De-Mystifying Bagpipe Setup and Maintenance

I recently had the opportunity of acquiring “The Bagpipe Instruction Manual “ by Brett Tisdswell. Not to be confused with the more comprehensive “Complete Piper’s Handbook”, this smaller, 32 page, manual was designed to provide as much useful information on bagpipe setup and maintenance as possible into a small, portable, booklet that can be thrown into the pipe case and reviewed at a moment’s notice.

Anyone who knows me knows that I am a complete nut when it comes to bagpipe maintenance. I have always felt that there is a special relationship and connection between the piper and his/her instrument. The time and energy one invests in learning and caring for the pipe will be returned many times in the form of a pipe that sounds great and is reliable and dependable every time. I have long been a fan of Brett’s schoolofpiping.com site and have found it a great resource for anyone who is interested in bagpipe care and maintenance.

I was actually very surprised with how much information Brett was able to cram into so few pages. Although similar in appearance to the old classic “Piper’s Handbook” by Pipe Major John MacLellan, I found the “Bagpipe Instruction Manual” to cover more topics and to be much more in depth. There is no time spent covering history or other topics. The book is 100% focused on providing clear and helpful information. It also contains many helpful photos, including detailed instructions on tying hemp bridles for cane reeds, diagrams of how to alter chanter reeds, and many others.

I think this book will become required reading for all of my students. The bagpipe can be an intimidating beast for a new player. This book provides a clear list of all the “must haves” for your pipe box, instructions on drone cords, bags, bag covers, valves, moisture control, reed basics, and many other topics. All very helpful for the novice player. Having said this, the book also contains enough valuable information to make it very much worthwhile to the intermediate to advanced players. The largest portion of the book is dedicated solely to reed trouble shooting and manipulation, both for drones and chanter. Pretty much every possible problem is addressed, and simple, helpful solutions are provided for each. It certainly goes well beyond the basics and is probably the best I’ve seen in the form of a small, comprehensive maintenance and setup guide. Certainly a worthwhile resource to have available for any piper. There is also some mention of matters of refinement, pitch, tone, and tuning positions, but readers are referred to the “Complete Piper’s Handbook” for more in depth discussion on these issues.

I appreciate this book because it helps take a lot of the mystery and superstition out of bagpipe setup. Certainly some these techniques take time to master, but many other tips can be applied immediately and become a great help to the player. There is no reason in this day and age that pipers of any ability cannot have a well set up, reliable, and pleasant instrument to enjoy. For those looking for a compact, clear, and comprehensive guide to “de-mystifying” bagpipe setup and maintenance, or simply looking to learn a few new tricks to have a better sounding bagpipe, this book is a must for the pipe case.

Can competitive pipers actually ENJOY bagpipe music?

I have a problem. I love the bagpipes and would like to think that I love good bagpipe music. Having been trained in the competitive tradition from the beginning, I find it very difficult not to be critical of even the best piping out there. I love to talk piping with my piping friends. A typical conversation might go along the lines of:

“Did you listen to (insert a top 3 band)’s medley at the worlds? Yeah, did you hear that under-blown B in the slow air? That was terrible! Yeah, and they just haven’t been bringing the sound the last couple of years, I mean, their chanters sound thin on the top hand and they aren’t getting the same blending with the drones as (insert other top 3 band). Their medley really lacks creativity and is very predictable.”

This is just a fabricated example, but is not too different from conversations I have all the time. The other day I was doing some soul searching, so to speak, about why I play the pipes. Are pipers really in love with the music, or are they just obsessed with getting better and succeeding at competition? When I listen to a good piping album I noticed that it is very difficult for me to listen without fingering along and analyzing every bit of technique or subconsciously thinking about how I would handle that technique if I were playing. At the same time I’m listening to the drones and chanter, the steadiness, the intonation, the blowing, etc., etc. When I get around to actually listening to the MUSIC, it’s really more of an analysis of phrasing, timing, etc. rather than enjoying the emotional experience of music.

I love bagpipe music, but how can I re-learn to actually listen to the MUSIC, rather than merely analyzing the conglomerate of elements that are going into the music. If I could keep the skill and knowledge I have now, but go back to the mind frame when I was a beginner and find that passion I used to have for the music I think this journey would be more fulfilling. It’s not that I don’t enjoy it, I’m obsessed with it, it’s just that I wish I could hear the MUSIC in the music again.

This is not a knock on competitive piping, it’s forever linked to piping tradition. I love competitive piping and get much fulfillment from it. It’s just that sometimes I feel like more of an athlete and not a musician.

Am I alone in feeling like this? Is it even possible to change this frame of mind? I want to listen without fingering along. I want to listen without thinking about technique. And it’s not just limited to listening. I want to re-learn how to play MUSIC, and not just play technique, tone, and phrasing. Can this be done? If so… how?

A Little Piece of Piping Lore

As many of you know by now, I am fascinated with piping history. Here is an interesting little piece. The first picture is of competitors at the Argyllshire Gathering at Oban in 1950. The Skinny, young looking fellow third from the right is the legendary piper John D Burgess at 16 years of age. That year he won the Gold Medal at the Argyllshire Gathering and the Northern Meeting at Inverness on his first attempt, a feat that has gone down in piping lore and is unlikely to be repeated.

The second photo shows Burgess with his mentor and instructor, the great Willie Ross. Burgess and Ross went on a tour of America and Canada where they entertained North American audiences.

Piper's Persuasion

http://www.piperspersuasion.com/

Here is a fantastic site that I happened upon the other day. This is a gold mine of information in interview form from some of the worlds very best pipers. So far I've only had time to listen to the interview with Willie McCallum. Wille provided some great insights into practice methods and competition preparation as well as some very interesting details about his piping background.

