Letters

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

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 work at this. Any philanthropists among you? In the meantime, he would still love to hear from anyone who would like to purchase 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 we would, wouldn’t we?), our main aim being to provide lots of good quality publications (recently, 1 of net always printing wise). 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 no, you’re wrong – at least I hope so. . . one more. At 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 trifle out of present for us though – if everyone paid up promptly! If 15/- then old news about careful . . Even as I write I’m not sure we can afford the paper and mail, but this newsletter – because so many of you haven’t renewed who should have done so in the summer (with apologies to those who have paid up promptly).

We hate having to moan like this, particularly when so many of you of the offenders have done so much good work for the Society in other ways, but we simply can’t go on without money. So what have you of objects have you magic piece, please take note of this typed little behind-the-block “notices” at the time they’re printed (aren’t these the same corner?), first the once per used magazine Society.

Unfortunately, although we hope to keep going static, minimal hope got to go by. We just didn’t anticipate the rise in publications being so strict and heavy when we put the rate and aimed is almost expensive! The good news (for some) is that it would appear that surface mail from everywhere but the Far East and Oz/ NZ is pretty well as quiet as air mail I think: at 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 Uniform, Bagpipes, Baggage Repairs, Drums, Band Accessories, Shortbread, Concert tickets, Trophies, etc, Books, Jewellery Gifts.

The other big problem at this moment, is the date of renewals. Like all bodies, we tried to make it so that everyone renewed at the same after joining: it was ain’t that easy! Everyone we’ve got to was due a subs for every period of renewal. This means that subs will be shortchanged while others get out a bit of that for nothing. These just doesn’t show to be any other way. The present proposal (for the AGM) at the time of writing, though 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 87 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 members.

MEET YOUR MAKER

People often ask me where they can get French pipes. Well this issue features a maker of all sorts of fine French bagpipes, Dominique Butruille of Montpellier in France. As well as French pipes, Dominique also offers Uilleann pipes ranging from a practice set at 2500F to a full set at 11900F; a Bulgarian Kaba Gajda (that’s the deep one!) at 3500F in blackwood or 3700F in blackwood; Swedish pipes in fruitwood at 2500F; and Southdown student pipes (14 or 16 pouces) in fruitwood at 2700F.

But he is best known (for his traditional French pipes, the southdowns Bourdonnais/Berrichann pipes come in two sizes 14 pouces (A/D/E) and 16 pouces (Sol/Do; G/C) in fruitwood or blackwood with mounts of pewter or bone with prices ranging from 4900F to 8000F depending on size and material.

It occurs to me at this point that a brief explanation of the French system of designation for pipes facts, the centre of the tone would not go amiss; while we’re all sadly going metric, the French cling invented it all, still use the inch (le pouce) to describe their pipes! So a 14 pouces bagpipe has a 14 inch chanter. This is obviously just convention and I’m not sure whose thumb they used to arrive at the inch – it probably doesn’t correspond exactly to our imperial inch anyway. In convention, the 14 pouces pipes are pitched in B-Upper D – Three finger giving the proper keynote for French pipes – but they usually quote it C-G-finger notes as well (firsts). To make matters more difficult – the usually quote the pitch using the Tonic Sol-fa, which is being Sol. So, you can see that the smaller of Dominique’s Bourdonnais/Berrichon pipes has a 14 inch chanter (approximately), the third finger (3-finger/3-finger), otherwise known as A/D. Drones are always tuned to the 6-finger note and/or small pipes (Setti). To continue:

In addition to the smaller southdowns Bourdonnais pipes Dominique also makes the Grande Correnoise and Nivernais & Bourbonnais – all 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 pouces (Re/Sol; D#G); 22 pouces, (Do/Fa; C/F); and 24 pouces (Re/ Mi/ BVF) – to complicate matters further, this latter …

5-reopen (in French) as a 5/4 pitch. Prices range from 6200F to 7500F depending on size.
And so on to the bellows-blown. The Musette dechonnet is well-known in lovers of French bagpipes. Unlike most French pipes, it alone is name from its inventor, not a region. Rene dechonnet (Dechonnet converted these pipes towards the end of the last century and they were entirely played through the central region of France during and after his lifetime. A number of makers, including Dominic Bourg, continue the tradition with pipes modeled after the style of the old master. Dechonnet’s are in full wood or bell-tawed with bone mounts. The pipes may be ordered with the most nearly French or southern of 4 tenor drops in parallel with the chanter one octave below its 6-finger note plus a bass drone one octave below that; alternatively, dechonnet pipes can be had with two tenor and two bass accompanied by a small treble drone, pipe in the chanter/tenor drone (trotier), which is tuned in unison with the “limier” note. This tiny drone gives an unexpected lift to the sound of the pipes. It is brought into play. The dechonnet pipes are available in A mance (>4,292 hrl) and 16 pounces (501/Dc) or in B flat, corning to 50 or to 1500F depending on size and material.
Dominc Bourg makes 14 pieces (La/Rg A/D) bellows-blown musettes. Premiums will turn drones made entirely from boxwood for 5600F. No bagpipe not very well known outside its native Brittany is the Veeuze. It is a larger bagpipe than the better known Breton Binioù, being more akin in style and sound to the Gaitas of northern Spain and Portugal. Dominiqne differs the Yeeuze with one or two drones in Do (C) and La (A) or fours; three or beazart 2700F.
In addition to bagpipes, M. Bouge also makes excellent oboes from 1350F, musettes (a small oboe in G) from 1300F and serpents in C from 1900F.
Most of his pipes have around a 6 to 8 month waiting period which can months to a year for most of William. All instruments come fully correct and playing when are available upon request. A 50% deposit is required. He also paysable before delivery.
Contact: Denis Bouge

