The Bagpipe Society

Julian Goodacre - pipemaker

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The second king received Jack politely and, as he had given his word, his daughter consented to be married to Jack Ny Hedgehog despite his appearance. After the ceremonies were over they went up stairs to bed. Jack had a big fire made up in the grate and instructed four men to wait till he was about to lie down, when he would creep out of his hedgehog skin and they were to rush in and fillng it on the fire. This they did, whereupon Jack became a handsome young man, much to his wife’s surprise and delight.

                                            D. C.

  The illustration above is from the forthcoming Channel 4

series on European Fairy Tales (due later this year). In the series the story is called “Hans My Hedgehog”. Whether he plays the bagpipes or not remains to be seen. Knowing the way these TV people think, he’ll not be given bagpipes unless he comes from Scotland. No hum. ..Still, y’never know! If anyone knows any other fairy tales or legends that involve pipes or pipers, send them in and we’ll print them. (Ed.)

THE BAGPIPE SOCIETY

11 TH NEWSLETTER

NOV 1987

MUSINGS

      Well, it looks like it's been a good year again for bagpipes.

Things seem to be getting better all the time with pipes in evidence at most, if not all, the major British folk festivals - not to mention those abroad. Especially good to see special piping events beginning to take off; the Edinburgh Bagpipe Festival, Stockton Bagpipe Festival, our own Chestnuts concert, Blowzabella at Aldershot (okay, so it wasn’t exclusively bagpipes - but there were times when you could have been forgiven for thinking otherwise!). And of course the regulars of St Chartier and Lorient. And these are just the ones we get to hear about.

      What we need now is for some one to organise an event for next

year that will take pipers out onto the streets. Yes, we know that all you Highland pipers have been joining just that since Bonnie Prince Charlie - and keep it up I say. But what about all you others? How about a piping day at Covent Garden for instance - any takers for organisation?

      And whatever happened to the giant Hurdy-Gurdy/Bagpipe

Marching Band from the summer of last year? I thought it sounded pretty good, even if the bagpipes were a bit short in number - just what we need to take the drones onto the streets. Any carnival organisers out there among you need something a bit different?

      Yah Boo to Folk on Two! Despite an otherwise excellent

coverage of the Blowzabella Aldershot Workshop Weekend, BBC Radio’s I.T. didn’t even mention the grand Bagpipe Band organised and coacked by our illustrious President. Chicken, that’s what I reckon!

      And now for something completely different: congratulations to

pipers Anne and Bob Cross of Cheshire Waits on the birth of their daughter Emily - 51b 12oz, Saturday 19th September. May her lungs be sound and her elbows always have plenty of squeeze.

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We continue to extract memories from all around the world — but why are you a shy about letting us know about piping in your country (or, preferably, collectively encompassing this issue’s Letters column)? Please write. Don’t worry if your English isn’t too good; we are easily put it tight, if you like, with an French or Spanish (for instance). We’re supposed to be international organization so why not give us something to print in your own language? And perhaps, might you want to international and print it in English—as well. Doesn’t have to be a full scale article—though it might be nicer. A simple letter will do. Tell us about the state of piping in your country. What is the relevant folk/new health is the local tradition? What’s known about older forms of bagpipe in your country that may or may not What’s like weather life? The world thirsts for knowledge (well I do anyway)—so pour about it.

Roy Siam of [Oradile?] languishing in Hastings — he would be pleased to hear from other pipers in the area. He would also be he has a bunch to teach more thumb/tom pipes free of charge. Roy also makes pipes, but due to other pressures and the fact that he has a backlog of pipes he wants to cure himself, he can only undertake repairs at the moment.

Still losing members in the circulation of the Membership List. It’s time it’s will Coleman who has, according to the Post Office, “Being Away”. Any of you Britain readers know where he’s gone? Ohmigosh! Roy (5 bagpipes to all you C&T) And when the Phantom Piper appears, has finished with them, what letter will he start on next? Meanwhile, what time do you remain under C.T. lock your doors and windows next time you get the odd pipes out for a practice—even New Years end’s not too far away for excepting the October.

Couple of juicy records we hear of: Hamish Moore’s “Open Friday “(Isabel) on the currently getting airtime on FOLK on TWO (Thursdays) 1900-2030. Hamish features lots of great musicians on this disc such as Nigel Eaton on hurdy-gurdy.

We had our record up hear of Siciliaan Border (Italian songs) in Eliana Budrac [Powers?] Julian tells us there’s a couple of nifty works on MGS playing on it which he would say is worth “buying for the supporting why La Tigre Rouse did not make it either”. This was something that some day be interested in now it was because one of their main lads an argument with a (tree while doing a bit of lumberjacking): the tree won.

Ian Smith would like it to be known that due to ill health, he is putting up his bagpipes and selling business, but please don’t think if you have an order in the pipeline, Ian will be fulfilling all existing orders first.

Couple of important changes for you to get in your Pipes Field—your Special Bagpipe Society petition not open—only sixty qualify your town. Wherever these be granted the money and run all the way to Dallas with Bill and Phyllis Sydney one by one.

Too little space in this issue of Pipes Cripes alone. Based it mostly of C&T which runs “lucky”, has tended for every one of them modern names of Rockcliffe. Also, after many hours the full “Paul and two

dives of the country, we are pleased to report that she has at last been tracked down to her new address.

So if you have any publicity matters you want to discuss, or help to offer, get in touch with her under her new name at her new home (and she might even play you a tune on her new pipes).

Judy would like to hear from any of you interested in attending a French bagpipe workshop which she hopes to get together with Jean-Pierre Rasle. I spoke to Jean-Pierre recently about this myself and he was very keen. Judy says not to worry if you don’t have French pipes. So long as you can more or less achieve the same fingerings and mixtures things should be okay—after all, there is a very wide variety of pipes played in France as it is.

Now Chi has gone and deserted all us Londoners, is there anyone else who would be willing to host/organise some sort of regular London meeting? Don’t worry if you haven’t got any ideas—we’re full of ‘em—all we need is a willingness.

Whatever happened to Milton Keynes? It seemed that everyone and his dog I spoke to was going to be there, yet, who keeps from the event poor old John Ross had so few takers he had to cancel all but the Cauld Wind course. Where did we go wrong (please note this is not a rhetorical question)? Answers—even if they hurt—urgently required!

Flying Camel present a Day of French Dance, from Brittany to Berry on November 27th, noon—midnight at the Chesterfield Arts Centre—dance workshops, music, food and a bar till late. Music will include bagpipes and hurdy-gurdy as well as other traditional French instruments. For tickets, phone (Ian Smith).

For the first time since the Society was formed, by your old fingers have been given something of a rest from the chore of typing this News-letter. Pete Stewart (of Goodacre Brothers fame) is now starting the load which is why the eagerly-read among you may detect a subtle difference in type faces throughout this issue. But the cunning devil has taken advantage of his privileged position to write letters, commenting on stuff in this issue (see letter from Uncle Fret)—crafty sod! Seriously, many thanks to you Pete; perhaps I can now get down to some bagpipe practice.

ANNUAL GENERAL MEETING

As announced in the last Newsletter, this will be at Mertonish on December 5th. By now you should all have had formal notice with your issue of “Chanter” (you did all get “Chanter” this time didn’t you?). But just to remind you, here are the details again (yes, I know it’s a bore, but we are determined to get you all to this one. If you’re one of the many thousands who have already put the date in your diary with a firm resolve to be there at all costs, please accept our apologies and skip on to the more interesting bits of the Newsletter).

Events start at 11.30 on the morn of Sat. Dec. 5th in the Town

square when there will be Morris dancing around the town with Morris men, Morris women, Jenny and Sazon Men - nothing will function in these scenes at 1.30. Don’t worry if your travel later out of town out for the bells and the pipes to find where everyone is - find bring your instruments, for from 12 noon onwards (says here all afternoon) there will be sessions at ‘The Bowling Green’ and ‘The Talbot’. Also at noon there will be a craft fair at Nantwich Civic Hall. From 3 till 9 there demonstrations and discussions on a variety of pipes and styles with Bob Worrall, Anne Cross, Jean Pierre Rasle, Joan Scayne, Muirih Moore, Dave Shaw and Peter Stacey. This is all absolutely FREE to members (quid to non-members).

Tower Somewhere in the midst of all this festivity we shall be squeezing in an AGM (bor-ring!). But the astute among you will have noticed by now that we have only allowed an hour for it so there just won’t be time for massive winding (and we have made more hot air than anyone last year). Having said that, there is a bit of free time between diet cans of beer, possibly urgent items crop up (ho-hum. Food, odd proposals and so). Yes, will suppose we’ve got to make time for it somewhere. But just to ensure you don’t all go sneaking off to Pub Holidays just as the AGM is getting really exciting, we’ve allowed an hour to take the acting for you to partake of some excellent wholefood grub (a sensible price - also at the Full Centre).

By now, in growing anticipation, you will all have mentally taken your seats for the last item of the day: Tar-naah - The Grand Concert from 6 till 10 featuring (in order of appearance) Dave Shaw, Joan Scayne, Muirih Moore and Jean-Pierre Rasle & Peter Stacey. Once again this will be entirely FREE to members (3 quid to non-members).

Bob Cripps, to whom we are indebted for organising all this, can arrange a certain amount of accomodation. But you must contact him early unless you want to end up sleeping under the town bridge. You can contact Bob on ……….. for accomodation, advice or advance tickets for the concert (how was that Bob? Do you think that’ll get the buggers along?).

Even if you can’t make it (you mean there are some who won’t do that??) you can still send in nominations for the Committee. All posts are up for grabs (as per our constitution) but in particular we will need a new treasurer as Oli feels his new home is a bit remote for the job (nearest Post Office is about 5 miles away). You may nominate yourself if you wish - don’t be shy about this as that’s the way most people do it.

DIRECTORY OF MAKERS AND TEACHERS

This task is now being coordinated by a new member, Bob Aston (that’s the one from Frodley; we’ve got two you see) who is sending out questionnaires to all who have expressed an interest in being included. If you want to be included but think we might not be aware of that fact, please contact Bob at the…………….

Bob is also trying to gather enough information to start producing proper guides for the Society or use by amateur pipe makers. If you have any drawings, measurements etc. for non-copyright

instruments you have encountered or produced that you would like to share with other members, please let Bob know so he has got something he can let his draughting talents loose on.

