List,
   The study of the pipes in England and that area is much like a study
in genealogy.  The farther back you go the more branches you are likely
to encounter.  But it doesn't depend on which branch you begin with
they all will eventually lead you to the beginning.  That beginning in
itself is a matter of conjecture.  With geneaology you mark the
different branches by the different surnames involved plus marriages
and births.  With pipes the different branches can be seperated by
fingerings and musical traditions.  The open ended fingered chanter is
probably the oldest form found in the area.  This fingering is common
to most wind instruments today.  For instance a flutist can easily pick
up and play a clarinet give proper instruction in regards to the
embrasure. The same is true with open ended pipes. There just isn't
much variation.  So at the time that someone or more than likely
several people figured out that they could close off the chanter end
and get more from the instrument we can reasonably say there was a
branching of the piping tradition. From the start pipers understood
that the open ended instrument had it's limits as far as the range was
concerned.  There was plenty of experimentation to increase this range.
  The Northumbrian experiment has elements of the French musette and the
different shuttle types of pipes. There was also experiments done to
increase the range by adding a foot joint to the chanter. Whether this
was an actual addition or was added because of the limitations of the
tools at that time remains to be seen. But once a back pressure was
introduced, either by a stopped chanter or a long addition the
fingering changed.  As James Burke used to say "The day the Universe
changed". In piping the fingering, range and music all changed.  Again,
it's most likely that popular tunes were arranged so they could
accomidate the new pipes.  but in time the music was written to take
advantage of the new pipes. As an example I have an experimental
chanter which was turned from a set of plans drawn from a set found in
Canada. It is a pastoral chanter in D.  Ironically it plays almost a
full two octaves with an open ended chanter and Highland fingering. But
take off the foot joint, modify the reed and it plays like an uilleann
chanter with vented, closed chanter fingerings.  The piping universe
changed when the first person added that foot joint to a narrow bore
smallpipe chanter.  Was the change sought after because of the music or
did the music change becasue of the new pipes?  If you wish to try and
figure this one out you might begin with a chicken and an egg.
  Now to the point, yes there is one. Regardless of the names at some
time in the past there was not a closed piping tradition. And then
there was.  We choose to call this closed system the Northumbrian style
of pipes.  What came before for some reason has remained in obscurity.
We know it was there.  We can guess at the music. From the existing
examples left we know they were similar but not the same as the modern
SSP. The relationship they do share is the fingering. Because of this
the music which could be played on the early instrument has to be the
similar to the modern.
   Kevin Scott

Hello again

Royce Lerwick wrote:
> but I think my own bone of
> contention was when I think Matt (?) described the ssp as a variation of
> nsp, which I would have the other way around.

I didn't say that, I wouldn't say that. I said 'close cousin to or identical
to'. To say one thing is a variation of another might imply, as in one
language is a dialect of another, that one thing is official, legitimate,
superior and the other is unofficial, illegitimate, inferior. Cousin implies
equal status.

  I think the nsp has to be
> regarded aas a shootoff of the open-ended verion just for logistical
> purposes, but the second that chanter was closed it became an entirely
> separate repertoir and tradition, because the entire fingering/technique
> had instantly become radically different and incompatible with nearly all
> the other fingering/technique approaches being used not just on ssp or GHB
> but any other open-ended pipe.

Sorry, you are not justified in saying this. The technique being used on ssp
at that time, according to all the knowledge I have gathered from experts, was
closed fingering ('closs-hand') but with pinkie off, quite different from GHB.
The instrument was NOT the ssp of today. I am being generous in even saying
there was such a thing as ssp then. In fact, I do not know of even a MENTION
of such a thing as a Scottish smallpipe before Colin Ross invented the modern
instrument (GHB scale, parrallel bore) in the late 1970s - early 1980s (see
Common Stock June 1999 page 24). In the 18th century, if it was referred to at
all, the smallpipe was "The Northumberland, or small Bagpipe". When the
chanter on the nsp was closed, as I wrote before, it allowed an even more
staccato style as the fingering was now completely closed. It was, AS IT HAD
PREVIOUSLY ALREADY BEEN, a different  ('incompatible' in your words) fingering
BOTH from GHB and its close relatives (chamber and reel pipes) AND from Border
/ Lowland / Half-long pipes, with their conical chanters. The chanter would
not have been closed off if it had meant the instant need for a new repertoire
- as I said, plenty of old 8-note nsp tunes were already there. It was with
the introduction of keyed chanters around 1800, and a fourth drone later on,
that the nsp REALLY diverged from the 'old' ssp-nsp open-ended chanter, and by
that time there are NO historical glimpses of 'ssp' that we know about.

