Where it differs from bagpipes is that, greasing and ornamentation become extremely difficult (though not impossible) due to the distance apart of the frets. Nor are such techniques necessary as the dulcimer can, of course, be stopped and started at will.

Many people seem to be put off learning because all the instruction books insist that you must learn all the different tunings and become adept at changing from one to another quickly. This is only so if you wish to use the instrument in its original setting i.e. to play Appalachian Mountain music, where the drones are changed to fit the mode of the tune (and very beautiful it sounds too!). To a very limited extent, some bagpipe(s) do this when playing in, for example, a ‘minor’ mode; the drone(s) can then be raised a tone to give either the root or the dominant of the melody. But for most of the time bagpipe drones ever fit as set for the basic ‘major’ mode. And there is absolutely no reason why the dulcimer should not be regarded in exactly the same way for non-Appalachian music.

The strings are usually fretted from above with the fingers (or a small dowel called a noter, while being sounded by some sort of plucking device (a goose quill is traditional but a flexible plectrum or long piece of soft plastic will do). There I say it? - do as well. I use an electrical cable tie).

Now comes the really good news: Appalachian Dulcimers generally can be very cheap and, if you’re that way inclined, easy to make. They even come in folk form (see bibliography and IMS catalogues) of course, there are Rolls Royces - and there’s one such advertised in our For Sale columns - this issue - but normally they can be bought for between £50 and £100. They are sometimes referred to in the poor man’s Hardy-gurdy - and perhaps here’s some truth in this. But they can sound just as beautiful and be just as satisfying to play as their wheel-bowed sisters (anything shaped - thus get to be female!) without the maintenance problems of the Hurdy-gurdy or, indeed, the bagpipe.

If you want to hear just how well the Appalachian Dulcimer sounds with bagpipes, lend an ear to the playing of Paul Martin with the Cock and Bull Band. The pipes in the band, courtesy of J-P E. Basle, are either French or Northumbrian Halflongs. Normally these instruments would tend to overpower the poor dulcimer but with the wonders of amplification the two instruments match beautifully. And if you’re lucky enough to catch the trio of Peter Stacey on Flemish pipes and Gotais, Paul Martin and Jean-Pierre Basle, you will be be giving your ears a real feast of well matched drone instruments - in fact, one might say, a plucking good sound!

SUB-MESON COMPUTER USED IN HIGHLAND BLADDER PIPE SHOCK REVELATION!!!

by Julian Goodacre

An unfortunate misunderstanding has recently occured in Italy. Apparently some some has translated into Italian the article in Chanter 1.1 on ‘Bagpipe First Aid’ by Dave Vanhoorn. In this article he recommends using dental floss and wax for tying single reed bridges. Unfortunately the translation has confused dental floss with dental paste. Currently bagpipers all over Italy are eating their reeds with wax and toothpaste with disappointing results. Let us hope this confusion does not occur in Britain.

Plans for “Bagsytle. BP” are proceeding well. The most exciting recent development for this dynamic vent is that a French chanter maker has agreed to give a series of talks and demonstrations on the subject of ‘Pipemakers and miscalculation - towards a common European approach".

Is the Grosvenor Glove technically really a bagpipe? This is the question that all right-minded members of the Bladder Pipe Society have been currently asking themselves. I have not inspected one, but I am presently of the opinion that it may possibly be a bladder pipe; if this is the case it is a much needed addition to Britain’s rich (and (until very recently) long-forgotten) bladder pipe heritage. I imagine that it relies on the elasticity of the Glove to maintain big necessary pressure for it to play. On a bagpipe the pressure is supplied by the player’s elbow.

It is vitally important for the future of the Bladder Pipe Society that this distinction is fully understood by all right-minded people. The implications of this distinction are enormous when one considers that it has never yet been proven scientifically that the Scottish Highland ‘bagpipe’ is really a bagpipe. Is it not odd that such a small bag is used on an instrument played at high pressure with three wide-bored drones as well as a chanter? Highland pipers prefer their bags to be made of sheepskin - a very elastic leather. They also frequently complain of jerking bags and poor stitching. All the evidence suggests that it may actually be a bladder pipe. Consequently we are conducting a systematic scientific research project which will determine once and for all the answer to this vexed question.

In Scotland this is an extremely contentious issue linked with national pride and identity. The pipers we are using in all our tests fear possible reprisals from the militant tendency of the Scottish Highland piping fraternity and wishes to be referred to as 471; 478 has shown great courage in agreeing to participate in this project.

The tests are conducted in strictest secrecy. An unmarked loth bondied van has been converted into a computer-controlled sound laboratory. The tests can therefore be conducted in desolate highland laybys on isolated forestry tracks.

