Performances, Teaching Workshops & Lessons
Given below is a brief description of the types of performances, workshops and lessons offered as well as some information concerning lesson structure and the instruments. For further details or to schedule lessons or workshops please phone (802) 451-9253 or write to pipingtool@gmail.com, dan@pipingtool.co.uk
- Weddings, Funerals and other festive or ceremonial occasions
- Lessons on Scottish Highland Bagpipes, Borderpipes, Smallpipes, (Penny/Tin) Whistles & Irish Flute.
- Workshops on various subjects related to the history, culture and music of the Bagpipe
Bagpiping for all Occassions
Throughout European history, particularly that of Scotland and Ireland, bagpipers have been prominent figures at social gatherings. Whether it be a wedding, a country dance, a wake, an interment or any number of occasions, formal or informal, bagpipes create an air of elegance, excitement and stirring beauty. This tradition has continued wherever Scottish and Irish immigrants have settled and that spirit has passed into the greater community.
Musical programmes for weddings, funerals or other functions vary depending on the geography and geometry of the venue and the personal wishes of those organising the event. A brief and friendly chat is usually all that is required to choose music and workout the basic scheduling. To arrange a consultation, a booking or just for more information please write to pipingtool@gmail.com, dan@pipingtool.co.uk or phone (802) 451-9253. Below are a few examples of tunes/melodies that I am particularly ford of. Other specific tunes may be requested.
Some tunes which work particularly well for weddings:
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Máirseáil Righ Laoise (March of the King of Laois)
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Máirseáil Úi Shúillabháin (Ó Sullivan’s March)
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Dr. Ross’ 50th Welcome to the Argyllshire Gathering
Some more sombre tunes more suited to funerals:
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Cumha gan Ainm (The Nameless Lament)
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Seaforth's Lament
Teaching Workshops
The World of the Scottish traditional music and of the Bagpipe in particular is a vast and complex one and one in which the boundary between myth and real history is often ill defined. The interplay of historical events and cultural, artistic and linguistic developments that have shaped this instrument and its repertoire is a topic that is of importance not only to pipers but also to players and enthusiasts of the traditional music of the British Isles in general.
Some knowledge of the historical and cultural context for the development of particular musical forms and styles is important with respect to how a player of any instrument chooses to approach the music including how they might execute ornamentation, phrasing and variation. I am, therefore, happy to give workshops and classes, based not only on the teaching of instrumental music but including, or focusing on, various other topics related to it.
Lessons
Neither possession of a bagpipe nor the ability to read music is necessary for a beginning piper. Enthusiasm for the music and a Practice Chanter are all you need to get started. For flute or whistles all you need is a whistle and they may be acquired in just about any music shop
Lessons can be conducted in either a one-on-one or a group context. Individual lessons typically run for 30 to 60 minutes, depending on student level and objective. Group lessons usually run for 60 to 90 minutes, and workshop durations and schedules are negotiable depending on focus and number of participants. Teaching locatons are flexible throughout central New England.
The Instruments
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Scottish HIghland Bagpipes (A’ Phiob Mhór) - Also known as the War Pipe, this is probably the best known bagpipe in the world today and is by far the loudest of all the European bagpipes. The Highland Bagpipe is mouth blown with three drones most often held over the left shoulder. It is generally pitched somewhere between Bb and B in the modern solo competition and pipeband mileux and has a conically bored chanter. Instruments can be got new or used with relative ease and the price can range from the neighbourhood of $400 up to and beyond the price of your choosing depending on the quality of the instrument and the options. Have a listen to the Highland pipes.
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Scottish Borderpipes (A’ Phiob Shionnach) - Though less commonly played than Highland pipes or Smallpipes, Borderpipes are on the rise in popularity throughout the world piping community. They are bellows blown with three drones attached to a common stock. The drones are typically held suspended across the chest though some play with them held over the left sholder. The chanter has a conical bore, giving that characteristic Highland pipe ‘whine,’ and is most often pitched in A making it ideal for playing with other instruments. In terms of volume Borderpipes are about on a par with a strong fiddle and are thus ideal for playing in sessions where being heard over background noise may be a concern.
Borderpipes are more difficult to procure and it is usually easiest to order one straight from a bagpipe maker. They do, however, show up on ebay from time to time and are occasionally advertised in bagpiping magazines/journals. Have a listen to the Borderpipes.
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Scottish Smallpipes (A’ Phiob Bheag) - These are the smallest of the Scottish bagpipes in both volume and dimension (thus the name). They came back into wide spread use in the ’70s, particularly amongst folk musicians, and their popularity has not wained over the years. Smallpipes are also powered by bellows but have a cylindrically bored chanter which produces a softer, more ‘reedy’ sound. They can be pitched in A, C, D or Bb. For volume Smallpipes are ideal for indoor use and small social gatherings where being heard is not a potential problem. Have a listen to the Smallpipes.
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The Penny or Tin Whistle, also just called the ‘Whistle’ is the simplest and probably the oldest design of instrument going in traditonal music. They may be procured in practically any music shop for just a few dollars though higher quality instruments may be got for any price imaginable. Whistles are not chromatic and are made in every possible tonality though the most common keys are D, C, A Eb, Bb and F Have a listen to the Whistle.
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The Transverse Wooden Flute curently known as the ‘The Irish Flute’ is a variant on the whistle desigs where the position of the lips, or embouchere generates the sound rather than a sculpted mouth piece. Unlike the classical Silver Flute the Irish Flute is fingered much like the Whistle and like the Whistle is not chromatic. Some wooden flutes are made with keys, usually between one and seven in number, to increase the chromaticism of the instrument. Have a listen to the Flute.