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The Blog Log
The 29th Livingstone Memorial.
The Bench - Bob Worrall, Robert Wallace and Reay MacKay
Piobaireachd winner, James MacHattie accepting Overall Champion - Simon McKerrell the Dunbar trophy from Michelle Curtis Piobaireachd First - James MacHattie - MacNeil of Barra's March Second - Simon McKerrell - Mrs. MacLeod of Talisker's Salute Third - Lionel Tupman - MacDonald of Kinlochmoidart's Lament No. 2 Ceol Beag First - Simon McKerrell - The Knightswood Ceilidh, Atholl Cummers, Bessie MacIntyre, Joe McGann's Fiddle and The Baldooser Second - Lionel Tupman - John MacFadyen of Melfort, Tulloch Castle, John Morrison of Assynt House, Lucy Cassidy, The Loch Ness Monster Third - James P. Troy - John MacColl's March to Kilbowie Cottage, Susan Macleod, The Smith of Chilliechassie, The Henningham Reunion, Caber Feidh Jig
Designed by Willie McCallum and Stuart McCallum
Stay informed - Meet others - The Pipe Band Forum
April 24, 2008 Creative Juices You have to be impressed with the number of new compositions that are constantly showing up in band medleys, concert repertoire and the many CD's and books that reach the market every year. One would think that a scale of 9 notes presents a finite number of tunes - but there always seems to be one more. Recently a new book came across my desk. Winnipeg's G. (Gordon) A. Taylor has published "ONE TONE OVER THE LINE - Sweet Mhairi", his third collection of over 100 new tunes. - all original Taylor creations!
Testimonies run strong. Bob Worrall comments that Gord Taylor's compositions always present the player with melodic and highly rhythmic tunes. He manages to blend the traditional with a fresh and creative approach to structure. This is echoed by Andrew Berthoff - Gord Taylor is clearly adept at exploring new rhythms and tune types - and then some. Having reviewed the book page by page (81 in all), I must say that I give it a CC rating - Clever Creativity! His selection of rhythms and tune titles is unique. Try The Crunluath Crusader , A La Mach 1,or Slick Dixie - all titles that conjure up images of the tune... I found his selection of reels for the most part were first rate - at the top of his musical food chain... Yet with all the demonstrative naming of tunes, he never varies too far from the trad names after people and places important to him. Checkout Gord Taylor on Line to hear some of the tunes from this book. Gord made these tunes available to help those who learn best by ear and, in his words, to rock the rest of his.
April 16, 2008 Professor Ian Whitelaw
A full time professional piper since 2000, Ian has become one of the premier piobaireachd players in North America. He has launched a successful summer school program with Murray Henderson and now word comes to the Corner that he has been instrumental in starting a degree program in music with bagpipes or drums being offered as the major. Under the umbrella of the School of Music at UC Riverside in California, Ian is the newly appointed Pipe Director. In this capacity, Ian offers courses in music theory, performance and touching on areas such as history and composition. There are currently 4 students enrolled in the program and with good promotion, those numbers should swell. All the best Ian in your new academic venture. For more information, visit the press release from the University of California at Riverside.
April 10, 2008 Large Pipe Sections - Debate Over!
Gotta love Rab Wallace from the College of Piping. When he is not intensely defending the College's program and position in the piping world, he is researching the volumes of piping history from the archives of the Piping Times. I do that as well... with my full set of back issues, I spend many a leisurely hour sifting the great thoughts of many an old master to the current opinions of the pipers of today... great reads all... But what has caught my eye in this month's editorial, is the scientific study on volume vs. the number of pipers. I will quote only the beginning of the Piping Times article, for you should really subscribe and read for yourself. "Why, when the 78th Fraser Highlanders struck up at the World Pipe Band Championships with 30 pipers and 15 drummers was the heath not blasted or the stands blown down by the volume? Because they didn't sound any louder than the band that had gone on before them, that's why." Rab goes on to cite the experiments of Alex R. Carruthers done in 1977,1982 and 1983 that boils down to this.... the base volume of a single pipe from a distance of 1 meter is approximately 95 decibels (dB). As the number of pipers doubles, this volume increases by only 3 dB. This means that a pipe section of 16 will produce a volume of 107 dB whereas a pipe section of 30 will peak out at approximately 109.5 dB... do the math.. a 2.3 % increase in volume. Now I defy even the best ears at this game to detect that increase... it just isn't there. So what is the purpose of the huge pipe section... ? You tell me... If you close your eyes you don't even know it is there! So what is the next step? Pipe sections will maximize the number of players for technique and musical reasons. No size regulations will ever be necessary. The visual impact of large sections will certainly not be a consideration! You can count on it!