BIBLIOGRAPHY & DISCOGRAPHY

Another new member raring to go is Ross Campbell (only got two of these at the moment). Ross has a pretty hefty collection of bagpipe-related books and articles plus a chunky record collection. He is cataloguing these for the Society and would like to know if the existence of anything you might have that is a bit unusual i.e. anything other than the Baines and Collinson books. Recordwise he is hoping to get together with Steafan Hannigan who has already begun work on a bagpipe discography. Perhaps we might see something in the not too distant future chaps?

On the subject of the great SH, Steafan would like everyone to know that he is still alive and pumping air. He’s been very busy lately with Student Union business but can be contacted at his new address (Old Membership List update) or the London College of Furniture (Old address).

PIPES FOR HIRE

Not just pipes but all sorts of Folk Music instruments. This is Steafan Hannigan’s (yes, him again) aim for early next year. If anyone has any instruments they would like to send out to work to earn their keep, get in touch with Steafan. He will either handle it all on a 10% commission or will put you in touch with the punter for 5% and you do the rest.

FUNDRAISING OFFICER

It has been suggested that a new post be created as Fundraising Officer. This would involve drumming up ideas for raising a few bob for the Society (thus keeping subs down). Is there anyone out there who’d like to take it on? You won’t necessarily have to do a lot of work, just organising others to do it. Build a list of you ticked the “willing to help” boxes on the Membership Forms, now’s your chance to help, either at a national (international?) or local level. The sort of things we’re thinking about are organising concerts, busling, sponsoring piping, things for sale etc. At least, these are the sort of things we have thought of so far. Even if you’re not willing to take on the job perhaps you might have ideas as to how we could raise some money. Get in touch with any Committee member.

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PIPES IN THE PRESS

The following item in the French Folk magazine “Tradition Vivante” was sent in by J. Godartier Savery, I’ve forgotten which one?

“Le premier numero de Chanter, le journal du “Bagpipe Society” d’Angleterre est, pour l’instant, 60 pages concaves aux cornerses, c’est un comest? pour les sureurs anglosis. Au sommaire du No. 1 interview du tibovezabla, comment reparer les cornemuses, feuilletershire small-pipes partitions, routes de stroques, No.3 cornemuses italiennes et une etude du repertoire possible pour la cornemuse du sud de l’Angleterre, instrument disparu depuis putieux siecles, mais qui jouit d’un regain d’interet depuis quelques annees.” No. 11 January/March 1987

Fame at last! The particularly astute among you will notice that the above extract is not in English. This is not because I’m too lazy to translate it well… partly! but because I see why we shouldn’t have the old article in another language. You will have noticed in my Musings (what! You never read them?) that I have invited articles in languages other than English. The above is to prove my business! We are supposed to be an international organisation after all. The translations bits are theirs not mine by the way (wouldn’t dream of it).

The following item was noticed by Judy in the Western Daily Press (she thinks):

“A judge yesterday summoned the leader of a band of Scottish pipers to appear before him when the whailing of bagpipes drowned out proceedings. The band, who had been tuning up outside Cambridge Crown Court in preparation for their concert in the city, were told to move off or ear shot.”

Oh well, at least it’s something when the press actually admit that pipers do turn up. Whether than being told to move out of Bournemouth I suppose, which some of us came mighty close to a few weeks back.

For further ramblings from the press, see the Lorient Festival item complete with picture (caption also in French, note). Keep your eye on the papers and magazines folks for suitable items for us to print, bagpinist or otherwise.

The following article does not strictly speaking fall into the above category if for no other reason than it’s 12 years late! However, we thought it worth reprinting in its entirety, including barely recognisable photos. If you want to get at the original it comes from the Journal of the English Folk Song and Dance Society, Autumn 1975. I don’t know who the author is (R.A. Schofield). If you’re still around and reading this R.A., how about getting in touch with a possible update?

BILLY BOLTON, PIPER OF THE DALES by R. A. Schofield

Not many realise that the pipes is only recently extinct, if that, as a traditional instrument in Yorkshire and Lancashire. A recently in 1960, Julius Filling visited an old lady in Barnsford who said her father had played the bagpipe when asked if he was Scottish, she replied “No, certainly not, he played the Union Pipe,” What sort of tunes did he play? “Hymns,” she replied. The union pipes have often been thought of as solely Irish, but this, and other evidence shows that not to be the case. For instance he “At o’ Yates Distillery is the following song:—

A man who plays the Union Pipes is called a tweedler.” To recieve an article in the book throws how popular the pipes have been. Of all pipes, however, none have been as cherished as Billy Bolton, often called the Dales Minister. Born in the village of Gigling (about three miles north of Richmond in Yorkshire), he was brought up at Ays, nearby, on the estate of Lord Dundas. He was apprenticed as a wheelsmith to John Alkclf, of Richmond, but by the age of 26 he had left that trade and became an insolent hardware salesman and knife grinder based on Whascliffe Mill about a mile West of Richmond. His travels took him all over the North and West Riding and it appears he was very people well every bit much, but also for the stories he told, the songs he sang, and the conjuring tricks he performed. County parsons appear to have been his special fans, rather oddly perhaps since he was a muscial Catholic, ever eager to put forward his own views.

Billy’s obituary I does not always when he heard to play the pipes but allows other evidence to put forward it is probable that he was taught while living in the Richmond area, since by one of his own family, or by a friend during his youth. The fact mention of his pipings comes in 1865 when Dr. J.H. Dixon wrote of a ballad called “The Garlac Case” that he collected from Billy.

“We first heard it sung in Malhamdale, Yorkshire, by Billy Bolton, an old Dales Minister, who accompanied himself on the Union Pipes.”

An application of Billy was written the year before he died. Two very interesting passages are given here in full.

“His favourite resort, when “in-colsy” was “Satday nights Malahmadale halley and jocky surroundings was one day to be by the famous Gonalach and another by the clear piping source of the Aire and where his high the music jingle gancer at The Cove, with pipes and chanm playing this fell pitch, and this in the good and romantic styles of Canon was spuns many of the happiest day of the old Dales Minster.”

“When pros of horn began to fill upon the old grinder, the machine slackend its revolutions, the fingers became les active on the pipes and the tone found rather to diminished because squeezed. It was about this time that the old minister had the misfortune to wish the like hands of Alison East, who, after having done certain work for the corrigen and harness and the chief organist of that place, he unfortunately left his pipes with the magnets servants who promised the old minister that the music of can sound be taken of them until his return on the following day. Giese, however, was the old man’s grief, when, on his return, the pipes, which he valued at three pounds were smashed, burst, and entirely spoiled. However, after a household at family council, in which the old minister for the first time in his life made threats of law, one passed was paid to the old man— a third of the damage done. The poor minister tried many ways to “raise the wind” and get back pleased, but failing to do so, ultimately and his pipe offer fell stillings.”

I would put the above event as happening in about 1870, since Billy eventually settled down in retirement in the village of Barnsall, in Whaisdale, after nearly sixty years of traveling. In some ways he was lucky, since he was due for the workhous as a destitute when a London merchant whose father, the Rev. W. J. Parkinson, late Rector of Barnsall, near Leyburn, had befriended him, gifted Billy a weekly allowance of six shillings.

Billy died on September 1st, 1884, and after his death a subscription was made to raise a headstone over his grave, which can be seen in Burnseal churchyard.

What happened to Billy’s pipes? There are two sets of Union pipes in Yorkshire museums. One set, mentioned by R.D. Cannon in the 1971 edition

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REFERENCES

• Brierley B. “Abo’t ‘Yates Dictionary” Craven Pioneer, 17th September 1881.
• Dixon, J. H. “Ancient Poems, Ballads, and Songs of the Peasantry of England.” London, 1846.
• Also quoted is Forsterer, C. F. (ed.) “Holroyd’s Collection of Yorkshire Ballads,” London, 1892.
• Craven Pioneer, 18th December, 1880.
• Cannon, R. D. “The Bagpipe in Northern England,” Folk Music Journal, London, 1971.

of The Folk Music Journal, is in The Castle Museum, York,’ and the other is displayed at Cliffe Castle, Keighley. The York pipes were made by M. Egan of Liverpool in about 1850, but nothing -whosoever is known of the Keighley set, except that they date from the nineteenth century and appear to be of a later manufacture than those in York. Records to where either set were acquired are also missing, but since both museums have generally collected local material, I would guess that both have been played in Yorkshire. The possibility that the players were Irish, or that they were donated by local collections of instruments, is a great, however, but their origin can be no more than conjecture.

Whoever else owned them, I do not think that they belonged to Billy Bolton.* While minor repairs have been done there is nothing to suggest that either set has been ‘remade, burst and utterly spoiled.’ Also when the York pipes were made Billy was over 50 years of age, an old man for those days. Where the are Billy’s pipes today? Probably in some Wharfedale attic or hanging on a Dales’ pub wall. Much more research (especially in Dales’ pubs) is necessary before an answer can be given to this and other intriguing questions about piping in Yorkshire during the last hundred years.

• Picture above shows Billy Bolton’s grave in Burnstall. The skull reads: “In memory of William Bolton The Dales Pibmal who died September 12th, 1881 Aged 83 years. “The tribute of respect was erected by some of the ministers’ many friends in the dales of North, East and West Yorkshire.” The picture at the head of this article shows the Union Pipes in Castle Castle Museum, Keighley. No records as to the maker or where purchased by museum. Museum dates pipes as nineteenth century. The Piper Pipes shown at the top left page were made by M. Egas of Liverpool about 1850, and are in the Castle Museum, York.

FOR SALE

MIGSA (North Italian bagpipe) by Julian Goodacre. Almost new, perfect condition. Single drone, high D pitch. Only £100. Ian Smith,

Flemish pipes in D by Jon Swayne (formerly belonging to Paul James). Overhauled by Jon only last year. £370. Jack Humphreys,

Set of Dill Headworth Northumbrian Smallpipes, about 15 years old (one of his best sets). £195. Julie Bell,

Chris Daley says he has now sold most of his stock of ready-made pipes (though is still taking orders of course), but has a few secondhand sets in the process of restoration, mainly a set of Irish pipes and a set of smallpipes if anyone is interested.

Calfskin Bodhran and beater. As new, £20. Dunyan Moss.

