Archive for May, 2011

Bagpipes

A while back I was going on about how I thought most of us go about listening to music – specifically, bagpipe music. My ramble was around how we should try and get over the discomfort we feel (that’s the delicate way of putting it) when we hear musical interpretations outside of what we’re used to hearing – or playing.

There is one comment that lands on the adjudicator’s score sheet from time-to-time that strikes me as egomaniacal in the extreme (and if I think about it, as an occasionally itinerant judge guy, I may’ve even scratched out the words at some point over the years – surprise). But most of us learn and move forward. Anyway, the line goes something like this: “Beautiful/lovely/fabbo rendition; just as I would’ve played it“.

The comment is meant to be the apex of praise meaning “you’ve played like me, welcome to the rarefied world of me”…or something like that…the comment assumes that the person writing the crit sheet is the last word, the sole arbiter of good style, good music. And, I suppose, strictly speaking, a piping judge is just that, for the time s/he is sitting and taking in a competition.

The you’re-playing-like-me comment is, of course, meant with the, um, best intentions, but I wonder: if that is the best of golden praise is this kind of comment helpful in the broader context [corporate-speak alert]? I suppose from the point of view of those who view bagpipe music as a sort of precious museum piece; a static, unchanging, and slightly fragile thing, well, this comment works – it makes sense: we’re all “tradition-bearers” dammit and the tradition must be passed unchanged from one generation to the next in a bullet-proof box (maybe one like that natty Louis Vuitton World Cup trophy case).

For me, comments like this are not helpful. Bagpipe music is brilliant. A tip of the hat to the Scots, inventors of the modern world. Like the people who invented it the music is resilient, formidable and, like all great art forms, tailor-made for evolution. It stands on its own without any need of the good-intentioned propping up of judges or Gollum-like fawning.

Yesterday I read a comment on one solo piping judge’s scoresheet: “engaging”. Great comment. I suggest the listener’s engagement, the degree to which a musical rendition moved a person, is one of the best – if not the best – criteria for assessing the merits of a musical performance.

It’s not often easy to keep an open mind. But when it comes to listening to music, at least, an open mind is a state we should all strive for.

Easier said then done.

M.

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A visual guide for the beginning piper with instruction by Seumas Macneill. Note – Label on tape says Volume IV, Part 1 but artwork on case just says Part 1.

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Bagpipes

While bagpipes may seem like crudely traditional instruments, there are actually several types of bagpipes–each with a distinctive character and sound. The seven types of bagpipes are: Great Highland bagpipes, Irish Uilleann bagpipes, Northumbrian bagpipes, Scottish smallpipes, Biniou, Center-France bagpipes, and Gaita. Great Highland bagpipes

The Great Highland bagpipe is probably the most popular bagpipes type. It originated from Scotland and Ireland and is commonly used by soloists and pipe bands in civilian and military performances. It is played in the mixolydian scale, from the natural low G key to the key of A, consisting of two tenor drones and one bass drone.

Irish Uilleann bagpipes The Irish Uillean bagpipe is the most advanced type of bagpipe. It is played in the diatonic scale, in the key of natural C and the key of major D. It is usually played in staccato–a type of playing that is short and rapid.

Northumbrian smallpipes The Northumbrian smallpipe is a bellows-blown type of bagpipe. It typically consists of four drones that can be tuned to various pitches and combinations. It has chanters with seven 17 keys and possesses some of the unique qualities of the Irish Uilleann bagpipes. However, it requires very tight fingering to play in staccato.

Scottish smallpipes

The Scottish small pipe is popular among highland pipers. It is also a bellow-blown type of bagpipe but has the same fingering system as the Great Highland bagpipe. It can also be mouth-blown but will not produce the same sound and tone quality because it has a delicate reed construction.

Biniou

Originating from Brittany France, the Binou is designed to be mouth-blown. It is played one note above the octave scale and a flat lead tone below it. It produces a sound that is one octave higher than the Great Highland bagpipe, producing a very high pitched sound. Together with the bombarde, it is commonly used to accompany folk dancing in Breton.

