Talk to the Class

... And You Only Use 9 Notes!

2011-10-21T08:02:00.000-07:00

Pipe Major Roddy S. MacDonald

Creativity is a gift... and unfortunately or fortunately, perhaps, a gift for very few. Bruce Gandy, Michael Grey, Gordon Duncan... all names that bring to mind some great tunes over the years. Oh, there are dozens of participants in the composition game - perhaps one tune a year - maybe one tune in a lifetime that makes it to the mainstream. I would be such a player. Perhaps that is why it has been a passion of mine to discover new music; and in the process come to appreciate the nuances each composer brings to the table. Roddy S. MacDonald is a giant among current composers. He has published two books, the ClanRanald Collection with his father, Willie MacDonald (Benbecula) and his latest, released at the National Piping Centre during Piping Live, 2009 - the R.S. MacDonald Collection. Such great tunes (and names, BTW) -El Paco Grande, Good Drying (the title tune off his CD), The Last Tango in Harris, The Pivovar Express, and the list goes on. Buy the book...buy the CD...hours of enjoyment.

But this isn't why I am writing this piece...I just got sidetracked! His latest tune, Dalvey, is a classic! It is not the proverbial diamond in the rough, but a polished gemstone for anyone's up-taking.... written using the A arpeggio, but just skimming the octave briefly in the second and fourth parts, it tickles your harmonic fancy with an abundant use of the note D and very fiddle-like use of cuts and dots, what I might refer to as "3 note pulses"....

Listen to Dalvey, composed by R.S. MacDonald

Thanks to Roddy for granting copyright permission the the Corner to print this great tune. Learn it, enjoy it and play it often. I believe in copyright for our composers. I purchase their books and CD's and encourage you to do likewise. We all have a responsibility to sustain this living tradition.

Every good question deserves a good answer - The Competitive Quick March Medley

2011-10-03T12:02:00.000-07:00

Hi Ken, I’ve been a subscriber for a couple of years now and very much appreciate the lessons we regularly receive. You probably don’t remember but I was introduced to you by Brian Mackenzie this past summer at the Montreal games. I am the Pipe Major of a small 78th Fraser Highlanders pipe band in Quebec City and we are considering competing next summer at Montreal in Grade 5. As we’re a little isolated here and having no one in our band who has ever competed before, I was wondering if you could outline briefly what to consider when putting together a march medley? Is there a particular time signature we should or shouldn’t use? Can we mix time signatures? Should we avoid tunes with repeats such as 3/4’s? 2 part vs 4 part tunes? Are the judges looking for harmonies? I’m sure there are other points to consider also and any help you could give us would be much appreciated. Thanks, Alan Stairs Hi Alan.... thanks for the note and yes I remember the day at the Montreal Games well..... your question is totally inclusive.... a lot of stuff going down in the selection of a march medley for competition. The priorities of a competitive selection are different than those of a set you would put together for the street... so I will start here...and try to answer each of your points along the way. Competitive Priorities: To display those qualities of a performance which would best rank your band higher that another - those qualities in no particular order include: 1. Tone - both initially and at the end... how well it is sustained...how well is it initially set up...how well the individual player can maintain chanter and drone pitch 2. Technique and unison 3. Complexity of music and the use of different time signatures 4. Tempo 5. Phrasing and pulsing 6. Use of rhythmic changes - as relates to compound vs common time tunes.... as well as 4/4 to 2/4 marches 7. Arpeggio changes within the selection for tonal variety... These are bit a few of the items that any judge would look for and reward accordingly...for a band starting out in competition, before tackling everything at once, concentrate on a good sound, lively tempos and tunes which you can play well. So many bands start with the easiest...a set of 4/4 marches... many are written in A, C, E and high A, so try to get variety by selection a tune in D (A, D, F and High A).... one step up the ladder and you play perhaps a 3/4 in the selection and then a change of perceived rhythm (but not tempo) by adding a 2/4.... then the very daring and sometimes the best of bands are able to include a compound time signature tune like a 6/8 or 9/8. 2 parted instead of 4 parted tunes for sure because you wish to build variety into your selection and good 4 parted 4/4's are rare (and often are repetitive, risking becoming boring by the end)..... repeats in a 3/4, 2/4 and 6/8, 9/8 are absolutely necessary...this is trad. music and shouldn't vary too far from the norm.... Harmonies are pleasant but shouldn't be overdone as this tends to "cover up" sound issues and perhaps some good technique you might want to display.... so some of these considerations before you start out, the journey might be a little more enlightened. Get to know your players...tunes should be selected to encourage practice and progress, and not be such that the player cannot master them with a little effort. Good guidance from you is necessary!... I have worked with bands where the Pipe Major selected music because he liked it and he( alone) was able to play, being the best player in the band...the result was disastrous for the moral of the band...so be wise in your selection.... I hope this helps a little...all the best, Ken