How many can you name?

This is a great photo I came across of the 1986 glenfiddich competitors. You may recognize many familiar faces. How many can you name?

In the preparation lies the success...

Another great season of piping has come and gone and the winter season is upon us. For many pipers, the summer was full of long hours hard practicing and many weekends full of performances, parades, travel, and competitions.

Although very rewarding, it's easy to get burned out after such a taxing schedule. It is natural to let up on the playing for a bit after such a long season. Remember, however, that the offseason is the most important time of the year for a piper who wishes to progress. Use this time to reflect on your progression as a player and to set goals for the upcoming year. Don't let your pipe box collect dust. If you don't play your pipes regularly you will risk taking a step back. Instead, carry the momentum you have achieved forward into the new year.

Here are a couple suggestions for the off season:

Play your pipes as often as possible. The practice chanter has its place, but I don't recall the last time I performed with one. You worked hard over the summer to feel comfortable playing for long periods of time, that hard work can be lost in as little as two weeks without playing. Keep it up!

Go back to basics. Have any bits of technique been getting you down? Now is a great time to pull out "Rhythmic Fingerwork" and hammer out these bits so they don't get in the way of your music.

These investments now will pay great dividends next spring and summer. Keep up the good work!

Enumclaw 2010

This past weekend was the Pacific Northwest Highland Gathering in Enumclaw Washington. I competed with the Wasatch and District grade 3 and was generally happy with how the band played. We received many positive comments from judges and spectators alike; however, there is always much room for improvement. Competitive piping is as much a mental game as it is physical. Sometimes a split second loss of focus can be the difference between where you want to be and where you actually end up. The band is making huge strides this year and I am hoping that all the pieces will come together next month at Pleasanton, which is the largest and final competition of the year for us.

Other than playing, the highlight of the weekend was listening to all of the world class pipers and drummers. The current world champions, SFU, as well as the very impressive grade 1 band, Dowco Triumph Street were in attendance and put on a spectacular show for all who were lucky enough to witness it.

The professional solo class was very well represented and the competitions were a real treat. The highlight for me was listening to the professional piobaireachd competition. World famous piper, Jack Lee, won the competition with a captivating performance of “The Unjust Incarceration”. Piobaireachd played at this level has an amazing ability to move the listener. Many members of the newly formed Utah Piobaireachd Society were in attendance and soaking in all of the world class performances.

We have the rare treat as pipers to be able to rub shoulders with the very best in the world and this weekend was no exception. The playing was an extremely high caliber and several performances will certainly leave a lasting impact on me as I continue to strive to be a better player.

The Competition Season is Upon Us!

The competition season has been underway for some time now and is just beginning to heat up. I would like to congratulate all the bands in Utah for their hard work and dedication. That hard work is really paying off and the standard of playing is rising in our area.

This year, in addition to playing with the Mt. Timpanogos Pipe Band, I have had the great pleasure of playing with the Wasatch and District Pipe Band (grade 3). The band is sounding great and it’s very rewarding to experience the fruit of all the hard work and practice. After several preliminary competitions in Utah and Las Vegas, the competition really starts to heat up as we will be heading to Enumclaw, WA and then to Pleasanton, CA to conclude the competitive year. The band is looking forward to the challenge.

As you reflect upon the season, remember, no matter what the results of your band or solo competitions, be humble, gracious, and enjoy the experience. We all have good days and bad days. I’ve been on both sides of the spectrum many times and it’s easy to have a poor attitude. We represent a great tradition and I believe that it’s important to show respect for our craft by acting gracefully in winning and defeat. Always try to learn something valuable, and most of all, have fun!

What is your all time favorite piping album?

That’s a tough question. There are so many stellar albums to choose from. Solo vs. band? Traditional vs. contemporary? Piobaieachd vs. light music? Pure piping vs. mixed instrumental? I have favorites in all of these genres, but over the years the ones that tend to get the most play time are the live pipe band concert albums. I love the tangible energy that comes across in the recording from the crowd as well as the feel of adrenaline in the music that is a product of live performances.

With so many stellar live concert albums to choose from, narrowing it down to one choice is a difficult order. If I were to base my pick on sentimentality and sheer enjoyment, the clear winner for me is Simon Fraser University’s “Alive in America” album.

Although not as well known or acclaimed as their “Live at Carnegie Hall” album recorded two years later, “Alive in America” captures the band on a high right after their first win at the worlds in 1995 and shortly before repeating in ‘96. The album is almost entirely pure pipe band playing with no tricks or gimmicks. From the opening track the bright tone and extremely musical playing draws you in and holds your interest until the last note is played, leaving you wanting more.

I practically wore out my walkman listening to the cassette tape of this album over and over during the formative years when I was just starting out on the pipes. Listening to the album today is somewhat sentimental because it brings back the feelings I had then, when my sheer excitement to play the pipes and passion for the music was in its formative stages. Whereas I am more prone now to listen with a critical ear, back then I was utterly awestruck with the brilliant and seemingly impossible music which seemed to be flowing so effortlessly.

Part of the reason why I find this album so enjoyable is that it helps me to remember those feelings I had and the passion for the music which is so easily overlooked in the ever obsessive and sometimes frustrating quest that is piping. I certainly don’t expect this album to have the same effect on you as it does on me, but by all means I recommend you pick it up if you can find it. You won’t be disappointed.

What is your favorite piping album and why?

Diligence and Labor...

"Always recollect that excellence of any sort is beyond the reach of indolence. If you allow yourself to believe that it is impossible for you to do what you see others perform, your despair will not allow you to succeed... facility will always come with diligence and labor."

-Lt. John McLennan writing to his pupil and son G.S. McLennan, widely regarded as one of the most talented musical prodigies to ever lift a pipe.