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47F’s pipes have been fitted with an electronically operated shut-off valve in the blowpipe. 47F’s left elbow is strapped into a harness which is attached to a control mechanism which, once activated, can instantly lift his/her elbow off the bag. These two devices, are activated at random intervals by the computer (Heidenwey 57.5 m/m) which compares this to the audio signal. It’s all terribly scientific you understand.

There have been frustrations. The elbow harness control mechanism has not to be consideredly modified. The first time it was operated it disjointed 47F’s shoulder and further tests had to be abandoned for a month. Once testing was resumed it was found that the blowpipe shut-off valve needed conversion in order to vent 47’s breath into the atmosphere (the action of suddenly shutting off the blowpipe caused 47F much discomfort and eventual bleeding from the nose).

Finally, we have found that the Bauhowsky operator very poorly from the 12 V d.c./240V a.c. converter which provides its mains supply. It frequently blanks out or provides wildly inaccurate results.

Nevertheless research continues and if it can be conclusively proven that the Scottish Highland bagpipe is in fact a blended pipe I feel sure that soon the Bladder Pipe Society membership will greatly swell. The annual subscription is still being held down to £32. All cheques payable to me.

Does anyone know of a translation into English of “Zum Problem der Nassenflöte” by Sigfried Wolff (Dresden)? I have been reliably informed that this booklet touches on the subject of the bladder pipe. The only copy of the original that I know of is in the Horniman Museum library.

ANNUAL GENERAL MEETING AND CHRISTMAS PARTY

Bob Cross of the Cheshire Waits (who is also our Regional co-ordinator) has taken on the mammoth task of organising this event. We’ve chosen his area as part of our policy to move things around the country as much as possible. Bob sends the following preliminary report:

An important date for all members to make a note of is 5th December. The Engpise Society’s AGM will be held on that date in Nantwich, Cheshire. It should be a good day with Pub Sessions (all afternoon serving), Pipes Workshop, Craft Fair, Food and a concert cum party with a brief AGM following. Some well known pipers have been approached to appear at the concert including an certain famous gentleman or Common Stock persuasion. Keep your eyes on the next Newsletter for more details.

Nantwich is a nice old town with lots of good pubs and friendly people. It used to have an annual Folk Festival until 1983, when its organisers went broke. But the locals liked it and want it back again, so an event like ours will be welcomed and we expect the evening concert to be well attended.

(Bob Cross)

We hope that as many of you as possible will attend this event and prove us right in our choice of location. There are a lot of members living within fairly easy travelling distance. Hopefully there will

also be quite a number travelling up from the South, so there should be some lifts available. Bob will try to organise some overnight accommodation amongst friends but he will need to have some idea of numbers. If you think you will need accommodation, please contact Bob as soon as possible. Bob’s address is:

DIARY

You’ll see that the Diary is now on a separate pullout. It is now produced by Robin Nicholls (independently of the Newsletter). If you have any dates for the next Diary, please send them to her at

of Mike Ruff. Robin apologises for the fact that her printer is a bit rough - hopefully this will be resolved by the next Newsletter.

A thankyou to those of you who have responded to Bob Cross’s plea in the last Newsletter for information on sessions that take place around the country; these have been included in the Diary. Please keep the information rolling in. After all, it’s as important to know where to go to play as to listen. And what about outside GB? Even if you think you’re the only member in your country, visiting pipers would be glad to know where they can go to meet other pipers. Let’s let the world know what’s going on!

MEET YOUR MAKER

In this issue we focus on the pipemaking of Julian Goodacre, who is originally from Leicestershire but has been resident in Scotland for the past 17 years. Readers of the first issue of “Chanter” will have read how Julian started playing and making pipes in collaboration with his brother John.

The first pipe he made was the Leicestershire small pipe, which he developed with John (who has since gone on to become a fine player of this pipe with a large repertoire of his own tunes). Dozens of these pipes have been sold to players in Britain, Europe, America and Australia. Its success and popularity is partly due to its simplicity: it has an open chanter and a single drone, both ending with large finely turned bells which amplify the sound and give the pipe its characteristic tone. Using covered (mouth) fingering one can achieve a percussive articulation. It has interchangeable chanters in D or C. It is a versatile pipe which can be used as a quiet solo instrument; it also blends in well with other acoustic instruments.

The next pipe Julian developed (based on research by John) was the English double pipe. This is a fairly quiet bellows-blown small pipe with one drone, and a chanter having two horns and two reeds which can be played as a simple pipe or fingered separately to produce simple harmonies and counter melodies. It is especially interesting as it is based on detailed measurements taken from the description written in England by James Talbot in the 1690’s. It is a fascinating pipe with a gorgeous tone, and is always guaranteed to produce a reaction of

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surprise and delight from the listener when a few simple but rich chords are introduced from the middle of a tune.