Make Practice Fun...

2011-09-04T10:31:00.001-07:00

When Fiona MacPherson’s two young sons told her they wanted to quit piping, she was upset. "I asked why, and they said it wasn't fun," she said. After speaking with her husband — who is a musician — they decided it was important not to force their kids into it.So, the boys quit. But a week later, Angus, 12, and Calum, 11, said they had made a mistake."It turned out to be me," said Fiona. "I made it so regimented that it wasn't fun for them." She asked them to write letters explaining why they wanted to return to lessons and when they did, she allowed them to continue. "Once we all adjusted, it was good," she said, admitting she needed to change her tactics a little. And it worked out. And they don't need much prodding to work on their craft anymore. They practice at least half an hour every day. "Angus wakes up and he walks around while playing his practice chanter in the morning", she said. Making piping fun is an important part of their success. Most parents with kids in lessons know that practicing is the most difficult part of the process. Distraction is the biggest enemy when it comes to practice. There’s video games, the Internet, friends. There are too many distractions with instant gratification. So use incentives that will make even these distractions a compliment to their practice regimens. Most of all, make it fun!

... Making a Difference

2010-12-04T09:40:00.000-08:00

Every so often you meet a person who has made a difference in his lifetime. In Canada, we have a national program of recognition called The Champions of Change. Those that qualify are deemed to be outstanding in their chosen field and in a huge way, have affected change in society in a positive fashion. Specifically chosen was a good friend of mine and to countless young people across this country - Mr. Robert Fraser, who for 53 years has taught upwards to 20 hours per week with the Lord Selkirk Boy Scouts. For some time now, Bob Worrall and myself along with John Fisher and Reagan Jones have been conducting workshops in Winnipeg for Mr. Fraser and his charges. Each year his teaching program has been rewarded with success after success. Below is the CBC Champions of Change profile submitted.... Congratulations Mr. Fraser:Top 50!

NAME: Robert Fraser AGE: 87 VOLUNTEERS IN: Winnipeg, Manitoba CATEGORY: Canada - Education, Community & Culture ORGANIZATION(S): Lord Selkirk Boys' Pipe & Drum Band ABOUT THE CANDIDATE: When he was a young boy growing up in Scotland, Robert suffered burns to his hands and feet. Although originally told he would never walk or make use of his hands, he later met a man who volunteered to teach him to play the bagpipes - he just had to learn to play them backwards compared to how most people play them. Robert wanted to express his appreciation for all the time his teacher devoted to him, but his teacher said that, to pay him back, Robert should spread the culture of generosity and teach others - and that he shouldn't charge money for his services. As soon as Robert came to Canada, he kept his promise, founding his band in 1957 - and he's still at it, now helped by some former - now grown-up - students, who are helping teach new band members. Included among their many community activities is their "Scotathon," when they march around to local business, play a bit of music, and pass the donation bucket. Diane Kotelko, whose son is in the band, nominated Robert, noting his outfit travels around the world, and came in 8th out of 26 bands at an international competition in Scotland this year. HOW YOU CAN HELP: FURTHER INFORMATION AND LINKS To learn more about Lord Selkirk Boys' Pipe & Drum Band, visit their website at http://www.lsbpb.ca/

To hear a recorded interview with Mr. Fraser, visit and download

http://www.thecaptainscorner.com/Fraser/Interview.mp3

... Music and the Death Grip!