Still for Sale: Dulcibro (Dulcimer/Dulcrof) by Homer Ledford of Kentucky. As there are no takers yet for this superb example of true Dulcimer maker’s art, I am forced to drop the price to a final £100. Includes lined case, books, tutors, plectrums, noters, steel etc. all cost over £300. Julian Watson,

MEMBERSHIP SECRETARY

By the time you read this we should have a new Membership Secretary as I am hanging up that particular hat to concentrate on doing the Newsletter. Your new Membership Sec. will be Val Woollcott and all enquiries regarding membership, new membership applications and changes to Membership List details should be addressed to her at:

As with her help I am still on typesetting, I am extremely grateful to Val for her help and will be well with the job (you may still notify changes directly to the typer of the Society’s Bitza, Don Ward, if you prefer, for him to put straight onto his lame computer).

BAGPIPE SOCIETY CASSETTE

Chi has had quite a good response for his plea for material/performers for a Society cassette. He has asked me to tell everyone who has replied and to ask you all to be patient with him for a little while yet. As no total earlier, he is in the throes of moving house.

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ed lifestyle. As soon as he has settled in, he will be giving his every attention to the project. The other problem, at the moment is funds. As always, the Society is operating from hand to mouth with leaves little or no project cash. Any Phil anthropists among you? In the meantime, So would still like to hear from anyone who would like to contribute material.

MEMBERSHIP RATES & ALL THAT JAZZ

As you’ve probably gathered from the above, we could always do with a bit more cash. We feel we have managed your money well (well would, wouldn’t we?), our main aim being to provide lots of good quality publications (recipients of not always printingoise). Small print runs are expensive as is postage; so the bulk of your subscription money goes on just this. Now, hands up all those who thought I was going to announce an increase in subs! Well, you’re wrong - at least I hope so.

On the time of writing this, the proposal for the AGM is that the subs should remain the same for the coming year. Things would be a lot easier for us though if everyone paid up promptly! It’s then old news about careful. Even as I write I’m not sure we can afford to print and mail out this newsletter because so many of you haven’t renewed wholeheartedly some done so in the summer with apologies to those you who paid up promptly.

We hate having to moan like this, particularly when so many of you got the offenders. have done so only over for the Society in other ways, but we simply won’t go on without money. So watch for your next subscription due soon and pledge, please, post late note of this bulletin which stock (it’s just to remind - they’re publisher and - just for the one printed by Longside Society).

Unfortunately— although we hope to keep going static, minimal has got to go if we just didn’t anticipate. Our publications being so thick and heavy when we put the post and air mail is damned expensive (it’s good news for some!) - that it would imper that surface mail from everywhere but the Far East and Of/the is pretty well as quick as air mail I think it all goes by plane anyway; anyone know for sure?), so those of you in North America might like to try surface mail when you renew. You can always bring us a few quid more later to go over to Airmail.

The Highland Gathering

London’s Centre for Everything Scottish

Highland Outfitting, Dance Wear, Pipe Band Uniforms, Bagpipe Bagpipe Repaigs, Drums Band Accessories, Shortbread, Confer- fences, Regalia, etc., etc., etc. Jewellery Gifts.

The other big problem at the moment is the state of renewals. Like a lot of students, we tried to make it so that everyone renewed at or after joining; it just didn’t that easy! Somehow we’ve got to go for a rush of new every period of renewal. This means that subs will be shortchanged while others get a bit of subs for nothing. Thus just doesn’t seem to be any other way. The present proposal for the AGM at the time of writing, thought it could change by then) is that everyone should renew in April 1988 and every April thereafter. We haven’t hammered out the details yet but it probably means that those of you who joined within the six months prior to April 88 will not be asked to renew until 1989. If we do adopt this policy and you think this is unfair or will cause you undue hardship, just write when you get your renewal notice for April and we’ll see if we can’t come to some sort of agreement.

That’s about all on the boring side of Bagpipe Society matters. (except to remind you that you each have a vote and can make proposals at the AGM even if you can’t be there in person). If you don’t like any of the above, make sure your voice is heard! It’s your society newsletter.

MEET YOUR MAKER

People often ask me where they can get French pipes. Well this issue we feature a maker of all sorts of Fine French bagpipes, Dominique Butinot of Mouzeau in France. As well as French pipes, Dominique also offers Uilleann pipes ranging from a practice set at £800f to a full set at 11900f; a Bulgarian Kaba Gajda (that’s the deep one) at £900f in blackwood or 3700f in blackwood; Swedish pipes in fruitwood at 2500f; and mouthblown student pipes (14 or 16 inches) in fruitwood at 2700f.

Butinef is best known for his traditional French pipes, the mouthblown Bourbonnais/Berrichan pipes come in two sizes 14 panets (La/Re) A/D and 16 pounces (Sol/Doç G/F) in fruitwood or blackwood with mounts of pewter or bone with prices ranging from 4900f to 6400f pet depending on size and material.

It occurs to me at this point that a brief explanation of the French system of designation for pipes first, the centre of the tonal world of and not go amass while we’re all madly going metric, the French also invented it all, still use the inch (16 pounces) to describe their pipes. So a 14 pounce bagpipe has a 14 inch chanter. This is obviously just a convention and I’m not sure which should they used to arrive at the int it — it probably doesn’t correspond exactly to our imperial inch anyway It conventiún, the 14 pounce pipes are pitched in Bb-finger D - three 16-pipes giving the proper keynote for French pipes - but they usually quote f/f6-g-finger notes as well (often). To make matters more difficult, the usually quote the pitch using the Tonic Sol-fa, with C being Sol. So, you can see that the smaller of Dominique’s Bourbonnais/Berrichon pipes has a 14-inch chanter (approximate), D-finger (3-finger/5-finger), otherwise known as A/D. Drones are always tuned to the 6-finger note and/or small tubes. Gottitti to containers

In addition to the smaller mouthblown Bourbonnais pipes, Dominique also makes the Grande Ceroneese and Nivernais 16 Bourbonnais with the smaller pipes from the region, they have two drones but are only available only in fruitwood with mounts of pewter or horn. They come in three sizes: 20 pounces (Re/Sol; D/F); 22 pounces (do/Fa; C/F); and 24 pounces (Te/Mi; B/E) - to complicate matters further, this latter an

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S. known in French as a Si/M, pitch. Prices range from 6200F to 7500F depending on size.

And so on to the bellows-known. The Musette Débonnet is well-known in lovers of French bagpipes. Unlike most French pipes, it takes its name from its inventor, not a region. Even Mr. Débonnet developed these pipes towards the end of the last century and they were widely played throughout the central regions of France during and after his lifetime. A number of makers including Dominic Duval, continue the tradition with pipes modelled after the style of the old master. Dominique’s are in full wood or bell-tuned with bone mounts. The pipes may be ordered with the “or” model French appointment. Débonnet drop in parallel with the chanter one octave below its 6-finger note plus a bass drone one octave below that; alternatively, Débonnet pipes can be had with the tenor and bass drones supported by a small treble drone, pipe in the chanter/tenor drone (tobbier), which is tuned in unison with the “fingering note. This tiny drone gives an unexpected lift to the sound of the pipes. It is brought into play. The Débonnet pipes are available in A notes (A/RE and) and 16 pouches (Sol/Do), Do/RE. and range from 50OOR to 1500F depending on size and material. Dominique offers 14 pouches (La/RE; A/DI) bellows-blown Musettes. Prices will run drones made entirely from boxwood for 5600F. A bagpipe not very well known outside its native Brittany is the Veuze. The Veuze is a larger bagpipe than the gùitter known Breton Binou, being more akin in style and sound to the Gaitas of northern Spain and Portugal. Dominique offers for Teyst with one or two drones in Do (C) and La (A) as instruments and for boxwood: 2700F.

In addition to bagpipes, M. Bougé also makes excellent oboes (from 1500F), musettes (a small oboe in G) from 1500F and serpents in C from 1900F.

Most of his pipes have around a 6 to 8 month waiting period which promises to a year for a full set of Uilleann. All instruments come fully worked and played again are available upon request. A 50% deposit is required. He has one payable before delivery.

Contact: Dennis Bougé, no difference to the music, it always surprises me how much more interest the public show when they see someone ‘dressed up’. On Sunday evening we had a pub session at one of the local and this to me has the highlight of the weekend. It was quite an experience to hear Naomhí Mhóre and Jean Pierre. Each in full fancy really heartwarming when Jon Swayne led the pipers who could play together. I don’t think I’ve ever heard so many different types of bagpipe playing in tune and sounding so harmoniously.

On Monday morning, Hamish held a workshop for the participants. Again, it was a pity that advertising was so sparse as a lot of local pipers would have appreciated this.

Throughout the weekend, piping was provided by Peter Stewart and Jean-Pierre Rasle, Hamish Moore, Jon Swayne, the Guadace from Clare, James Merryweather, Colin Ross, Malachii Ennis, Judy Redcliffe, Joe P. and Mary Cannon. Folk groups featuring pipes were Northern Bag Follk Blackwater Folk.

Ray Fisher acted as compare for the occasion and managed to keep things running smoothly.

Everyone who took part seemed to thoroughly enjoy themselves. One certainly must have done — he sent his cheque back cancelled.

THE SOCIETY OF IRISH PIPERS - NA PI08AIRÍ UILLEANN

As promised in an earlier Newsletter, we are continuing with our feature on other piping societies with Na Piobairí Uilleann.

The society caters for Uilleann pipers and was founded in 1968) (from modest beginnings, it now boasts a membership of over 400 with active clubs in London, Sheffield, Paris, Holland, Toronto, Francisco and Seattle with many members in continental Europe, Australia and New Zealand. The majority of members, as may be expected, live live in Ireland with many in the Dublin area where tuition is given on a weekly basis at the Society’s headquarters. Sheet music, records are free to all and encompass differing levels of expertise, the ad- courses in reedmaking and general maintenance are run, at intervals, required.

The society co-operates with the Irish Arts Council in holding regional gatherings throughout Ireland with demonstrations of public classes and workshops, thus reaching members outside Dublin as well as also co-operates with pipers in England and further afield in holding similar functions abroad. The most important event in the society’s calendar is the annual Willie Clancy Summer School held in Miltown Malbay, Co. Clare in July. Na Piobairí Uilleann runs the piping section of the school, providing teachers, organising the classes, well as piping concert, daily recitals by competent players for students, and exhibition of pipes and piping.

The growth in the number of members of Uilleann pipers throughout the world since the foundation of the society is a cause for indication of the increased interest in Irish piping being translated into a demand for pipers. This increased interest is due in large part to the singular work of Na Piobairí Uilleann in maintaining the playing and making of pipers.