So, if we allow that the Montgomery and similar pipes can be called Scottish
smallpipes, rather than Scottish examples of (early/open-ended) Northumbrian
smallpipes, then we will have to say that the nsp evolved and the ssp became
extinct. This does not imply a value judgment. The ssp of today are a
different instrument. They are thriving, they are popular, they provide
gainful employment for pipemakers, but they are not historical (yet!). This
does not imply a value judgment either. I do not personally play smallpipes,
Northumbrian or Scottish, so I have no personal axe to grind. This thread
started off as an attempt to clarify one common misconception that bellows
pipes equals smallpipes, and another, that the modern ssp are a revival of a
previously existing smallpipe with GHB fingering.

As a last point, the ssp of today are mainly used for GHB repertoire at lower
volume, BUT I am intrigued that the Montgomeries survive and must have been
used to play something which was worth making them for. There are no clues as
to what that repertoire might have been. Very strange, but then, life without
mystery would hardly keep us on our toes, eh?

-Matt.

At 09:35 AM 1/8/00 -0800, you wrote:
>
>  Hi list,
>
>  Finally, this is what this list should be.  Matt Seattle has given us
>a great history of the Northumbrian Smallpipe and the Scottish
>smallpipe.  My comments yesterday should have been prefaced that during
>the mid eighteenth century there was already a difference between these
>two type of pipes and they weren't the same.

I can't remember who said what at this point, but I think my own bone of
contention was when I think Matt (?) described the ssp as a variation of
nsp, which I would have the other way around. I think the nsp has to be
regarded aas a shootoff of the open-ended verion just for logistical
purposes, but the second that chanter was closed it became an entirely
separate repertoir and tradition, because the entire fingering/technique
had instantly become radically different and incompatible with nearly all
the other fingering/technique approaches being used not just on ssp or GHB
but any other open-ended pipe.

Royce
www.wavetech.net/~shetland

Hi list,

   Finally, this is what this list should be.  Matt Seattle has given us
a great history of the Northumbrian Smallpipe and the Scottish
smallpipe.  My comments yesterday should have been prefaced that during
the mid eighteenth century there was already a difference between these
two type of pipes and they weren't the same.  If you go back farther
into history both pipes probably had a common ancestor as Matt has
pointed out.  Another friend has commented that you can find endless
examples of illustrations of pipes throughout the fourteenth and
fiveteenth centuries in Northern England.  However these pictures are
more than likely stone carvings.  Nobody can say for certain how they
sounded or how they were played.  My point is that there was a division
between the Northumbrian smallpipes and the early form of the Scotish
smallpipes. If you go back far enough even the Northumbrian smallpipe
was open ended.  But then was it a true Nothumbrian smallpipe or a
smallpipe being played in Northumbria?  Isn't this fun?
   Thanks the Mr Seattle,
   Kevin Scott
Pipe maker

Hi Kevin, thanks for your rejoinder. This is intended to clarify, not confuse...

I am familiar with the Common Stock article on the Montgomery smallpipe, I
also know a maker who does reproductions of it (Julian Goodacre) and a few
players, and I have composed for it, so I don't see how you can say:

the early eighteenth century Scottish
> smallpipe was not a variation of the Northumbrian smallpipe

It's the same thing. The earliest extant Northumbrian smallpipes in the
Morpeth Chantry bagpipe museum are open ended, as you say:

a "covered system" dropping back to the low
> notes to give a staccato effect.

though I would describe it as closed fingering but with the pinkie off.

The end of the Northumbrian smallpipe chanter was closed off, no-one knows
quite when (early 18th century?), making the effect even more staccato, and
losing the possibility of a low leading note which the open-ended chanter has.
This has prompted the suggestion, with which I agree, that the repertoire of
that pipe didn't use the low leading note anyway, in other words there was an
8-note rather than 9-note repertoire. Plenty of old 8-note Northumbrian
smallpipe tunes lend support. Crucially, features shared by the Montgomery
(open-ended Scottish) smallpipe and the early Northumbrian (closed-end)
smallpipe are:
1- The 8-note scale used is diatonic major, NOT mixolydian as with GHB and
modern SSP 9-note scale.
2- The pitch is around E or F - the chanter is tiny compared to modern SSP in
A, and still pretty teensy compared to D sets.