2010-09-16T17:47:00.001-07:00

I received a book from my good friend, Alan Morrish who lives on Pender Island in B.C. The read is fascinating - Grand Obsession by Perri Knize; the story of a women who returns after many years to playing the passion of her life, the piano. Going to her first teacher after such a hiatus was, to say the least, intimidating. Her initial audition was dreadful and this teacher gently gave her instruction - not on music, but on relaxing and letting the music flow from within.

"Watch my hands. See how relaxed they are? See how I transfer all of my arm weight to the note I am playing, and then let go? Notice my wrists? See how they rebound, how flexible they are? Her soft round hands float over the keys, fluid, almost boneless.

"Now, here's how you were playing" she says and abruptly her hands become stiff and flat, rigidly gripping the keyboard like claws. "See how NOTEY that sounds? You can't move anything like that, holding yourself so stiff. You have to get up off the keys, let your hands float in the air. Think of tossing your hands back and forth."

"But how will I find the right notes ?" asks Perri. "You will, your hands already know where to go. Just trust them... just think of the music, your hands have this memorized."

She did as instructed and to her amazement, it worked; but the teacher always has the final say "Let's work on some arpeggios next session".

Does this sound familiar?

... The Instrument Can't Play Music!

2010-09-16T13:11:00.000-07:00

You might be a little puzzled by the last two or three postings... but not me! For you see, I am reminded of something said by Victor Wooten in his book, The Music Lesson. "Music exists inside each one of us. An instrument offers different forms of expression and allows others to hear how musical you are, but you don't have to play a note to be musical. Music cannot be found in any instrument... an instrument laid on the ground makes no sound. It is the musician who must bring Music forth, or not." Music isn't created. It is there in each of us and there, just waiting to be discovered. I make every attempt to truly listen to a performance, so whether the music is from the highland or lowland pipe, the guitar, the voice... whatever... it makes very little difference to me. The previous posts were some of my favourite pieces of music, each setting me adrift in a different world; each providing a mood for the listener. If I saw music as simply notes, I would be only observing a mechanical display of sounds, much like those of the rolls of the player piano of old. But such is not the case. I am often reminded of what has become the norm in so many music classes - reading the notes with correct duration, but not really playing music. Music is a passion that transcends obsession. It is a language and not an alphabet. Their are many voices and just because one plays a particular instrument, we shouldn't feel that it is only that instrument that plays music. Remember, the instrument doesn't play music at all... it is you, the musician... and anyone can be musical whether they play an instrument or not! So enjoy your favourite music played by your favourite musician, regardless of what medium is used.

... All Old Pipers Should Be Put Out To the Doubling Pasture

2010-06-23T07:17:00.000-07:00

I received a very interesting email this week. The gist of the story centres around a 70 year old piper who wishes to compete - passionately rejects the aging process and wants to improve, which conflicts with his Pipe Major and instructor. Let the letter speak for itself! . "You all heard him play and each of you encouraged him to insert embellishments into the music. To be fair, his piping judge at the last contest said the same thing. I need your wisdom here. He is 70 years old. He started when he was 65. He's also got pretty severe arthritis in both hands. I am afraid that moving his focus and energies to embellishments will hurt the good things he's currently doing with his music as well as his personal enjoyment. He's now come back wanting to relearn the tune with all the embellishments. I'm heartbroken. So here you have it. Is this "hobby" as it is in the hands of adult (and senior) learners, not valid without full embellishments? Do embellishments take priority over sound, phrasing, expression, and overall music? When is it appropriate for an old timer to simply play the melody with limited or no embellishments? Should he quit and take up whistling? Here is my thinking: .

1) He (and many others) will NEVER be able to play ANYTHING with full embellishments. His hands simply won't allow it without damaging phrasing, expression, sound or tempo. .