BANSPIPE FESTIVAL, PRESTON HALL MUSEUM, STOCKTON by Dave McQuade

This event, held on the August bank holiday, turned out to be surprising successful and 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 so badly, so we should have done and contacting folk during the holiday period proved exceptionally difficult. In fact, we were not very precisely who was going to turn up until the actual weekend itself.
As you can imagine, cold problems made proper advertising almost impossible and the curator decided to relay safe by cutting the original programme. Apologies to those who were squeezed out at the last minute, or traded up providing a very informal concert to the visitors by playing in a crumpet outside Victoria Street within the museum on Sunday and Monday afternoons. To add to the atmosphere, most of the performers were presented twists provided on traditional dress. although this made page 12

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 hotels, and this to me has the highlight of the weekend. It was quite an experience to hear Maisie Moor and Jean Pierre Basle fully ensemble 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 harmonious.
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 Stev and Jean-Pierre Basle, Hamish Moore, Jon Swayne, the Goudarce Tetral, James Merryweather, Colin Ross, Malachi Simon, Judy Rockcliffe, Joe Flin and Mary Cannon. Folk groups featuring pipes were Northern Irish Folk , Blackwater Folk.
Ray Fisher acted as compere 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 PIOBAIRI UILLEANN

As promised in an earlier Newsletter, we are continuing with our feature on other piping societies with Na Piobairi Uilleann.
The society caters for Uilleann pipers and was founded in 1968; from modest beginnings, it now boasts a worldwide membership of 400 with active clubs in London, Sheffield, Paris, Holland, Toronto, Francisco and Seattle with many members in continental Europe, America and New Zealand. The majority of members, as may be expected, now live in Ireland with many in the Dublin area where tuition is given weekly basis at the Society’s membership. Sheet music stores are free to all and encompasses differing levels of expertise. In addition 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 piping classes and workshops, thus reaching members outside Dublin and also cooperates with pipers in England and further afield in conduct similar functions abroad. The most important event on the calendar is the annual Willie Clancy Summer School at Miltown Malbay. Co Clare in July. Na Piobairi Uilleann runs the piping section of the school, providing teachers, organising the classes, selling piping concert, daily recitals by competent players for students, and exhibition of pipes and piping.
The growth in the number of members of Uilleann piping throughout the world since the foundation of the society is a reflection of the increased interest in Irish piping being translated into a demand for pipe, this increased interest is also in large part to the singular work of Na Piobairi Uilleann in protecting the playing and making of pipes.
Contact: Na Piobairi Uilleann, page 13

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, 11th September I feel it is time to press the government into setting up a well-funded enquiry.

The disaster to which I refer occurred at the Blowzabella weekend 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 mass of broken glasses and bottles mixed with several gallons of spirits. It would be easy to dismiss this accident as unforeseeable—an Act of God—but I believe it was deliberate. 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 two or more 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 throng of molecular bombardment they receive from the hideous buzzing 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.

In the village square where much 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 trumpets 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: ‘THANK YOU FOR NOT SNORING’

I came across a fascinating item in an American catalogue recently. It’s called The Reedsual and it appears to be an expensive but valuable alternative to the Melton Keynes weekend. It all sounds too good to be true. The catalogue states: ‘The Reedsual makes and repairs all Oboe, English Horn, Bassoon and Bagpipe reeds. Reedsual repairs all sizes of single reeds up to 7 reformings. Reedsual cuts reeds out of blank or semifinished reed stock. Reedsual duplicates a model reed in all its exact proportions and playing qualities. Reedsual makes a reed softer or harder as desired. (Making a reed harder is done by trimming the reed tip until 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 Reedsual?

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 informant among the newsletter readership who grassed 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 swarthy 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.

I 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 ergot. 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 Cornamusements 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 ‘tin’ jokes, an examination of Chaucer and Julian’s catalogue will reveal all.

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

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