   The simple fact is that there are
> historic Scottish smallpipes to be seen scattered around northern
> England.

Where? Never seen any in northern England which qualify as "Historic
Scottish", that needs backing up. In the eighteenth century at least one
writer (Robt Riddell, friend of R Burns), mentions "the Northumberland, or
small Bagpipe". There were smaller and/or bellows-blown versions of GHB (reel,
chamber), but with conical bore chanters they were not smallpipes, and even an
educated and cultured Scottish writer equated smallpipes with Northumbrian
smallpipes. The existence of the Montgomeries with a dated Scottish provenance
is a wonderful exception to this. It gives a historical precedent for the
NOTION of SSP, but what is made under that name today is a smallpipe version
of GHB designed for players of GHB. No problem with that, except when people
try to pretend it's traditional in the normal sense. Give it fifty years, then
maybe it's traditional!!

  "Pipes just don't appear out of thin air."

I am pondering this. In a sense, they do. Before the first bagpipe, when
darkness moved over the waters.... "Let there be BAGPIPES!!" Like the
Universe, really.

  The fact that this
> type of pipe existed with it's different bore and fingering system
> proves people wanted them and there was a type of music which was
> common to them.

Yes of course.

But I for one wish Mr Seattle good luck
> in finding that book of Scottish Smallpipe music.  It was there.  It
> remains to be seen if it's still out there.

Thank you, I'd be happy if such a thing came to light. There don't, however,
seem to be traces of a specifically Scottish 8-note diatonic repertoire in the
fiddle literature, which has copious examples of music in the scales and modes
of the GHB and Lowland/Border pipes.

That's enough for Saturday morning,
Best wishes,
Matt.

Hello list,

   While I agree with Matt Seattle that uilleann are not smallpipes. The
whole technique and music is different.  Although when you deal in
strictly British music for want of a better term there will always be
cross overs.  In my opinion the early eighteenth century Scottish
smallpipe was not a variation of the Northumbrian smallpipe.  It is
close but from my understanding even at that date the finigerings
weren't a closed system but a "covered system" dropping back to the low
notes to give a staccato effect.  The simple fact is that there are
historic Scottish smallpipes to be seen scattered around northern
England.  "Pipes just don't appear out of thin air." The fact that this
type of pipe existed with it's different bore and fingering system
proves people wanted them and there was a type of music which was
common to them.  The last is a paraphrase from an article from Common
Stock of 1989. The article describes a set of pipes called the
Montgomery set which is a true scottish smallpipe and not Northumbrian
whtch dates from 1757.  There are more qualified people on this list
that can fill in the details.  But I for one wish Mr Seattle good luck
in finding that book of Scottish Smallpipe music.  It was there.  It
remains to be seen if it's still out there.
    Kevin Scott

Hi, and Happy 2000!

In addition to the recordings already mentioned, can I mention, without
breaching group etiquette, my own?
Out Of The Flames - Matt Seattle - DGM 9907
A sound clip is on the record company website:
http://www.disciplineglobalmobile.com

The CD features 7 tunes from the William Dixon Border Bagpipe book of 1733
which has already been mentioned on this group, plus other music. Although it
had a real stinker of a review in Common Stock other reviews have been very
favourable!

Another thing I have been wanting to clear up:
Border pipes and Uilleann pipes are emphatically NOT smallpipes. Smallpipes is
a precise technical term meaning a bagpipe with a cylindrically bored chanter,
rather than a vague description of size. Border pipes have a conical bore and
are also known as Lowland pipes and half-long pipes. I personally prefer the
term Border because that is the repertoire I play. The William Dixon book, as
far as I can possibly tell, was written for Border pipes. The tunes can be
played on smallpipes of course, but it is misleading to describe them as
smallpipe music. The modern Scottish smallpipes can be used to play anything
with the relevant scale - including GHB and Border pipe music - but because
they are not (yet) a historic instrument they do not (yet) have a historic
repertoire. The 'original' Scottish smallpipe of the 18th century was either a
close cousin to, or identical to, the Northumbrian smallpipe of the same era,
and no historic repertoire for it has (yet) been discovered, though I'm still
looking!

Best wishes-
Matt Seattle.