2) It is probably good for these people to practice embellishments (e.g. rhythmic fingerwork) even though they may never put them inside a tune effectively. Even if they never find their way into his music, the exercises themselves can't hurt. .

3) I think it's wrong for us (the piping world at large) to place this burden on someone who will never be able to effectively achieve that goal, given all circumstances under consideration. . I'd like your thoughts." .

Well, after I hit the ceiling and responded, I thought it a situation that should be shared. I have arthritis. I collect Canada Pension (Social Security in the USA). Am I staring my eventual retirement home in a doubling, taroluath, birl, grip free pasture where all of us will reside in melodic bliss for the remaining years?... Good grief!

... Piping Secrets of the Past

2010-03-25T12:48:00.001-07:00

... and people think that they create the secrets of piping for today and tomorrow. I am constantly reminded of pipers intimating that a concept is theirs, when in reality it was their teacher's...err, teacher's teacher... err, teacher's teacher's teacher and so the lineage goes on. Now I was taught by John Wilson who in turn was instructed by Roddy Campbell... and Roddy Campbell played at a time when the great Sandy Cameron was a dominant figure and if you scan the piping tree, the Camerons will lead back to the MacCrimmon's in orderly fashion. To assume that a "secret" is my sole creation and domain is ludicrous... it came from my instructor either straight up or discretely buried in the treasure of hints he gave to me on a regular basis. For example, in the early 60's Noel Slagle, my pipe sgt. in the Clan MacFarlane, showed us how to play different birls for different tunes and how to set up a hiharin in piobaireachd... the finesse came in using the chanter to guide the movement and starting the birl by cocking it (like a trigger) just above the hole resting solidly on the chanter.... when I started university and took my first physics course, I found out why....the chanter exerts an equal and opposite force to the force of the finger... meaning the chanter is doing half the work for you. When I started in the bagpipe trade with Dunbar's, every time I used a chisel on the lathe, I used a tool rest and this verified the technique... which I use to this very day in my instruction. Another example occurred every lesson in the good ole days. How many ways can you lengthen or pulse out a note? I know, I know, you all answer hold it longer. But how many times have you heard that when you hold a note as long as you possibly can, you are just about right? "Just about right", but not 100% !!!! The truth be known, the brain has a governor implanted - much like the governor in a car engine - that limits the amount of time you are able to hold a note. So obviously, this length is not enough in some cases! My teachers of old always had the solution and they barraged me with it every lesson. RAISE your fingers higher. Get them off the chanter. The result is so obvious. The higher you raise your fingers, the longer it takes to close them. The net result - the note value is lengthened! The next time you see a premier player in recital, watch his/her fingers for height on certain pulsed notes. True story. There are no secrets to good piping - just a lot of good technique that is passed on from one generation to the next. No one has a monoploy on knowledge!

... What Would Donald Say?

2009-09-25T07:16:00.000-07:00

Donald MacLeod was one of the past century's and arguably all time, prolific composers and publishers. But much more can be attributed to this Stornaway native than just a brilliant musical mind! His students today have become the foundation stone of piobaireachd tuition for our generation. They number Gold Medallists, Piobaireachd Society officials and researchers and numerous senior adjudicators on the benches of the Northern Meeting and Argyllshire Gathering. Donald's some 44 CD collection of Piobaireachd Tutorials is without equal. He is still giving to his students, no matter how distant afield they have become. But he didn't get to this lofty position without dedication and a passion burning every day of his life for the music of the bagpipe. I have much the same desires, all be it from a somewhat lower platform. As an instructor, you hope to impart these qualities to all students. As a student myself, I never lose sight of that singular daily advancement that fuels the fire in me - a new tune - better technique - improved exercises and drills - better harmonics from my drones ... the bagpipe reaches much farther into our psyche than other "mere" hobbies; and that is a fact! So feed your appetite for new music - enjoy regular practice - reap the benefits of both technical and musical advancement - above all enjoy the music of the pipes!