Responses - The Record Straight! Two letters have come in which are very much to the point and rebut the inference made above - that volume was the issue with the enlarged pipe sections of last year. With further exploration of this drive for musical excellence it is so important for those interested to hear from the people in the know and who better than Bill Livingstone, Pipe Major of the Scottish Lion - 78th Fraser Highlanders and Andrew Berthoff , editor of Pipesdrums.com. First, Andrew:
Hi Kenny –
I think that’s an
incorrect assumption.
My understanding from
speaking to pipe-majors who are fielding large sections is that they are
looking for a depth and richness of sound. In medley events, more players,
they contend, allow them to do more with harmonies and counterpoint.
Approaching band contests
as “loud competitions” is 1980s-thinking, I believe. Fortunately most of the
bands have moved beyond that mentality. Perhaps all pipe band judges will
soon catch up.
Cheers, A. and my response: Good point Andrew...and I subscribe to it completely.... I was merely putting forth Rab Wallace's editorial for argument's sake.... larger pipe sections do equate to more opportunity for harmonies and counterpoint for sure, but to what extent , I don't know.... I have a fear of our presentations becoming so complex that all the ingenuity of some the PM's clouds the simplicity of our music.... too clever is a dangerous asset!!!! Don't know what the answer is...but I do know one thing - the argument is worth following up with lots of opinion and facts..... which leads me to think out loud that perhaps we need more communication from the current PM's, etc on what they are really attempting to achieve in their music with increased numbers...all to keep us in the 2000's..... cheers, K And just recently from Bill Livingstone:
Kenny:
What debate? I haven't heard a debate, which
usually involves an exchange between the holders of opposing views. I have
only heard mutterings from one or two sources, insisting that large pipe
sections are somehow "wrong", and don't work. Moreover ,those offering these
opinions seem to communicate a sense of righteous indignation about the
whole subject. Strange stuff.
Rab Wallace is free to publish his views on this
subject, even though they may be wrong, as I hope to show below. It makes me
uneasy however that an adjudicator of Grade 1 bands uses Rab's words to
tell the world that large pipe sections ain't gonna impress him...."you can
count on it". ( Incidentally, you're both friends of mine, and have been
for a long time....this is about broad principles)
To the substance of the argument..."there isn't
a sufficient increase in volume so why bother to do it". First, can anyone
be so obtuse and out of touch as to think that this is merely about being
loud? That said, you and Rab might have a read at a book called This is Your
Brain on Music. It's written by Daniel Levitin, a session musician, and
record producer who worked with top artists like Stevie Wonder and Blue
Oyster Cult to name two. He later became Dr. Levitin, a neuro scientist, who
runs the Laboratory for Musical Perception, Cognition and Expertise at
McGill University. In 300 pages of accessible prose, he explains how music
listening and performance engage, instantaneously, and all at same
microsecond, nearly every area of the brain which scientists have so far
identified, and nearly every neural subsystem. The complex interplay and
connections amongst gazillions of neurons is truly mind boggling, and the
incredibly exquisite perception of, and response to music, which our brains
give us, will likely have you re-visiting your, and Rab's completely
unfounded claim that we can't perceive the difference between 107 and 109.5
decibels. That's likely one of the easiest things the brain can do for us
when we listen to music. And your remark that "the best ears can't
distinguish the difference" betrays not only the potential for a worrisome
bias, but also a lack of understanding about how the process works. "Ears"
(or the auditory complex) play only one of the countless processes involved
in listening to music.
Increased volume aside, the large pipe section
has other qualities that distinguish it from smaller ones.
It facilitates a much more complex interplay of
harmonies, countermelodies, and counterpoint in the orchestral arrangements
that my band at least, is attempting.
The quality of the sound is different. It's more
dense in the same way that radio and TV engineers produce greater density by
using a technique called compression. That's why the commercials come at us
with such impact...they're compressed, not louder. When a judge stands
behind a particular area of the pipe section, she will get the impact of
several more players if there are 30 and not 20. Similar to
compression. Recall, the circle doesn't change in size. Which incidentally
disposes of the argument that the judges can't get around the large band.
We operate in a competition arena. We are
adjudicated, at best a subjective process. But to dismiss the large pipe
section is to ignore the very format we're involved in. Divers are judged
involving a system of assigning degrees of difficulty for particular dives.
More challenge, more reward. Skaters who perform 3 quad jumps in their
routines, beat those who do only triples. At the very least, a judge should
recognize at some level, the greatly increased level of difficulty with 30
pipers as opposed to 20.
Finally, you say "the visual impact of large
sections will not be a consideration! You can count on it!"
What I'd much rather count on is a judge who
comes at the job free of any prejudgment about what he's about to see and
hear. Still, if you find the time to read Your Brain on Music, you'll read
that how we perceive is incredibly complex. There is a huge and important
interplay between seeing and hearing. It cannot be ignored nor discounted.
What's truly worrying to me however, is that a judge, as you are, will
deliberately adopt a negative response to the visual perception of a large
section. That sure seems to be the implication of your piece.