Contact: Na Piobairí Uilleann,

BANGPIPE FESTIVAL, PRESTON HALL MUSEUM, STOCKTON by Dave McQuade

This event, held on the August bank Holiday, turned out to be a surprising success, if not approximately 7,500 visitors to the museum entertained by members of the Society and other local folk dancers and musicians. I was surprisingly as I think it is true to say that the Society and the Museum administration did not quite get their act together. Problems with organisation meant that we did not twist people’s arms as really we should have done and contacting folk during the holiday period proved unexpectedly difficult. In fact, we were not even exactly who was going to turn up until the actual weekend itself.

We won can imagine, and problems made proper advertising almost impossible and the curator decided to relay safe by cutting the original programs. Apologies to those who were supposed out at the last minute. We settled on providing a very informal concert to the visitors by playing as a concert, credited Victorian street within the museum on Sunday and Monday afternoons. To add to the atmosphere, most of the performers were presented in costume or traditional dress. Although this was

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HURDY-GURDIES AND PUBLIC SAFETY - THE ALARMING FACTS EMERGE

by Julian Goodacre

Just how safe are hurdy-gurdies? For some time this question has worried the building and medical professions, but it appears that no research in Britain has been carried out in this field. In the light of the disaster at Aldershot, this September I feel it is time to press the government into settling a well-funded enquiry.

The disaster to which I refer occurred at the Blowzabella week-end on Sunday 6th in the foyer of the Aldershot West End Arts Centre at approximately 2.15pm a large portion of the bar collapsed. Fortunately the bar was closed, as its floor became a mess of broken glasses and bottles mixed with several gallons of spirits. It would be crazy to dismiss this incident as unforeseeable—an Act of God—but I believe it was more like. For the previous forty hours there had been a variety of sessions in front of the bar—some of them involving up to fourteen hurdy-gurdies all playing simultaneously. Shortly before this disaster there was a session with three hurdy-gurdies.

I am of the opinion that when and where so many hurdy-gurdies employ their trumpettes simultaneously it can cause molecular realignment, which can seriously weaken masonry and other building materials. The greater the number of trumpettes, the greater the structural damage they can cause.

The French are looking this problem far more seriously than the British. Anyone who has been to the festival at St. Chartier will see evidence of this. It must be the largest gathering of hurdy-gurdies in the world and the organisers have had the wisdom to run it as an outdoor event taking place in the grounds of an old Chateau. Even though it takes place outdoors the Chateau and its surrounding buildings have suffered considerably from the annual three-day molecular bombardment they receive from the hideous buzzings of several hundred hurdy-gurdies. During the last twelve months a portion of one of the towers collapsed and some segments of a parapet became so unsafe that they had to be removed. Portions of the outbuilding are now little more than ruins.

The 811’ntree square where such music and dancing takes place from midnight to sunrise, the organisers have taken sensible precautions. Two of the dance floors have no walls and thus there is no fear of collapse. The third dance floor has a roof but no solid walls. To ensure that the roof and supports are under as little stress from molecular bombardment as possible the musicians’ platform is placed outside of the covered area.

I shall be pressing my local MP to take up this worrying matter in the House. An enquiry must be begun immediately. Interim guidelines should be issued to all players. Meanwhile I would beg all hurdy-gurdy players to be very sparing in their use of the trumpette and to take all sensible precautions.

Aside from the collapsing Bar Disaster the Blowzabella weekend was extremely enjoyable. Much praise must go to Paul James for programming the whole event. The only suggestion I have for next

year is that on the door of one of the rooms assigned for sleeping be placed a large sign reading ‘THANKYOU FOR NOT SNORING’.

I came across a fascinating item in an American catalogue recently. It’s called The Reedual and It appears to be an expensive but valuable alternative to the Milton Keynes weekend. It all sounds too good to be true. The catalogue states “The Reedual makes and repairs all Oboe, English Horn, Bassoon and Bagpipe reeds. Reedual repairs all sizes of single reeds up to 7 reffings. Reedual cuts reeds out of blank or semifinished reed stock. Reedual duplicates a model reed in all its exact proportions and playing qualities. Reedual makes a reed softer or harder as desired. (Making a reed harder is done by trimming the reed tip till it is very lively hard and then putting a heavier cut on the slightly shortened reed.)”

Does anyone in the society have ‘hands-on’ experience of the

Reedual?

Many readers have been staggered that I have made no mention of Goodacre’s Eaze Pipe since February. Actually the whole matter has been sub-judice for the past seven months pending the outcome of an enquiry. It would appear that there is a police informer among the newsletter readership who grossed to Edinburgh Police Drugs Dept. that I was manufacturing hallucinogenic substances. On a fateful evening in March I answered a loud knock on my door and 15 swatty Peace Officers burst into the kitchen and removed a large portion of its contents including half a bowl-full of Sharon’s finest Tapioca pudding. All the materials I had been using in my Eaze Pipe experiments were similarly confiscated after being placed in self-seal polythene bags.

It was fortunate that I had previously solved the mystery of the hallucinogenic side effects. It appears that the rye malt extract I had been using had been infected with ergobot. This produces effects similar to Lysergic Acid. I had disposed of the entire infected batch shortly before the police raid.

I have written nine letters to the Times about this—none of which have been published. I am waiting for a police apology and the return of all Eaze Pipe ingredients, tapioca pudding, etc.

J.G.

The illustration to the right was sent in by anonymous donors (not quite anon.; they call themselves Cornamussernts Inc.). Didn’t know where to put it so I thought I’d stick it here.

For those of you sick and tired of this Newsletter’s ‘gin’ jokes, an examination of ‘Chance‘ and Julian’s catalogue will reveal all.

Whoever you are Cornamussernts Inc., please send more! It would make a great regular spot.

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FESTIVAL OF EUROPEAN PIPING IN EDINBURGH by John Gardacre

Although the bagpipe is the national instrument of Scotland and the Edinburgh museums together contain a magnificent collection of bagpipes, it is only recently that efforts have been made to develop the Edinburgh International Folk Festival at Easter into a European Piping Festival. The work has already for some years included a Harp Festival. Last year Hamish Moore contributed his first week of ‘could wind’ piping classes and there was a varied piping concert at the end. This year these were repeated and the whole programme broadened to cover many aspects of piping and pipe making.

Traditional Scottish piping was represented by two striking bands, the Shotts and Dykehead Caledonia Band and the Monkton Hall Band, and by two promising young soloists, Martyn Bennet and Stuart Reid. Anyone who thinks that such players are committing themselves to a hidebound tradition should listen to some of the more progressive music being played by both soloists and bands. Jim Sutherland, though not a piper himself, has contributed some smashing new-style tunes to the ‘Scottish rhythm and swing’ played by his group the Easy Club at their concerts. They were not the only ones to be playing this jaunty piping craze. The Easy Club Reel, in another direction Mark Duff, who plays recorder and whistles in the young group Capercaille, slipped in a line on the Leicestershire small pipe to effect in one song.

Another departure from the main Scottish tradition is the revival of the solo Ireland tradition of border and small pipes. In his recitals Hamish Moore has the advantage of being able to draw on his experience as a Highland piper and to select techniques and music from the Highland tradition that suit his bellows pipes. He also has the gift of being able to explain to his pupils the minute details of what exactly he is aiming at, at each point in a tune and to give them precise segment even though their individual techniques may never be in the complete of his own. For many pipers interested in this repertoire the week began with the annual competition of the Lowland and Border Piper’s Society, although this was not mentioned in the Festival programme. This is intentionally a relaxed event, to dispel any idea of a formal championship, and many styles of playing are welcomed, from border pipes played as if they were Highland pipes to small pipes sounding more like Northumbrian pipes and with an overlapping repertoire. This year the range was extended in more ways than one by Jonathan Swann’s entry, playing his own developed half-long pipes. If Scottish pipers had difficulty in accepting these as border pipes rather than as a French chanter with common stock drones, they might welcome them instead as a new form of the pastoral pipes of the eighteenth century.

The Northumbrian tradition was represented by Chris Miller, who is pushing his technique to the limits, especially concentrating on high speed repeated notes with the left thumb, like the Scottish doubling and trebling on the top A. Irish pipes were played by Peter Smith from Dublin and Eugene Lamb from the west coast of Ireland, who is also a distinguished maker. They both can produce that sparkling trickle of tiny notes that dance on the edge of the drones without counting themselves to plunge into harmony with them. The Glasgow group Setanta, who play Scottish and Irish music, were playing for the last time with their Irish pipes player David Munro, who is moving south.

A Hungarian group, Makîrîg, played exciting string music and also a couple of tunes using a bagpipe. One aim seems to have been to obtain some western currency by selling the instrument before returning home. The central French tradition was represented by Andre Kierros, the virtuoso cabrette player from the Auvergne, accompanied on diatonic accordion by Jacques Lavergne. Arresting Spanish music was contributed by Los Raparigos, a group from Galicia who play gaita, whistle and percussion.

An innovation this year was an exhibition or trade stand event of two days, ‘Meet the Pipemakers’, an opportunity to browse, ask questions and even try out pipes of different kinds. It was also a chance for interchange between the various makers there; but there was never a sufficient crowd of visitors at any one time to justify the popular sequence of lectures and demonstrations by makers.

Another innovation was the series of Piping Festival lectures given on the last day. Hamish Moore sketched in some of the history in background to present day lowland piping, the transition from pitch tuning to modern chromatic tuning, the hunt for repertoire and hopes for the future of ‘breathing down the hunter’s’ tongue how pipes the construction of Irish pipes and Peter Brown spoke about their music. He maintained that while there were distinct regional styles of fiddle playing, piping styles were more personal. This might be because until recently there were so few pipers playing in Ireland. He prefers jigs and reels to hornpipes, which are ‘more European than Irish’ and have ’no sadness’.

Xan Silver, with Los Raparigos, gave an expert introduction and demonstration of their music, starting from simple percussion instruments and the gaita as a solo instrument and concluding with composed music and ‘classical arrangements’, sometimes using three gaitas in harmony.