That Damned B Finger!

2009-08-31T07:50:00.000-07:00

Ken, Glad the summer has been good for you, especially the trip to Scotland...Got a couple of questions,I have a student who has two problems. 1. He sometimes wants to roll the pc when he is playing. Don't know why, but have you had any experience with that sort of things with students and how can it be corrected. 2. In changing from low G to B he keeps getting the note change noise by getting the B finger up late. Will it be just a matter of starting slow until the fingers get the message of when to move? Thanks, Joe ................................................................................................................................... ... Joe - thanks for the note.... good questions: 1. Rolling the practice chanter - gripping it rather than letting his fingers flop on it - file off a portion of the round sole....make it flat and this will prevent the chanter from rolling when placed on the table... so force him to place the chanter on the table as well... 2. Try playing low G - then just keep lifting the B finger by itself as high as he can get it...this will strengthen the B finger and make it dominant so that when he goes from Low G to B, the B finger will "lead"... right now, the A finger is leading!... Let me know how you make out....all the best, Ken

The Good Student of Music

2009-06-15T08:19:00.000-07:00

I am a failure in many cases. I have taught and re-taught a lesson to countless individuals and they still cannot play a tune or a rhythm...some after 3 or 4 years.... I am giving up. The cardinal rule for all learning is to "listen".... for the sake of me, why do people try to figure a tune, a passage or a rhythm out on their own while it is being presented to them on a platter? Why do they follow the written score as I go through the details? While they are thinking, their brain is engaged in their own inner self ... they are listening, but hearing and understanding very little!

As a young student of John Wilson in my teens, I was humbled and always in awe of the message. I got it because I listened and understood. I simply did not have to think. So, please in your next lesson, just listen and duplicate what you hear. Give yourself a chance to truly improve. Think of the lesson money you will save in the long run!

A Birl or a Half

2009-01-29T04:50:00.000-08:00

Here is a question for you. What would you do to strengthen your birl played from the low G? The question was raised recently by Norman Milson. As a player, I have never really thought about it much. But once you don the teacher's cap and gown you must think explicitly about each neuron twitch through the process. Now the first thing that really comes to mind has to be the way it is written. Is it the birl on top or is it the birl on the bottom?

The birl on top demands a low A prior to playing. It is my undersanding that this is the only definition of a birl. It is a rhythm from low A and that is it. With this in mind, you would play low G, raise to low A and make a birl of any form - figure 7, tap-drag, double tap - whatever!

The second birl, so to speak is not a real birl at all. It is a half birl to coin a new phrase - very similar to the half doubling from high A. In order to play the bottom birl you would play low G, raise to low A and tap once. If effect, you can only play a single tap and not any of the standard birls. Now, what do you think?

If you had to make one recommendation....

2008-12-10T12:35:00.000-08:00

I often reminisce back to my early days taking lessons from my first teacher, Dick MacPherson - long before the years with John Wilson. It was Dick who laid the foundation for my playing. He guided me through the pages of the Logan's Tutor and made an indelible impression on me concerning my technique and work ethic. Little did I know at the time, that it was his strong influence that paved the way for my teaching today. I find myself constantly referring my many students to pages XV and XVI of the Logan's Tutor, as Dick did with me. It is the rhythms of the taorluath, C and B doublings down with E grace note and the GDE patterns that eventually enable them to express a tune musically. They understand the notes, but must work hard on the rhythm or pulsing. Thank goodness for a great teacher like Dick MacPherson to implant detail upon me as a youth.... we all must have strong advice from a mentor or friend that can make a difference.... let's hear from you!

Tails Up!

2008-12-05T18:40:00.000-08:00

Many may have been taught – or learned – or assumed somehow – that all 1/32nd notes are grace notes. WRONG!

Protocol for writing pipe scores dictates that all 1/32nd notes will be written with tails up. All other note values will be written with tails down. You have no disagreement there. But how many pipers have really thought about it past this point? After the conventions of writing the tails this way, pipers automatically assume that each is called a grace note and this is where the understanding and problems occur for several movements. Now, you must be asking yourself "what is he onto here?" Well let me explain the theory and then I will let you apply it.