Jim McGillivray wrote:
In addition to the recordings Bob Cameron has mentioned, Iain MacInnes,
a member of Ossian and the producer of the BBC weekly Highland piping
broadcasts, has a new CD out with Greentrax called "Tryst". It's mostly
Scottish smallpipes in D and A with a couple of Highland tracks thrown
in. I think it's excellent; Iain is very musical and has a very light
touch. Good tunes, good playing, good arrangements.

Jim McGillivray
Aurora, Ontario


Let's just add to the list again, as long as we're out poking around. You'll
find som sound samples on several pipers and pipemakers pages, including 
Richard and Anita Evans smallpipes page
http://www.lingfoot.demon.co.uk/ssppage.htm.

Hamish Moore has sound clips on his page  http://www.hamishmoore.com and Ian
Lawther  does, but I don't have his URL handy.


Slan leibh,
Bob

Ian MacHarg also has a CD out withe both GHB and Scottish Smallpipes- "The Given
Note" , i think is the name.
  Also, if you check Ian Kinnear's website, he lists several recordings with his
smallpipes on them (None of which is of him playing,BTW) get there from
http://freespace.virgin.net/kinnear.bagpipes. BTW I found his address on BoB
Dunsire's Web at http://members.aol.com/bagpipeweb/bpwpipem.html- yuou'll find
allsorts of bagpipe ( and smallpipe) links there.
--
Slan leat, Bob

On Friday, February 24, 1939, jimmcg@... wrote:
>
>In addition to the recordings Bob Cameron has mentioned, Iain MacInnes,
>a member of Ossian and the producer of the BBC weekly Highland piping
>broadcasts, has a new CD out with Greentrax called "Tryst". It's mostly
>Scottish smallpipes in D and A with a couple of Highland tracks thrown
>in. I think it's excellent; Iain is very musical and has a very light
>touch. Good tunes, good playing, good arrangements.
>
>Jim McGillivray
>Aurora, Ontario
>
>
>

In addition to the recordings Bob Cameron has mentioned, Iain MacInnes,
a member of Ossian and the producer of the BBC weekly Highland piping
broadcasts, has a new CD out with Greentrax called "Tryst". It's mostly
Scottish smallpipes in D and A with a couple of Highland tracks thrown
in. I think it's excellent; Iain is very musical and has a very light
touch. Good tunes, good playing, good arrangements.

Jim McGillivray
Aurora, Ontario


bellowspipes@egroups.com writes:
>Almost all Scootish Smallpipes and Lowland/Border/Half-long/reel pipes
>use (or can use) GHB fingering.
> I'd suggest listening to as many kinds of pipes, either in person or
>on recordings as you can, to get an idea what sound really turns you
>on. Partly, the answer to your question will depend on what you want to
>do with the pipes- do you want to play in sessions, with guitars, folk
>harps, singers, - this will help determine which key the pipes should
>be pitched in.
>here are some recordings you might wnat to check:
>Gordon Mooney: Over the Border, One For the Birds: in "Border", he
>plays Scottish Smallpipes, Northumbrian Smallpipes (in a variety of
>keys) And Broder (Lowland pipes) - some tunes are pipes only, some have
>other instruments and vocals. On "Birds"  the pipes appear on several
>tracks- Lowland, SSP, Electronic pipes- mostly with other
>instruments.The last cut has SSP, Electronic (MIDI) pipes, electric
>guitarand others.
>
>Hamis Moore: "Bees Knees"- GHB, Scottish Smallpipes in Bb, C, D- much
>of this recording is decidedly non-traditional- some pop and jazz mixed
>in playedd with other instruments throughout.  "Steppin on the Bridge"
>("Dannsa air an Drochead") faetures Lowland pipes ans Scottish Small
>pipes with fiddles, flutes, Cape Breton style piano, one jazzy piece at
>the end with saxophone.
> Hamish moore has one or two others, but I have not heard them.
>
>Whistlebinkies "A Wanton Fling", "Inner Sound" and "Timber Timbre"
>have Rab Wallace on Lowland pipes and Scottish Smallpipes, Fiddles,
>Harps, lutes, percussion, concertina and vocals. the first of these,
>...Fling" has more of the familiar tunes more people would recognize.
>(YMMV) I like all three.
>
>Ian Lawther " the Empty Trough"- Ian plays GHB, Uillean pipes,
>Northumbrian smallpipes, Scottish Smallpipes, Lowland pipes and a
>double-chanter scottish smallpipe ( also flute, tin whistle and
>concertina on this one.
>
>The Grand Concert of Piping is now a seires , I guess- you will hear
>players on GHB, SSP and Lowland pipes- the concert is a joint
>production of the LBPS and the Piping Society, If I remember correctly.
>The quaklity of the piping is quite high.
>
>Jonathan Swayne has a group called Moebius which is a trio of pipers
>playing instuments he made- specifically 3 of his "Borderpipes". Jon
>swayne's Border pipes are not fingered like GHB, and their range is an
>octave and a half. They have a distinctive, sweet tone(IMHO) somewhat
>French-sounding to me. The pipes are in C and G, playing in three part
>harmony.
>
>Mike MacNinch also has a Cd out, but I cn't remember the name of it
>right now. I've not heqrd the CD itself, but I have heard him play live
>a few times.
>
>There are, of course, more- but these are a good start, and are the
>ones I have fiorest-hand acquainr=tance with.  Goos luck.
>
>