Bill
We live and learn in all disciplines. I think that both Bill and Andrew have brought all readers of this topic to the front edge of the concept of enlarging the pipe band beyond the confines we seem to have placed on it. For those that have suggested capping the size of the pipe section, you might want to give it a fresh look. I wrote Bill back and indicated, that by coincidence, I had just seen a copy of Levitin's book from my brother in law, also a musician... on order from Amazon as we speak. I thank both Bill and Andrew for their input. Bill's suggestion that degree's of difficulty should be implied within the adjudication process is a novel one. As of yet, none of the adjudication training goes into either this or the visual impact of a performance. But not to say that it shouldn't. Could we see the pipe band world draw on the experience of our Breton cousins? Yesterday, at a meeting of adjudicators I listened to one of the competitors from Lorient last year tell of the musical extravaganza in the stadium in Brittany - thousands of spectators - where size and musical arrangements of all Bagads make the show!
April 9, 2008 A New-Old Pipe Chanter Reed
They just arrived in the mail this weekend and I put them into my two chanters yesterday. What a difference a vibrant, full bodied reed can make - perfectly balanced from Low A to High A harmonizing superbly with my drones... so as the spring approaches, I feel like playing more and more. That Troy reed that I was breaking in last month, is in full bloom, so with the addition of two from Colin, I am in great shape for this coming summer. Nothing like a good reed setup to motivate your playing.... too many pipers suffer through reeds that are over the hill all because they are easy and the player doesn't have to put much effort forth. But the break in period is worth the extra effort... maybe I might even consider going back on the boards...oops, must be day dreaming there!
Willie McCallum is undoubtedly the most consistent professional prize winner of this era. In addition to his record number of Glenfiddich championships, he is the holder of both Highland Society of London Gold Medals and the winner of every major prize available. Within the past year he has taken his musical skills into a new venture - partnering with Stuart McCallum in the design and manufacture of the McCallum McC2 pipe chanter. This coming summer will be the first full season for competitors using the new design and I am sure that Willie will lead the way once again! The Corner thanks Willie for allowing us to post him playing .
The Metro Cup 2008
Willie McCallum and Jack Lee Overall Winner, Willie McCallum Winner, Piobaireachd : Jack Lee, playing The Phantom Piper of Corrieyairack Second, Piobaireachd : Willie McCallum, playing The Earl of Ross's March Winner, Medley : Willie McCallum Second, Medley : Alastair Dunn Third, Medley : Jack Lee Thanks to Derek Midgely for all the recordings. Bagpipe Played by Alastair Dunn made by
Bruce Gandy at the Metro Cup - 2008
Listen to the performance of Bruce as he plays his medley at this year's Metro Cup. Bruce placed fourth with this performance behind Willie McCallum, Alistair Dunn and Jack Lee. Having heard the other performances, you will certainly agree that it had to be a close contest and a challenge for the adjudicators. It's far easier to just sit back and listen.
Winter Storm 2008
Jori Chisholm Bruce Gandy Matt Pantaleoni Gold Medal Piobaireachd Gold Medal - Ceol Beag Silver Medal Piobaireachd Other Winners Gold Medal Second - Andrew Hayes playing The Park Piobaireachd No. 2 Third - Ken Sutherland playing The Stewart's White Banner Silver Medal Second - Alex Gandy playing I am Proud to Play a Pipe Third - Brian Mackenzie playing Corrienessan's Salute Selected Performances Silver Medal Fourth - Jim Bell playing The Lament for the Castle of Dunyveg Fifth - Doug MacRae playing The Lament for the Castle of Dunyveg David McNally playing The Rout of the MacPhees Ceol Beag Second - Peter MacGregor Third - Andrew Hayes
The 12th Annual George Sherriff Memorial November 17, 2007
Ben McClamrock Faye Henderson Alastair Lee 6/8 Marches &Overall Winner Piobaireachd MSR
The Ontario School of Piping and Drumming
Listen to Angus MacColl, Jim McGillivray, Bruce Gandy, Ian K. MacDonald and Rob Crabtree plus a special performance from Wednesday, June 26, 2007 Angus MacColl playing the Battle of the Pass of Crieff
The resting place for this blog from its inception to the present. All true stories! A place where pipers can meet for a tune, a read and a pint - the latest in concert and contest recordings, book reviews and announcements. An area designed for both education and enjoyment. Hear current band/solo contests and adjudicate them as one of the judges.
Copyright © 2005 - 2008 The Captain's Corner |
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Hamilton
native Ian Whitelaw has come a long way since Sandy Keith's Erskine
Pipe Band days. A wander lust certainly took him west where he
played in Edmonton and moved onto Vancouver, where he spent many
years playing for both Triumph Street and SFU. Marriage to a
California girl took him to the sunny climes of the LA area where he
now resides. 