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The principal theme for the piping festival was stated by Hugh Cheape in his talk ‘The European Roots of Scottish Piping’, illustrated with a slide instead of the musical examples. In the other talks he is assistant Keeper at the Royal Scottish Museum and is actively campaigning to win for the bagpipe collections in the Edinburgh national museum the recognition of their international importance and the public display that they deserve. In sorting and cataloguing the pipes he has been struck by the variety of types represented and the fact that few of them conform to what we know as the standard Highland pipes. This is not just because pipists to museums are often cast-offs and the ‘real’ pipes remained in use. His researches into old illustrations and publications, types of music and tune names all confirm the pattern: the development of the Scottish pipes must be accounted a nineteenth century movement, part of the adoption of a Highland identity for the whole of Scotland. Before then the Scottish pipe music was recognisably part of the European song and dance tradition.

The foundations have been laid for a British piping festival of European scope, in the most appropriate venue in the world. This year it was supported by Scottish, Irish, English, French and Spanish cultural bodies and pipers’ societies. Now it is hoped that EEC support can be obtained via the EEC Cultural Co-operation Committee in Luxembourg. Much has been achieved by the Festival Administrator, Martin Ramsay, under the old festival directorship of Robin Morton and with the enthusiasm of Martin Ramsay. What is needed is a presiding genius to pursue energetically the ideas that have been thrown around so far. Martin can hardly be expected to undertake this in addition to the classes and his concert commitments. The whole project is so much in line with the aims of our bagpipe society that the least we can do is to wish success to the new director, Archie Fisher. But there must also be some way in which we can actively show our support and help him and Martin Ramsay continue and develop such good work. Next year the festival will be from March 25th to April 3rd and the Festival of European Piping will be concentrated on the second weekend, April 1st-3rd. Write for fuller details, which should be ready around Christmas.

RECORD REVIEW
by Simon Owens

NORMA-MORTON
Edgel Bell 70072

This is the first and only record by this young Italian group Norma, but one hopes that they make more and very soon. They are a five-piece band who compose most of their own material, which is very strongly rooted in the traditional idiom. The influence of Breton and Scottish music makes itself plain in some of their wittily instrumental items, but it is the Gallician traditional influences that shape most of the tunes. In these days of increasing cultural homogenization it is most refreshing to find a group that respects the traditions of its own culture while still being responsive to the cultures of others. To me, this is the only way to put a cultural heritage to good use, without a continuous evolutionary process, any culture becomes fossilized and its practitioners risk becoming intellectual driftlings philosophies or traditions with consequent disastrous results at either personal or national levels. End of digression.

While always retaining a keen sense of dynamics and textures, Norma are a very high-energy group which has a great fondness for playing very fast. In the hands of technically unaccomplished groups this approach can result in a chaotic thrash that is infinitely more fun for the player than the besieged listener. Here, however, the excellent arrangements and playing skills keep such excursions under a tight rein.

The band features two gaitas, bombardes, recorders, bouzouki, guitar, accordion, bass, piano/synthesiser and assorted percussion. The use of piano as an upfront instrument is a salutory reminder of how effective it can be when played thoughtfully (all too rare in most folk bands). The gaita playing is deadly accurate even at high speed (which is not to say that the playing is virtuously speedy, but only where it is most effective). The bombarde playing is also excellent, and really lifts some of the tunes with its clarion tone.

Nearly every tune on this record is a strong one which leaves you whistling it for long afterwards, and the arrangements all leave room for exploration of dynamics and texture. Thankfully, a lot of folk bands are moving away from the all start, all play, all finish approach to tune playing, and Norma’s arrangements are exemplary in bringing out the most in the material. Of all the tracks, I could single out the closing one for special mention. In two parts, the first is a pandierada (named after the dance named after the drum—the pandiero—used to provide the rythmn which motors along very smartly with the two gaitas taking the major part. Following this, the second part is the well-known “Up o’ Slurs” which is taken up by the piano and whistle at a pace which makes you wonder how long they can keep it up until the bagpipe maker reappears once at Warp Factor Nine, leaving you (me anyway) breathless by the time it’s over. The articulation used by the gaitas on this difficult tune is razor sharp, giving clarity to the melody while bundling it along in a way that makes your average jig sound like a slow air. Brilliant!

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File under essential purchase.
This record is available from FOLKALITY or if not by mail order (along with all other Galician and other Spanish records) from ARPAFOLK,
S.B.

IN SEARCH OF THE 100 BAGPIPERS
by Paul Miller

Most of you will have received a circular a month or two back inviting you to join the British-Bulgarian Friendship Society on their trip to the Rozen folklore festival in Bulgaria for something less than a bargain price (236867extras? must be a joke). Being a seasoned traveller of the Balkans but having made only one trip to Bulgaria, which was somewhat limited due to having acquired a plastered leg on the way, I decided to make my own way there. So armed with a cheap charter ticket to Yugoslavia, a visa for Bulgaria (420?) must have been another joke) and against the advice of Bulgarophil friends who warned that events like this have a habit of getting cancelled at the last minute, I set off for Rozen.

Looks like I should have heeded their advice. Because when I got there all the posters had been overprinted with a new date - the festival had been postponed for a week!

So what happened? Were the promised 100 bagpipers too busy like I was, queuing for bread? Was it because long-standing party leader Todor Zhivkov was being ousted from power because he doesn’t get on with Gorbacev (The order to take his portraits down came while I was there.) Local officials were not to be found and those not in authority were as clueless as any Bulgarian is about what is happening in the country.

Anyway, your intrepid Bagpipe Society member had to miss the festival as my charter flight left from Yugoslavia while the festival was on… I wasn’t too sorry to miss the 100 bagpipers, except for the fact that they would have been playing the local instrument, the Kaba Gaida which has a beautiful deep tone distinct from most other bagpipes. The idea of playing 100 bagpipers is probably not traditional but more probably the idea of some official or committee; still, I was curious to know what they would have sounded like. In certain villages in Macedonia there is a tradition of playing large numbers of Gajdas (or Gajdi in the plural) together and in the village of Delneni they can still manage an ensemble of 10 players and pretty amazing they sound too, but Pece Atanasovski, Macedonia’s most famous Gajda player who comes from that village tells me that it once was able to muster 100 players. So it looks like the Bulgarians stole the idea from the Macedonians!

Anyway this was supposed to have been a report on the festival. Instead I have to ask if any members did actually make it to the festival on the presumable rescheduled BBFS trip? Or did they turn up the wrong weekend as well?

P.M.

LORIENT THROUGH THE DRINKING GLASS
by Simon Owen

For the bagpiper, the Lorient Interceltic festival in Brittany is like a course of aversion therapy. If nine days of continuous bagpiping can’t cure you of being involved with them, nothing will! For most people, of course, nothing will. Imagine some four thousand participants, a large percentage of whom play bagpipes (generally Highland or Galias), playing virtually continuously from afternoon till dawn; music of the spheres to some; souls in torment to others.

Each Celtic nation sends a delegation to the Lorient Festival, and it is easy to lose track of who is currently claiming to be Celtic. It took several years for Galicia to be accepted by the Celtic fold, and now their neighbours and fellow Gael waiters, Asturias, are claiming Celtic nationhood. Although neither has been accepted into the League of Celtic Nations, such distinctions count for very little when you have such exuberant people and wonderful music.

The Welsh contingent was a massive ten musicians (seven of PENCERDD and three of CRONED,INC), although we did manage a good showing on the bagpipe front, with myself and Richard Brown from Pencerdd and Peter Davies of Cronc led using various beasts of burden. Welsh music has never had the highest of reputations in the past, being either unbearably polite and bland Elsie-foxtail-type parlor music or choral singing excerpts from Gilbert and Sullivan (as I heard when I was on the festival a few years previously!). We were determined, therefore, to keep a high profile and continue the trend started in the last few years of the more progressive Welsh groups such as Aberjaber.

On arrival at two in the afternoon, we passed the main marquee which had a sign saying that Pencerdd would be playing at four o’clock. This left very little time for any apprehension and no time at all to gauge the standard of the other groups or the mood of the audience(!). I wondered how, in such a short time, they could manage to do sound checks, but in the field of chacking and setting up, I feel that the Lorient organization has hit on an excellent arrangement. Each group is given an hour-long slot in which to set up and perform. If they tinker with microphones for most of that hour and play for only a few minutes, that is up to them. To my mind, nothing is more frustrating than endless and often self-indulgent sound checks which can last longer than the actual performance. In addition, the sound crews were excellent and really understood what the groups were doing, following the music and mixing accordingly.

Our first performance went tolerably well, and we finished with a set of Welsh tunes played by myself and Richard on two pipes, having hung a large Welsh flag from the drone of mine to indicate that it was a Welsh bagpipe (gaita gallega!). We were closely questioned afterwards by a newspaper reporter on why we used gaitas, and what had happened to Welsh bagpipes. The result of this conversation was the following newspaper paragraph which demonstrates that he took my answers for less than gospel truth!

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Cherchez l’intrus…

Surprise pour les festivaliers rassemblés samedi après-midi, sous le chapiteau des arts : un jour de gaïta figurait au nombre des musiciens de groupe gaïlos

Pencerdé, “La gelée, ma’t-il expliqué, resemble à la cornemuse galioise au Moyen Age…” (2)

Having settled into the routine fairly quickly, certain things became obvious. Primarily among these was the enthusiasm of the Lorient and Velting public for informal playing. Setting up in a bar inevitably resulted in many free drinks and a lot of interest. As with a lot of festivals, this was the best part of the proceedings, especially for meeting and playing with other musicians. Most nights we would play, usually in the same bar, until four or five in the morning. Fortunately, concerts did not resume until the afternoon, the morning’s only activity being a parade by a different pipe band every day.

Although a group’s concert schedule is by no means arduous, we hardly got to see half of the other concerts that were on. However, there were several outstanding groups: the Galician Luar la Lubre, whose gaitero had a deeply wonderful three-drone gaitas; also from Galicia, Armegün, who feature more vocal music than is usually associated with bands having two gaiteros. Although Asturian music is not so immediately memorable or exciting as Galician, I enjoyed the young Asturian group Llàn de Cubel, who featured an excellent gaitero. Not to everyone’s taste were the Galician rock group Brath, who integrated the gaita very well into rock numbers with firm traditional feeling, but were less successful at rocking up actual traditional tunes, which were a bit too simple for such elaborate treatment and ended up a little over-dressed.

Although Irish music is not exactly my favourite to listen to (rather than play), I could not help but be impressed by the absurdly young and extremely talented Irish groups, especially Sibth and Tamlin. Unfortunately I missed seeing Davy Spillane, who I think was performing solo and also missed hearing Callicanto, who are an Italian band using the ‘bagas’ (the North Italian pipe resurrected by Massimo Furlgalli) and are a very theatrical and musically very exciting group.