Almost all Scootish Smallpipes and Lowland/Border/Half-long/reel pipes
use (or can use) GHB fingering.
  I'd suggest listening to as many kinds of pipes, either in person or
on recordings as you can, to get an idea what sound really turns you
on. Partly, the answer to your question will depend on what you want to
do with the pipes- do you want to play in sessions, with guitars, folk
harps, singers, - this will help determine which key the pipes should
be pitched in.
here are some recordings you might wnat to check:
Gordon Mooney: Over the Border, One For the Birds: in "Border", he
plays Scottish Smallpipes, Northumbrian Smallpipes (in a variety of
keys) And Broder (Lowland pipes) - some tunes are pipes only, some have
other instruments and vocals. On "Birds"  the pipes appear on several
tracks- Lowland, SSP, Electronic pipes- mostly with other
instruments.The last cut has SSP, Electronic (MIDI) pipes, electric
guitarand others.

Hamis Moore: "Bees Knees"- GHB, Scottish Smallpipes in Bb, C, D- much
of this recording is decidedly non-traditional- some pop and jazz mixed
in playedd with other instruments throughout.  "Steppin on the Bridge"
("Dannsa air an Drochead") faetures Lowland pipes ans Scottish Small
pipes with fiddles, flutes, Cape Breton style piano, one jazzy piece at
the end with saxophone.
  Hamish moore has one or two others, but I have not heard them.

Whistlebinkies "A Wanton Fling", "Inner Sound" and "Timber Timbre"
have Rab Wallace on Lowland pipes and Scottish Smallpipes, Fiddles,
Harps, lutes, percussion, concertina and vocals. the first of these,
...Fling" has more of the familiar tunes more people would recognize.
(YMMV) I like all three.

Ian Lawther " the Empty Trough"- Ian plays GHB, Uillean pipes,
Northumbrian smallpipes, Scottish Smallpipes, Lowland pipes and a
double-chanter scottish smallpipe ( also flute, tin whistle and
concertina on this one.

The Grand Concert of Piping is now a seires , I guess- you will hear
players on GHB, SSP and Lowland pipes- the concert is a joint
production of the LBPS and the Piping Society, If I remember correctly.
The quaklity of the piping is quite high.

Jonathan Swayne has a group called Moebius which is a trio of pipers
playing instuments he made- specifically 3 of his "Borderpipes". Jon
swayne's Border pipes are not fingered like GHB, and their range is an
octave and a half. They have a distinctive, sweet tone(IMHO) somewhat
French-sounding to me. The pipes are in C and G, playing in three part
harmony.

Mike MacNinch also has a Cd out, but I cn't remember the name of it
right now. I've not heqrd the CD itself, but I have heard him play live
a few times.

There are, of course, more- but these are a good start, and are the
ones I have fiorest-hand acquainr=tance with.  Goos luck.

Hey,

I may be getting some small pipes as a belated Christmas present.  I
want to
know what I should look for.  Alittle about myself: I am new to the
GHB.  I want something that I can play indoors, use GHB fingerings and
possibly play
with others.  Other considerations are mouth/bellows blown and being
able to switch key (A/D).  Also, price is of some consideration for me;
with a contribution from myself I can probably afford something in the
range of $1000.
I've been lookin at the Fireside pipes by Gibson and some by Hughs in
Houston.  I've heard that Hamish Moore has good pipes but have been
unable to locate any info.  Any and all info would be greatly
appreciated.