Center-France bagpipes

Also known as the chevrette, the Cenetr-France bagpipe is made of goatskin and is also a mouth-blown instrument. It is commonly used in the Bourbonnais, Morvan, and Nivernais regions of France.

Gaita The Gaita is played by pipe bands and folk groups, usually in some regions of Portugal, and particularly in Asturias. It has a conical chanter and can be played in the key of D, C sharp, C, B flat, B, A, and G.

WHERE TO BUY A BAGPIPE

A complete GUIDE TO BAG PIPES is available in Picky Guide, one of the fastest growing online magazines giving free consumer advice and product information.

On 9 -10 February 196, seven of the finest pipers in the world gathered at the US Grant Hotel in San Diego, California to participate in the first GS McLennan memorial Invitational Piping Competition. The competition is designed to allow competitors to perform at their very best by imposing only one rule on the MSR event: at least one tune must have been composed by GS McLennan, and to remember GS’s beloved regiment, The Gordon Highlanders.

This recording provides listeners with the very best from each of the seven competitors. Contains music by Willie MacCallum (Scotland), Jack Lee (Canada), Gordon Walker (Royal Highland Fusiliers) and Michael Cusack (USA). Volume Two features: Alan Bevin (Canada), John Wilson (Scotland), Alisdair Gillies (The Highlanders), Roderick MacLeod (Scotland). John Wilson and Donald MacPherson judge the first panel of competitors ever assembled.

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The design of this set is based on traditional schematics, but improved with modern technology and at a fraction of the cost. Royal Stewart Tartan cover, with engraved ferrules and sole with imitation ivory mounts.

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;EzeeDrone Reeds are well known and respected by anyone who pipes. Their ease of use and great natural sound make them popular among beginners and professionals. Manufactured from a material with very similar tonal qualities to natural cane, Ezeedrone reeds produce a sound which is practically indiscernible from that of the best traditional cane reeds. Tenor reeds are full and steady and bass reads are rich, deep and equally steady. They are pre-adjusted and will settle immediately in most bagpipes, requiring little maintenance and producing excellent harmonics.

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Sweet Bagpipe Music

I was driving to band practice this morning and happened on a really interesting interview on the radio.

Michael Enright, host of CBC Radio One’s “Sunday Edition” was talking to the famous pianist, Janina Fialkowska. She is one of the world’s preeminent piano interpreter’s of Frédéric Chopin and Franz Liszt, the great early-mid 19th century composers. Fialkowsaka has had a great career, winning big competitions and playing with the world’s best orchestras. She’s also had her share of tribulations. In 2002 her career came to a slamming halt: she underwent treatment for the removal of an aggressive cancerous tumour in her upper left arm. A nightmare for anyone – musician or not.

While she convalesced she gave concerts around the world presenting music composed especially for the left hand – though she used her right. Her story is an inspiring one. As she recovered she progressed from “left-handed” Ravel and Prokoviev compositions to the more familiar two-handed compositions on which she has built a career.

Today she spoke of one of the biggest professional changes that occurred as a result of her health problems: Fialkowsaka no longer agrees to play music she doesn’t like.

The standard way of things in the classical music world is something like this: a soloist is called up and asked to perform with an orchestra. The soloist is given the music to be played. And that’s it. You learn the music and show up and play well (one hopes) and get paid. Don’t like the music you’re meant to play? Tough. “Suck it up, princess”.

Fialkowsaka says now when invited to play she acknowledges the repertoire request but, if she doesn’t like it, she tells them and suggests what she will play. Apparently orchestras work with her – no probs. “I play better and audiences are happier,” she says.

The piping parallel is crazy clear.

I was thinking of all the sub-par, damn-near crappy tunes I’ve had to learn over the years courtesy of set tune lists – “The Blind Piper’s Obstinacy”, anyone? And I think Janina F has it right. Wouldn’t the world be filled with much sweeter music if musicians – and pipers – could play the music they pleased?

The same thing happens in bands, of course, but bands are not democracies. A talk for another day.

M.

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