Julian began making the Italian Misa as a result of John’s friendship with Maurizio Martinetti of ‘La Ciapa Prusa’. He copied a very fine purely nineteenth century Misa preserved along with its reeds in the Scottish National Museum. The Misa is in C with a drone which has a series of holes allowing a variety of tunings. C being the most usual. He now makes a middle section allowing one to drone in C. This pipe has a lively and cheerful sound and is traditionally the accompanying bagpipe for the piffero, a loud shawm. Currently in relation, however, it is coming into its own as a solo instrument, and because of this he has now developed an interchangeable chanter in D.

Living in Scotland and being an active member of the Lowland and Border Pipers’ Society, it was an obvious step for Julian to start making the Scottish lowland small pipe. These pipes are modelled around a set in the Scottish National Museum. They are made in D or C with an open ended chanter which can be supplied to play with covered, half closed (sentlish) or open fingering. The three drones are set in a common stock with two possible configurations: either one bass and ten tenors, or one bass, one tenor and a baritone tunable to the fourth or fifth.

They are fairly quiet pipes with an enchanting rich sound, usually made of yew and delicately turned with brass and boxwood mounts. The sturdy bellows are hand-sewn with hardwood boards and drawn brass hinge.

The mouthblown Scottish small pipes are filled with a water trap and a copper moisture condenser which is removable from the bag through a brass stock. This prevents moisture affecting the stability of the very small drone reeds. The pipes can also be filled with a double chanter which has two reeds and two bores with a pair of finger holes for each note. When these are tuned with a slight beat it produces an extraordinary ‘phased’ sound - more like a synthesiser than a bagpipe.

The border horn is a simple capped shawm with a conical bore and a bright, loud tone. It is ideal for whistle players who are struggling to make themselves heard in a band or session. He developed it as a more practical alternative to a bombarde for playing in a group - bombards being much louder, often in Bb and with a very vulnerable exposed reed. The border horn’s reed is enclosed in a wooden cap which protects it from accidental damage. It is available in D or C. When questioned as to which border its name refers to, Julian becomes a bit evasive. His final explanation borders on the highly improbable!

The Welsh pipe was developed for Peter Stacey of Abergaber. Basing the overall design on the double chanter in the National Museum of Wales, Cardiff, Julian has made an unusual pipe with a distinctive sound. He has refined the bore and reeding but has kept the outward appearance of a primitive instrument: two parallel chanters waxed and bound into a yoke, both terminating in cow horns. These horns amplify the sound and give it a hollow tone which is surprisingly loud for a small pipe. The chanters can be tuned with a slight beat. If a drone is required, one of the chanters can be used as a drone by leaving the fingerholes undrilled. Normally no bottom leading note is fitted but there are various options that can be fitted as required. The pipes are available in D or C.

1987 is seeing the emergence of a new English piping trio known as ‘The Goodacre Brothers’. This comprises John, Julian and Pete Stewart of Sheffield playing the English Great Pipe. Pete originally commissioned Julian to make this pipe which is based on a well-known early illustration of the mid 16th century from Chaucer’s ‘Canterbury Tales’. Julian has called it the English Great Pipe because it is English and is a great pipe.

The short conical chanter is in D with a wide bell playing in the scale octave as a D penny whistle. The drone is in low D and is magnificently impressive, standing nearly four feet high. It terminates in a large bell and has a tuning arrangement to allow the tone in F if required. This loud and striking pipe has already generated a great deal of interest since its debut this year at the Edinburgh Folk Festival.

There are other ideas for future developments brewing, but Julian is now concentrating on boosting the output of his current range to keep his waiting list as short as possible. He was very pleased to have recently been awarded a grant by the Scottish Development Agency to purchase a new lathe and equipment, which is also enabling him to speed up production. He produces a detailed illustrated leaflet and price list of his instruments and is always keen to discuss new ideas or incorporate special features into his pipes.

All of his pipes can be supplied mouth- or bellows-blown. Currently he has a range of seven different colours of leather available for mouth-blown pipes and six different colours of velvet covers for bellows-blown pipes. He uses only British woods. He supplies reeds for all his pipes in addition to a range of Scottish highland bagpipe reeds and accessories: hemp, seasoning, pipe brushes and tying-in cord. He also undertakes repairs on other pipes.

Julian’s waiting list is currently 12-15 weeks; a 10% deposit secures a place on it. His leaflet gives far more information than is possible in this short article and is available on request (s.a.e please): Julian Goodacre,

Prices:

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