For the bagpiper the wonder of the event was not in the variety of bagpipes on show, as would be the case in St. Chartier, but the sheer weight of numbers of sets of pipes around, usually Highland or Gaitas. A common sight at mealtimes would to a bagpipe mountain stacked up while their owners partook of the excellent food. On several occasions I was transfixed by a pile of Antonio Corral gaitas twenty or thirty deep (the Man himself runs an excellent pipe band Gaitas de Xarabal); surely they wouldn’t miss just one?

Since the Irish, Scottish and Breton pipe bands use the same pipes (more or less), it was interesting to compare the different styles and repertoires. This was made very easy on the day of the Great Parade, when seventy different outfits went in procession along a mile-long course, It took two hours for the whole parade to go by, and most of the participants played pipers. The Breton bagadou seemed to be the most interesting, since the bombardiers give them a flexibility of approach to the music which the bagpipers only bands don’t have. For the first time in its history, the parade was not led by the naval bagad of Lorient, Bagad Lann-Bihoué. Pride of place (!), this time went to the Frenchman marching band of two flatue, rauschpfeife and percussion. As the only Welsh representatives willing to process, we were put at the front to avoid upsetting the careful programming of the rest. Apart from the fact that we couldn’t be heard when the bagad went passes behind us was playing (2 gaitas vs. 20 pipes, 20 bombarders and 8 drums) our only embarrassment was the lack of a national costume. Alex Evans’s suggestion that we went masked painted with lead was not put into practice since it was a chilly morning and none of the shops sold wool.

I love the sound of a massed paita marching band, and the Galician costumes were the most elegant on display, especially those of the men. The Asturians seem less flamboyant, both in costumes and music, although not without charm of their own. They do not go to far large groups of pipers (a dozen or so at the most) and marching is made most uncomfortable due to their amazing three-pronged clogs. The Asturian pipes are outwardly the same as Galician gaitas except they only ever have one drone (as far as I could see) and have a flared end to the drone rather than the characteristic bottle-shaped ends of the Galician drones. However, they employ exclusively closed fingering as opposed to the Galician open or semi-closed and the tunes use overblowing as a matter of course, to at least the three finger note of the second octave. The Galicians very rarely stray above the break and even then only go one or two notes above.

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For us, the highlight of the festival was the night at the
fishing port nearby, for which a large boulevard was blocked at each
end and six stages erected at intervals on which groups performed from
evening until daybreak. Fish was on the menu of nearly every bar and
stall from freshly grilled sardines to fish couscous. If they could
have made beer from fish, I’m sure they would have done so. By 4am or
so the whole 15,000-strong audience was very drunk and very cheerful.
A similar event would be impossible to stage in Britain as it would
result in the stupid, ignorant and aggressive behaviour that usually
seems to accompany a certain strand of British society. At Lorient
however, everyone was fully occupied in enjoying themselves and being
friendly to one and all.
Hopefully, we generated a lot more members for the bagpipe
society with the large number of leaflets we gave away. There is an
exhibition of Lutherie in the main marquee (including, this year, a
superb bagpipe maker Dominique Bougé making French and Balkan pipes)
at which we might be able to set up a permanent stall next time. It
seems that we were well enough received this time to be asked back
next year, so I hope to be writing a similar report then. Watch this
space.
S.D.

For details of Lorient ‘88 contact Simon Owen. We will be advising you
through these pages in plenty of time for you to plan your hole… Ed.

LETTERS

Dear Bagpipe Society,
Re Hale the Piper
The pipes are not shown in any detail but did appear as In the
illustration you have but larger in the other, now lost, part of the
broadsheet.
The drones clearly have holes. This now makes sense through
comparison with other types of weak tuned drones or does it remain
as an error on the part of the artist? No means of inflation is
visible. ‘Old Hale’s Hornpipe’ used a rand of notes from A below the
stave to F sharp in the top line - this is worth looking at again (but
not available, lost or stolen or mislaid, when asked for last at the
local library) [reproduced in John Offord’s book-typist]
The bell on the lile’s pipes appears to be attached by
binding or staples; or are they keys?

Page 24

Was Hale also a pipe maker? There appears to be a lathe in
the background with odd, partly finished pieces under it. The lathe
itself looks at a glance to be very modern and anachronisms appear to
abound, what with the tune, the pipes and details from the
illustration. Accuracy or conjecture?
And as for your blood running cold, is someone trying to tell
me something? Hale isn’t such a common name and my musical unconscious
has certainly not been developed for me by the last generation of my
family. Oddly enough I do a lot of what my paternal grandfather did;
he was an ‘Anglo’ concertina player, born in the Black Country, who
moved (back?) to Derby. I am an English concertina player with a
definite leaning towards practical, repairing, making aspects. Who
knows where we both came from?! “Grandfather died before I was born.)

Derrick Hale,

A number of other members have written to draw attention to the item
by Jon Swayne on the Hale pipes in John Offord’s book of English Dance
Tunes, “John of the Greeny Cheshire Way”. In it Jon casts doubt on the
authenticity of the bagpipe itself and suggests that it might be an
invention of the artist in an attempt to depict “an instrument current
100 years before his time”… ed

Dear Bagpipe Society,
I would like to tell you about our Pipeband In Switzerland,
the Basle Drum and the Swiss bagpipes.
In Switzerland there are two Pipebands: one in Basle and one
in Zurich. There are a few little groups of about three or slightly
more members. The pipeband I’m a member of is ten years old now. The
very beginning of the band consisted of three members who brought
along bagpipes from Scotland without any knowledge of maintenance,
tuning, fingering or anything else. Slowly they began to improve their
piping after having got aquainted with a Scottish instructor, who
normally still comes once a year to Basle, together with a drum
instructor. During recent years the band has grown bigger and more
experienced. It might be mentioned that the Drum Corps is relatively
good, for all the drummers are already very experienced Basle
Drummers.
The Basle drum is a low-pitched metal drum with snares and
two cowhides which are not as strongly strained as for example the
Scottish drum is nowadays. The drum is played sometimes in groups of
50 drummers who play together. Mostly you can see the Basle drum at
the “Fasnacbt” which may be known abroad, for the Basle Carnival is
very famous.

Page 25

At the moment our land counts twelve pipers and seven drummers. Three years ago we were competing in Scotland in Grade four and three.

Recently I saw a Swiss bagpipe, which is the same type as the Southern German. Unfortunately I don’t know where to get them from or where to learn more about them. The only thing I know is that they are mouthblown and a comparatively similar sound to the Scottish Highland pipes.

Markus Schermer, East Wishes

JUNIOR PIPER’S CORNER

Hello Juniors……. This is Uncle Peter welcoming you to a new feature. And aren’t there a lot of young pipers for you to read about in this issue! Two promising young soloists and the young group Capercaillie at Edinburgh (did you know, one of them is only 26!), a young Galician group who’ve even been allowed to make a record!), a young Austrian group at Lorient, together with two absurdly young groups (well really, what ever were their parents thinking of allowing them out so late?). But seriously though, don’t you look forward to the day when you pass forty and you can become a real member of the club? I mean, just how old do you have to be before you can be just a good musician, and not a child protege?!

Agidly Yours,
Uncle P.

Have you heard about the amazing young Northumbrian piper Paul Higgs (hope I’ve got the name right) who has beenStopping for Kathryn Tickell? Now this one really is young, Peter; I believe he’s about 12 (correct me if I’m wrong Don Renders). Apparently he’s good enough to watchaudiences who have come to see KT, and that’s saying something!… Ed

GREEK BAGPIPES - THE SAGA CONTINUES
by Paul Miller

Here is my contribution to the Greek pipes story. As far as I am concerned the gajda in its Greek variants is the mainland bagpipe. Let me justify that statement. Firstly Macedonia is just as valid an ethnic and geographic region of Greece as Epirus or the islands. The wider region of Macedonia (i.e. including the parts of Yugoslavia and Bulgaria) is not an entity like Kurdistan, where the Kurdish people have a homeland but the territory is split between three modern states ruled by people with different ethnic and religious backgrounds. Macedonia has always been a region of mixed minorities, hence the French use of the term ‘macedoine,’ and the two largest minorities are basically either Greek or Slav speaking. Political events of the last 100 years including exchanges of population have led to the current situation of a vast Greek speaking majority in the part now under Greece. I am a bit worried that all this is too simplified to make sense but a whole library has been written on “The Macedonian question” and the “Macedonian Society Association” is at the place to continue it. What I think I am really trying to say is that there is no such person as a ‘Macedonian’ in the same way as there is no Kurd or Basque. So back to the pipes.

The gajda is not just played in Greek Macedonia but it is also played further east in Thrace. The instruments appear to be much the same as those more familiar gajdas played by the Slavs and Rumanians to the north, the only notable difference being that in Greek Macedonia the higher pitched instrument is favoured, playing around 3 finger d’ (or e’ in some villages, known as the ‘mosquito’ gajda for obvious reasons).

All the authentic Greek-manufactured instruments I have come across have had cylindrical bores. There are some conical bore ones around, but these appear to be Bulgarian imports. As regards the Thracian, the lower pitched instrument, with a 3 finger note around d’ flat, seems to be favoured together with a conical bore as in Bulgaria, but I am less sure about this because I have never met a player and am relying on the tapes and written information I have found. Both the Greek Thracian and Macedonian players have a playing style similar to but at the same time distinct from the corresponding Slav players in Bulgaria and Yugoslavia.

The second reason for regarding the gajda as the ‘authentic’ mainland instrument is this: Brian Wilson, who posed the original question seemed to want to disregard the gajda on the basis that it was copied or borrowed from a neighboring group. If you follow this argument then logically there are no real Greek pipes at all because the island pipes (known as ’tsambouna’ in most places) are so clearly related to the Turkish ‘Tulumb.’

While on the subject of the island pipes: apparently on some islands the pipers don’t bother to play when there is a southerly wind because it brings too much moisture; instead they wait for the dry northerlies. So if you thought it was just the British climate that was bad for pipes, you are wrong! Also on some islands they use uncured bags; presumably there everybody is glad of any wind at all just to carry away the stinks!