By definition, to play a grace note, "lift the finger; replace it smartly, just as the melody note is sounded." So says the Logan’s Tutor, with a similar explanation in the College of Piping Green Tutor (Volume 1). In order for this to occur and the grace note to sound, the grace note must be higher than the note the player is going to. Any note lower would not sound because of its position on the chanter. Thus, the grace note must always be above the melody note.

This means that to sound a 1/32nd note lower on the scale, this note must be played as a regularly fingered note and definitely not the understood method of playing a grace note, regardless of the nomenclature used to represent it in the music.... something to think about, right?

Can You Please Control Yourself !

2008-11-24T08:29:00.000-08:00

One of the important principles in playing has to do with control at all tempo. My friends Bruce Gandy and Jim McGillivray have taught me a great deal over the years on exactly that. A mainstay of Bruce's teaching has to be the exercises and drills at various tempos to keep in control. Jim plays deliberately with clearly defined pulses better than anyone I know... a tune jumps out at you, pulse by pulse, phrase by phrase.

Joyce Newport from out west recently wrote to the Corner with "These control drills are exactly what I need! I'm hoping that the grip and tourluath will be coming up soon. I have a feeling that these are going to make a big difference for me. I suffer from the exact scenario you describe - losing control as I speed up a tune. I've tried sneaking up on it by increasing the bpm on the metronome ever so slightly, but without fail, I always come to a point where I start to skip G grace notes and crush my doublings (especially E) and fail to sound the low G well enough in my grips and tourluaths. I'm looking forward to hearing big improvements over the next few months with these exercises."

There is so much to understand about the mechanics of our movements that would enable us to play consistently at a variety of tempo. What suggestions might you have?

How are your Strikes?

2008-11-05T05:44:00.000-08:00

Mark Spooner writes in: "Hello Ken,I wanted to say I have found the lessons you provide over the last two years have really helped improve my musical expression and playing technique. I find the current series of drills particularly useful and very enjoyable to practice.

I was wondering if you have any drills that would help me to play strikes more consistently particularly when playing bottom hand strikes. Regards,Mark Spooner ".

In my experience, the rhythm of the strike has often presented "heavy handed" concerns for a lot of players. On the E strike, the low A grace note becomes almost a 1/16 note (plunk!) and on the bottom hand, the two fingers closing to low G don't make it together, leaving a shallow sound without the low G warmth. In the case of strikes on B, your birl finger may be "riding" much higher than your B finger, thus not touching the chanter at the same time on the strike or missing it all together. I have seen cases of bottom hand inflexibility as well where the fingers close, but with a thunderous thud! They seem to almost hold on the low G grace note....

What are your suggestions for improving strikes on all notes?

Pulsing a Hornpipe - What's your opinion?

2008-10-29T12:04:00.000-07:00

Hello Captain,I am having a discussion with my friend who is teaching me the tune and we have a difference of opinion on how play the first line. I am open to the idea of interpretation but rhythmically I am tending to play it a bit syncopated, sort of how the last part of Jimmy Blue or All Tied Up might be played. My friend plays it very straight and pushed thru as he has learned it from a midi recording. Could you give us your two cents on this, or maybe send me sound byte for the first two lines.

Thanks, Berta

School is in Session

2008-10-27T11:55:00.001-07:00

This blog page has been set up for players at the Captain's Corner to share piping issues, concerns, progress ... or just about anything they wish. Let the Captain know how you are getting on or ask the full membership anything ... searching for music? This is the place ... need drills for the bottom hand, then ask someone. Do you want to discuss some of the downloads, then lets hear from you..... this is an open mic on a soapbox...

Here's how it works... add a comment to any thread with the statement "New Topic" at the start. The Captain will publish it to the blog for all to comment on. All topics will be displayed for all to read.

Enjoy.....