   Wade Reeser

I'd like to start of the new year  with a hearty welcome to all our new
members and a reminder for all members (after all the list is fairly
new, so we're really all new members)

Just a periodic reminder, for the benefit of people who missed the
first time around:  This list is meant to be a low-traffic site for
making announcements and queries related to bellows-blown bagpipes and
other smallpipes, not a forum for discussion per se. There's certinly
room for flexibilty there, as traffic has been very light up to now-
we're still fairly small- about a dozen and a half members so far.   As
long as threads are on topic, I don't think we'll need to hold back on
them.  Flaming or other disrepectful posts will not be tolerated. (Not
that we've had any, or would with the group we have- it's just time for
the routine periodic caveats ). end of editorial.

  So, now that the business portion of the meeting is over, who got a
new set of pipes for Christmas?

Gentle pipers
   Sean and Jim,

   This is in response to Sean and Jim's messages.  They are related in
a sense.
   First of all Cauld winded pipes  are at the mercy of any moisture
present near your reeds.  Humidity will swell your reeds causing them
to open at the elevation.  The ideal is to always play under the same
conditions so you can set up your reeds the same way always.  Never
happens.  So any moisture you introduce will effect your reeds.
Organic oils such as olive oil will begin to decay in your pipes if
left there long enough.  This is hardly the ideal situation.  A highly
refined olive oil will work to condition your pipes but will mess up
the cane of the reeds terribly. If you must oil your pipes use a bore
oil for woodwinds or the finish the maker applied to begin with.
   Now there has been plenty of experiments in the use of oils or
sealants on the cane to seal them off from moisture.  With the mouth
blown pipes you can expect your pipes and reeds to absorb something.
If it's not the moisture in your breath it might as well be bore oil.
But cauldwinded pipe reeds are more delicate. From my perspective if
you can seal the cane so the humidity won't effectit by swelling you
will be a step ahead.  I personally use an almond-lemon wood finish oil
to seal the cane during the reed making process. I don't think it's a
good idea to apply this to a reed which is working well. But this is my
opinion.
   But if you are going to make a compsite or synthetic reed for
yourself you can do it.  The most basic reed of tis type is a simple
brass body with either cane or plastic tongues.  The process is simple
for anyone with some basic tools.  You need some brass tubing for the
bodies, cane or plastic for the tongues. There's plenty of websites
around which describe the process. One thing I would add is once you
get the basics down try this.  Insert the reed in your drone. Wind the
binding for the tongue up to where you think it should be to play in
tune.  Try it out to see how well it plays.  By winding more or less
binding up or down the reed you can do all your preliminary tuning.
You should set your tuning section of the drone midway up the pin so
you can fine tune up or down once you hit the right spot with the
binding.  Those who have made these types of reeds will tell you once
you set them up you'll rarely have to retune them.
    Regards,
      Kevin Scott

Folks:

I'd be interested in opinions on synthetic drone reeds for the SSP.
I've played Highland pipes for 32 years, playing synthetic drone reeds
exclusively over the past 5. While I would agree that cane gives me
perhaps 10-15% more quality, the synthetics reduce my maintenance and
steadiness woes by at least 40%. I have a set of Hamish's A/D pipes
with cane; I live in southern Ontario, which lacks the consistent
humidity of Scotland, and my drone reeds are finicky, even in my
heavily humidified piping room. My heart and loyalty to Hamish's sound
tell me to stick with the cane. My brain says quit wasting time, move
on to synthetics and start playing with consistent steadiness.

Might others be willing to offer an opinion here?

Thanks heaps,
Jim McGillivray
Aurora, Ontario

Dear Sirs and/or Madams,

The bellows technique is improving.  As Mr. Keenan stated, "Practice,
practice, practice," however, questions regarding maintenance keep
popping to mind as I am playing them.  I recently received a copy of
Gordon Mooney's "Tutor for the Cauld..." and he indicated that the
reeds of the pipes are tonally best if moistened by an
oil(olive)impregnated in the hemping and the bores of the chanter and
the drones. As I live in a particularly arid climate, I believe this
concept may be of particular importance to me.  Can anyone offer their
experience as it relates to this desert I live in and how often I
should treat these parts of the pipe to maintain moisture in the
system.  Also, does seasoning the bag and bellows influence "relative
humidity" in the set?