Lastly, there is a fresco on Mt.Athos printed in the 16th Century and showing an instrument much like the typical medieval pipes (eg. Jon Swayne’s reconstruction), including a proper conical bore, and such pipes also have some sketchy references elsewhere in written sources. So perhaps these pipes were once widespread in mainland Greece and they are the missing link? F.M.

The subject of Greek bagpipes is still definitely open and any more light that can be shed on the subject will be most welcome. Paul is currently spending a protracted sojourn in Macedonia and will, we hope, have lots more goodies for the newsletter on his return. We contact address can be found in the membership list supplement. Meanwhile, see next letter for details of a recording of Pontus bagpipes… Ed

Page 27

Page 26

MORE LETTERS

Dear Bagpipe Society,

    Yes, pipe collecting is really sheer madness! I have a large collection of pipes, not all of them in playing condition—especially out here. Keeping pipes playing in our ridiculous extremes of temperature and humidity certainly takes on a whole new and frustrating perspective. The west coast of Canada and the North Western U.S. is much preferred; the temperatures, rain and general climate are much more conducive to bagpipe players (somewhat resembling the British weather).

    Well—the listing of my pipes—it just keeps getting longer!. I have recently added;

1 a full Bflat set of uillean pipes in boxwood made by Hughes and McLeod in Donportic, N. Ireland (Obtained from west coast of US) 2 A keyless set of Northumbrian smallpipes—extra Colin Ross chanter—no maker’s name on this set. Very nicely made in blackwood/ivory. Obtained via a friend here, who got them via Dave McCordick (should this be Stephen?..) pipe maker in the Derby area. The chanter has a plunger in the end, facilitating playing open style (plunger out) or closed style (plunger in). 3 Bflat blackwood chanter—Hughes and McLeod 4 Full blackwood/silver plated brass set of D concert pitch uillean pipes from David Quinn—dimensionally copied from Liam O’Flynn’s 1936 Leo Rowsome set (David measured Liam’s set). Fantastically high standard of workmanship from David Quinn (USA). 5 Old Scottish smallpipe drones (19th Century probably) plus D chanter made by Denny Hall (near Seattle, Washington State). On order 1 Remi Dubois Bechonnet Bourbonnais 2 Flemish Cornemuse 3 Cabrette chanter from Bernard Blanc 4 Half-longs from Jonathan Swayne

No doubt I’ll have excuses for other pipes in the meantime. Keen to locate older sets now—though obviously difficult to find.

    Will be in the UK at Christmas time, so possibly I could try to meet some of you folks when I’m over.

    The North American Northumbrian pipers’ convention is looking good for this year (August) and I’m getting Gerry O’Sullivan up from New York City to play at the Sunday concert. He’s without doubt amongst the top half-dozen or so uillean pipers here in North America. A little on the style of Paddy Keenan. (He may have a record out shortly over here.)

                                Enthusiastically

                                    Alan Jones,

                                                                        Page 28

Alan has also sent a complete list of the pipes he owns. It is reproduced here as a warning to all members against excess and overindulgence! Take heed, you too could end up like Alan, sleeping in a pup tent while your house is full of bagpipes (seriously Alan, where do you keep them all?). I’m sure this can’t be the lot as Alan is a keen Northumbrian piper—somewhere between America and England there must be a stray sheet listing his Northumbrian pipes—Help! UILLEAN 1 Eugene Lamb 4 set (small drone down side of chanter 2 David Quinn (not in boxwood) 3 Pat McNulty practice set 4 Pete Riley set in maple (made in Maine, USA) 5 David Quinn Bflat 4 set (Normal B/Bflat) 6 Joe McKenna 4 set in C. Cuharp chanter for his Rowsome set—reeded to play in C] 7 Jim Maloney/Eugene Lamb full set in D. 8 Glendon McCarthy (London) full set in D. 9 John Addison full set in Lit Ligyman 10 Jeff Slaven full set (Derby and Nottinghamshire). 11 David Quinn D chanter (5 keys + stop switch) 12 Chris Langan (Ireland/Toronto, Canada)—C chanter 13 Matt Kiernan Bflat chanter, 14 Peter Riley D chanter. 15 John Addison D chanter in blackwood. 16 Chris Bailey (London) D chanter. 17 Early Uillean (Pastoral?) pipe. manufacturer currently unknown. Excellent workmanship. Bellows intact—piece missing off end of chanter (foot joint?)—Looks like Robert Reed standard of work. 18 Hughes and McLeod— full set in Bflat.

SCOTTISH 1 Scottish smallpipes in D Colin Ross 2 Bflat/A smallpipes (interchangeable chanter) Colin Ross 3 C Scottish smallpipes Robbie Greenslit 4 MacDonald, Edinburgh, border pipes (late 17/early 1800’s) 5 MacPhearson Highland blackwood/ivory (60 years old?) 6 Hardie Highland 7 Hardie Practice Goose. 8 Henderson(?) Practice chanter. 9 to come this summer— Old set of 19th century drones (3)+ modern smallpipe chanter Denny Hall USA.

MISCELLANEOUS 2 Breton Veuze (Hervieux and Glet, Brittany) in G, two drones. Spanish Gaita 2 drones, blackwood, in C (made by Veuze malers in Brittany 3 Swedish Sakpipa Leif Eriksson 4 Flemish pipes David Quinn 5 English Double pipes in F with interchangeable double chanter Julian Goodacre 6 D English pipes C interchangeable chanter Julian Goodacre

                                                                         Page 29

Dear Bagpipe Society

I thought you might like to publish Dr. Baines’s letter to me concerning the piping records held at Oxford University Music Faculty (note the one from Pontus, under Greece)

Has anyone been over, these, or thought of transferring selected bands onto cassette tape (or distribution within the society? I would agree with Duncan Moss about AIDS but I am less sure about hepatitis B and tuberculosis (rare though it is nowadays). A disposable plastic slipover for the mouth-piece would be researching for demonstration sets, perhaps with a one-way valve.

Yours sincerely
Dr. Peter Cameron

Dear Dr. Cameron

In answer to your letter, I have recently been able to go through the records, old and new, which are in the Music Faculty here: many of them are mine. In case any are fresh to you, here are the bagpipe items. (LP 12” unless otherwise stated)

Albania: Topic 12v154 Lloyd), Gaida, 2 bands
Bulgaria: Unesco Coll. Univerel. 78, 10” gajda, 1 band

• Argo ZRG 562, gaïda, 2 bands
• Chant du Monde LD-M8138, 10”, gajda trio (arranged)
  Czechos: Supraphon SP 20377: “Connland n v long’s book on Slovak instruments - in Slovak”, gajdy, 3 bands
• 03122, 45, 7”, gajdy 3 bands.
• 03085/6 45, 7" gajdy 2 bands.
• 031139, 03115/6, dudÿ, many bands
  Rescho HV 72253, 45, 7½" (contained in music book by Könzig)
  England: Northumbrian: Unesco Coll. Univ. 78 10" (no artist named)
• Topic 12r23 “Holey Ha’ penny” Clough & others.
  Estonia: Unesco Coll. Univ. 78 10" (no.19 in the series) 1 band.
  France: Col. SL-207. Folk Music of France “musette”, 2 bands
• Decca for EFDSS S.P.12 “Folk Tunes from the Auvergne”. 1 band
  Westminster WL 5334, (INKF Papillon festival) cabrete, 1 band
  Brittany -an old 78 not yet listed, with old binioù.
  Germany soloes.SM 3014. Uppere Palatinatae (Eichenseer 1975 collection)
  Greece: SDNH 110. Chios tsabouna, 2 bands
• Pan Vox BIGA 133/137 10143. (Songs etc from Pontus) tulum, recorded in Greece.
  Hungary: Hung. Acad. of Sciences, Quallton LPX 1187 (IMFC ‘64). 1 band

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Ireland: Unesco Coll Univ 78 10" union pipes, no image. 1 band.

• Westminster (As above, France) R.Bragg. 1 band.
• HWV DLP 1143 10". Recorded in Scotland 1 band
• HWV CLP 1327 (Kennedy). McPenny. 2 bands.
• HWV I.M.498 78 10" Rowzona (all)
• Decca W.4009,4046,4332 78 10" Walsh (3 records)
  Italy: Col. KL-5137. Latium, Molise (unusual) 2 bands. Also Sicilian.
  Col. KL-5174 zampogna, 3 bands.
  Col D.Q. 426, 78 10" Zampognari
  Homecord A-6366, 78 10"
  Siciliy: Odeon GO 17874, 78 10". cornamsa.
• Col. D.Q. 553
  Portugal Request SRLP 0089. galteiros, 2 bands
  Rumania Electrecord EPD 78, 10", cimpoi
  Topic 10112 10", - - -
  Antalogia muz. pop.r onin, 5, 10". cimpoi
  Scotland Col.DIB1515. pipemaj, Forsyth, 78 10"
  Westminster (as France), sword dance
  Spain Col. KL-216. Gallicias. 1 band
  Yugos. Col. KL-217. Five bands, different types
  Jugotcm Ethnoplilira 78 10". mih.
  Vogner Verlag. Lieder der Welt VIII. diplo? 1 band
  Unesco coll. univ. 78 10" Macedonia. gajda
  Radiotel Beograd LPV 175 ’tanset’ gajda.

Yours sincerely, Anthony Baines, Faculty of Music, ____ Oxford Nov. 1977

What a treasure trove this little lot is! Unfortunately, we simply can’t lift selected bands, even for distribution exclusively within the society — our copyright laws, quite rightly, do not allow it. However, it would seem that the records are available for listening; just what the borrowing or auditioning arrangements are I do not know. If any members are interested, perhaps they might like to contact Dr Baines at the above address…

Ed

NEWSLETTER 12 COPY DATE

The copy date for the next Newsletter is January 30th. This gives us a clear month to get it all written up, typeset, printed and distributed. You may think a month is a long time but, believe me, it isn’t — even if we were doing it full time. When you consider that it has to be squeezed in between other leisure activities (even Newsletter editors/typesetters like to actually play bagpipes occasionally as well as write about them), I’m sure you’ll realise that we really do need your copy in early to avoid a last minute panic. I would also like to make a plea to the 90% of members who do not contribute; it’s not that we’re short of material, just that there must be lots of wonderful fax info out there about the wonderful world of bagpipes that just isn’t being shared with other members. Tips, tunes, anecdotes, research, jokes, letters, complaints, keep it all rolling in.