I recall a couple of years ago, William Jackson leaving his pipes in
the bathroom of the church where he was to play, hoping to add some
moisture from ambient environment.  His reeds apparently dried out
during his stay here in Montana.  When I heard him at the next town, he
had quit playing his uillean pipes and stuck to the harp.  Anyway, I
would like to keep ahead of this problem if possible.

Thanks,

Sean

hi list,
in case someone hasn't already replied. the music to "Train Journey
North" is published in Scots Guards Book II.  I love the tune by the by
and used to compete with it until one judge suggested that I take the
bus.

I am looking for the music for "The Train Journey North".  Anyone know of a
source?  Thanks.

Bonnie Dixon
______________________________________________________

Hi list,

   Since I don't know who the members are on this list I'm not sure if
anyone reading will have the answer to this question.  But it can't
hurt to ask.
  While having a discussion with a friend concerning turning chanters
the fact that several types of pipes are made with the length as the
determining factor and not the particular key.  It's common knowledge
that the French and Flemish pipes are named by the length and not the
resulting key. The Italians do the same with the zampogna. The question
is does anyone know if the old Irish makers did the same? Instead of a
D pitch chanter they would have made a 14 1/4 chanter. Or instead of a
C chanter they turned and bored a 16 1/4 chanter.  And along the same
lines how about the actual reamer?  Would they have used a single long
reamer to do all the boring?  I don't think this is the case of the
reamer however.  Looking over my reamers it's the throat and the exit
diameter which are similar.  The taper, though, is over a shorter or
longer distance, one from the other.  Any information along these lines
is welcome.  And actual source material would be great.
    Kevin Scott

Good day or whatever,

Thanks for all the advice.  Recently, I received a copy of Gordon
Mooney's tutor for the bellowspipes and combined that with advice I
received on this group.  Mine first inclination was to try to get
specific info on how to run the bellows.  The tutor coupled with your
advice led me to worry less about what my wings are doing and listen.
I've been listening to steadiness of tone (and trying to maintain
it)and find my "wings" doing what you folks advised me to do with them.
  I've only been at it a couple of weeks at the most so hopefully it
will improve with time.  Mr. Sloan has been incredibly helpful on some
reed tinkering that's been necessary, so things are coming along.

Thanks,

Sean

> i'm very new to the bellows pipes although i've played the
> GHB for over 30 years.  i own a set of sloan's small pipes
> and i've got a very serious problem:   i cannot keep the bag
> any where near firm.  it practically collapses under my arm
> as i play (slow airs only right now).  i've checked the bag
> and the bellows.  they are airtight.  i'm not sure that the
> problem is just my technique, such as it is, although i'm
> sure that contributes.  i say this as i can feel a heavy
> stream of air coming out of the drones, ...snip...

The first thing to check is that all the drone reeds are in place.
Assuming that to be the case, you probably need to close up one or
more reeds a bit. I'll assume you have Ray's hybrid reeds consisting of
a brass body with cane tongues. You'll find that the seating thread is
also the thread that binds the tongue to the body. Unwind it 'til you
come to the outermost turn of thread (that is, the turn of thread that
is closest to the free end of the tongue). Unwind this one turn and
then wind it back on slightly closer (about the width of the thread) to
the tip of the reed. Wind all the rest back on and test. The reed will
be sharper so you'll have to re-tune.

As for synthetic reeds, Ray has occasionally supplied plastic tongues.
You could make some up yourself from hobby shop polystyrene. I think
it's the 0.015". You may have to sand the tails a bit thinner.

Dave Keenan
Celtic Fire, Ltd.
http://www.celticfire.com

hi all,
i'm very new to the bellows pipes although i've played the
GHB for over 30 years.  i own a set of sloan's small pipes
and i've got a very serious problem:   i cannot keep the bag
any where near firm.  it practically collapses under my arm
as i play (slow airs only right now).  i've checked the bag
and the bellows.  they are airtight.  i'm not sure that the
problem is just my technique, such as it is, although i'm
sure that contributes.  i say this as i can feel a heavy
stream of air coming out of the drones, especially the base
drone, as i play.  i only have one tenor and the base going
right now.  i suspect it may be the drone reeds as the
problem does get significantly worse if i cork off and then
open my base drone.  i'm not real sure how to work these
reeds.  very small and delicate.  any suggestions would be
greatly appreciated as i've been trying for nearly 2 years
and am about to give up.  i love the sound, but not the
frustration.  they're no fun right now.   also, are there
any synthetic drone reeds out there for sloan's small
pipes?  could this be an answer?  thanks much in advance.
this group is a great idea - especially the low volume part.