Page 31

DEAR UNCLE OCTAVIUS PIPERS’ PROBLEM PAGE

Double Trouble.
I have a strange effect in the common drone stock of my E.M.S Praetorius bagpipes. It ir|y to play both drones at once, the vibrating air from one seems to disturb the other. I have tried several reads in both without improvement. Sketch below of the drone arrangement.
The other trouble is with the chanter on a set of Scottish small pipes made by Grainger and Campbell. These play in the key of D (a little flat actually) with a bassoon reed. I suspect incorrectly placed or sized finger holes. The trouble is 4 5th hole) and 8 (5th hole) (numbered from the bottom), which play almost one semitone sharp. I’ve been playing these for nearly with plastic tape over the tops of the holes to flatten these two notes. Different reeds make no improvement, and I’d either like to alter the holes, or have a new chanter made, which tunes properly (C & C no longer makes them). (A boy of your penances would undertake these alterations, or be willing to duplicate my existing chanter with properly placed holes in African blackwood and ivory sole, I’d be anxious to hear from them.

First of all, let me say that I am only glancingly (familiar with the E.M.S. instrument, so cannot give any advice based on direct experience of it. However there must be many members with sets who may have come upon this problem and have discovered how to sort it out, so let’s hear from them. In the meantime, I can make a few general comments. This annoying phenomenon occasionally crops up with common drone stocks, and is also known to occur with certain designs of chanter/drone stocks as used in Central France. In my experience it seems to be related to the volume of air contained in the stock. For example, stocks of the type used on Border or Irish pipes, where the stock is hollowed out behind the sockets for the drone tenons, seem to be free of the problem. Such stocks are also sometimes constructed by long straight through for each drone, thus each drone would effectively have a separate feed from the, bag; this arrangement is also not susceptible to interference. The smaller the volume in which reeds is regulated to operate, the greater will be the change above and below ambient pressure in response [to the compression/rarefaction cycle produced by the vibrating reed. Mutual coupling (interference) is therefore likely to occur where a common stock has a relatively small internal volume; a reduction is borne a common to the stock and thus is likely to make matters worse, since it would tend to make it more difficult for the air in the stock to stand at ambient bag pressure. Assuming that you have strictly followed the instructions on the kit as to the construction of the stock, the remaining approach is to experiment with the reeds. Intuitively I would have thought that a stiffer reed is less likely to be affected by mutual coupling. The resonant frequency of a drone reed is a function of the mass and stiffness of the tongue. The size of the reed must also be matched to the air-column it is required to excite. Since the relationship with frequency is inverse in the case of mass, and direct in the case of stiffness, any increase in stiffness must be matched by an increase in mass (usually length) in order to preserve a matching resonant frequency.

As to the second problem, even Uncle Octavius finds it impossible to give sensible advice without having the instrument in front of him, and without the answers to the many questions it raises. Perhaps members may be able to help, or to recommend someone who can.

A Case of Aural Harassment.
Could your “Pipers’ Problem Page” be retitled “Problem Pipers’ Page”? My landlord has recently acquired a set of *ullan hoo® ra telescarshira smallpipes, with the result that domestic harmony (to say nothing of the musical variety) has been somewhat disturbed of late. My main problem appears to be an insufficient supply of blu-tak for plugging up the end of the drone, couple with the fact that Mr. Godditt has rather inconsiderately made the bore too small for poking anything larger than a piece of spaghetti up it to act as a mute which is not very satisfactory since the spaghetti goes soggy after a few days use). I never used to have this trouble with my landlord’s bassoon since almost anything can be dropped down the end of a bassoon and a pair of rugby socks made a most efficient mute. Do not misread me - I have no quarrel with the pipes, which I’m sure are a most melodious and mellifluous instrument in the right pair of hands; I am merely worried about my landlord’s health - how long can he withstand the barrage of insults (and greater items) hurled at him from across the living-room floor? Perhaps there is some medical operation which can separate a problem piper from his pipes - I hope you can give me some advice (or failing that, some consolation).
Yours worriedly,
Ann Noyd, Beeston, Notts.

This column receives a constant stream of letters and phone calls of similar substance, and I often wonder whether pipers as a type have something to learn in their choice of wife/partner/live-in lover. Or since the vast majority of pipers are male, perhaps the problem is that their female partners exhibit to a greater extent than normal, the tendency of some women to fall in love with their men’s potential rather than with his present reality. In this case the relationship seems to be that of landlord and tenant, but if it is, how do they come to share the same living-room? Astute readers will have noticed many unanswered questions here. For instance, why should Ann want to blu-tak the drone? Is it too loud, or not in tune? Why cannot the landlord’ blu-tak his own drone, stick spaghetti up his own chanter, drop socks down his own bassoon? Why should she worry about her landlord’s health when the insults seem to be coming from her? Does the executioner worry about the health of the condemned men? Has Ann considered that spaghetti in a soggy state is likely to be a more efficient mute than in its raw state? In fact, why hasn’t she noticed this? Has she considered that dirty socks may be a more efficient mute than clean ones due to the increased density of air laden with smelly-sock molecules? Can a state of harmony ever be said to exist between landlord and tenant, and if it can, can such harmony properly be described as domestic? Quite frankly, I think that Ann has not been Frank (gaddit?) with us. As for surgical separation, I think this suggestion smacks not a little of palm away. You ask for advice and consolation, Ann, but I can’t help you unless you come clean. Come to think of it, have you asked yourself whether all this activity with pipes you complain of might not be what the psychologists call “displacement activity” or “sublimation”? Consider carefully before coming to any premature conclusions.

IMPORTANT NOTE to Organologists: With reference to using bagpipes for cooking spaghetti, compare the practice of rock-concert goers of ‘hard-boiling’ eggs by placing them directly in front of the speaker stacks. After a few hours of exposure to several kilowatts of acoustic energy, the eggs are nicely done in their shells, ready for eating on the way home.

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The Deeper Mysteries.
At the recent-making workshop held to Milton Keynes In October 1986, I noticed that all the makers secured the 2 shaped blades of cane together with red thread of different gauges, prior to gluing them onto the staple. Is this absolutely necessary or only a less green thread?
Stanley Wolff, Shadwell

You are clearly a highly evolved being, since the capacity for such sensitive discernment of the HIGHER SECRETS of reed-making is bestowed upon few. Your experience shows how things reveal themselves to us only when we are ready and fit to receive them, doesn’t it? Your exquisitely developed intuition has shown you naturally that which THE MAKERS rarely reveal unasked. If then, namely that the higher vibrations of the coloured threads affect the molecular structure of the cane at a deeper level than is apparent to those, shall we say, woven of coarser cloth. The colour RED was used by THE MAKERS, because it carries the lowest rate of vibration in the hierarchy and is less likely to represent a danger to the uninitiated. The aspirant must purify the dense matter of his being before he can bear the intensity of the vibration of the Higher Colours. It has also been shown to you that the thickness of the thread that binds must be matched to that which is bound. Thus you have already perceived the hue of the next colour in the hierarchy, usually yellow (in dyeing) have patience, the CALL TO THE GREEN will come when you are ready for it. In the meantime you must be sure to continue to develop your Strength and Awareness. In the knowledge that great gifts carry with them great responsibility, responsibility which will be required of you at the final step of TAKING ORANGE when you will be worthy to be privy to the company of the Ineffable Swah Deva himself, first among the Company of the Elders (so-called, as I am sure you know, not because of their great age, but because of their reverence for the Elder plant), in comparison with whom we are all but a broken reed and beyond whom we cannot on this plane aspire, until we go to the GREAT REED-MAKER in the sky. (Note: this last sentence is of a length of which even Bernard Levin would be proud).

THIS INSPIRING COMMUNICATION WINS THIS MONTH’S PRIZE FOR THE BEST LETTER. The Prize, consisting of the Ashes produced by the spontaneous combustion of Seven Reeds used and blessed by SWAH DEVA himself will as usual be sent to the Home for Indigent Gentlepipers.

EIGHTEENTH CENTURY BAGPIPE - A DICTIONARY DEFINITION

BAGPIPE, a musical instrument of the wind kind, chiefly used in country places, especially in the north: it consists of three principal parts; the first a leathern bag, which blows up like a foot-ball, by means of a port-vent, or little tube, fitted to it, and stopped by a valve; the other part consists of three pipes or flutes, the first called the great pipe, or drone; and the second, the little one; which passes the wind out only at the bottom: the third has a reed, and is played by compressing the bag under the arm, when full, and opening or stopping the holes, which are eight, with the fingers. The little pipe is ordinarily a foot long; that played on, thirteen inches; and the port-vent six.
From: “A new and Complete Dictionary of Arts and Sciences, extracted from the best authors,” by a Society of Gentlemen, London, 1754.
I am grateful to Dr Maurice Byrne, editor of the Galpin Society Journal, for referring me to this dictionary.

JOHN GOODGORE

JACK MY HEDGEHOG (GRIMM) by Dirk Campbell

A farmer whose wife had been childless for many years wished earnestly for a child of any kind at all, even though it were a hedgehog! His wife soon gave birth to a child who was a boy from the waist down but a hedgehog from the waist up. The boy lay on a pile of straw behind the stove doing nothing except eating and sleeping until he was grown, when unexpectedly asked his father to bring him a hopper from the market. Having received this gift, he went to the smithy to have the hoops took about, and, much to the relief of his long-suffering parents, rode away on it to the forest to look after his father’s pigs and asses. There he flew up to the top of a tall tree and sat there year after year, playing on his pipes.

One day a king lost his way in the forest, and hearing the beautiful music of the pipes, sent his servant to see if the player could tell him who he was.

Jack My Hedgehog promised to oblige on the condition that the king would give him whatever first met him on his return home. The king did so, but failed to carry out his promise, since it was his daughter that ran out to him.

A second king got lost in the forest and brought Jack to show him the way home. Jack exacted the same promise from him, which he felt obliged to honour, even though he and his daughter were understandably apart at the thought.

Unaware of the decisions of the two kings, Jack took his herd of pigs and asses home to his father, but the cock crowed and rode off to the first king’s castle, where the king had given orders that Jack was to be shot on sight. But Jack avoided the soldiers by flying over the walls into the palace. He confronted the king and his daughter and threatened both of them with death if he did not have his wish. Terrified, the king consented to the marriage. Jack and the princess left the town in the royal carriage, but after a few miles he stopped, tears of all her life in his eyes, pricked her all over with his bristles and sent the poor girl home in disgrace.

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