"kevin scott" <piobair-@...> wrote:
original article:http://www.egroups.com/group/bellowspipes/?start=4
>  Sean and the list in general,
>
>  You aren't the only one to make the switch.  Keepin mind that each
> type of pipe has it's own sound, technique, history and music. They
are
> related to each other but not the same.
>    A simple metgod to learn the bellows technique is this.  Strap on
> your bellows and bag.  Cork off your drones or remove them.  Don't use
> your chanter either.  Sit down in a comfortable position with all this
> in place.  Put your left index finger over the chanter stock.  Inflate
> the bag.  Allow a small amount of air to escape while maintaining a
> steady pressure on the bag.  The idea is to keep a tight bag while
> maintianing a steady flow of air.
>  Some common mistakes are playing the chanter with the bellows and
> keeping time with the music with the bellows.  By removing the chanter
> you can learn to avoid these mistakes.  Remember you want to keep a
> tight bag and maintian a steady stream of air leaving the chanter
> stock.  I recommend you do this while watching a movie or TV.  You
want
> to do this without thinking about it.
>
>   Regards,
>     Kevin SCott
>
Thanks to all who sent replies to my request.  I'll give those ideas
some practice and I'm sure I'll be getting back to you.  I have on
order from LBPS, a copy of the cauld wind tutor so hopefully that'l
offer some advice as well.  Take care all.

bdut-@... wrote:
original article:http://www.egroups.com/group/bellowspipes/?start=5
> Dear group,
> I'm looking for music books specifically for the smallpipes.  I know I
> can play the same music that the GHB does, but I know that there are
> music books out there specifically for the SPs.

  Gordon Mooney has produced at least three books specifically for
Smallpipes. one of which is a Tutuor for the Cauld Wind Bagpipes
another  is called Over The Border, and the third is called Drops of
Brandy. he has a website:
http://www.netreal.co.uk/borders/
  The Wm. Dixon collection is the oldest-known book of pipe tunes-
written for borderpipes or smallpipes, and is avaliable in a new
edition. You might want to check the LBPS website too:
http://www.netreal.co.uk/lbps


> Also my set of SSPs are mouth blown (D).  Does that mean I'm not
> supposed to be here?
You are welcome here, Bruce. This list was set up as a resource for
"Cauld Wind pipers", but certainly a lot of infornmation will be just
as valid for players of mouth-blown smallpipes as well.


> Thanks,
> Bruce
>

Dear Bruce,

     You might try the Dixon Collection, published as The Master Piper or
Nine Notes That Shook the World, presented by Matt Seattle. It is the
oldest extent collection of pipe tunes of the British Isles and is meant
for Border pipes and would sound just dandy on the SSP. You can get it
from Elderly Instruments (elderly.com). As far as your propensity to use
mouth blown pipes, I say you're welcome here. You just have all of my
sympathy in keeping those damp reeds going. Good luck.

       Ken Bloom

Dear group,
I'm looking for music books specifically for the smallpipes.  I know I
can play the same music that the GHB does, but I know that there are
music books out there specifically for the SPs.

Also my set of SSPs are mouth blown (D).  Does that mean I'm not
supposed to be here?

Thanks,
Bruce

Sean and the list in general,

  You aren't the only one to make the switch.  Keepin mind that each
type of pipe has it's own sound, technique, history and music. They are
related to each other but not the same.
    A simple metgod to learn the bellows technique is this.  Strap on
your bellows and bag.  Cork off your drones or remove them.  Don't use
your chanter either.  Sit down in a comfortable position with all this
in place.  Put your left index finger over the chanter stock.  Inflate
the bag.  Allow a small amount of air to escape while maintaining a
steady pressure on the bag.  The idea is to keep a tight bag while
maintianing a steady flow of air.
  Some common mistakes are playing the chanter with the bellows and
keeping time with the music with the bellows.  By removing the chanter
you can learn to avoid these mistakes.  Remember you want to keep a
tight bag and maintian a steady stream of air leaving the chanter
stock.  I recommend you do this while watching a movie or TV.  You want
to do this without thinking about it.

   Regards,
     Kevin SCott

Sean, where are you located- maybe one of us is in yoour are or knows of someone
who is.
--
Slan leat, Bob

Would anyone be so kind as to offer some advice to the beginning
bellowspiper?  I have three years experience with the highland pipes
and PC and have recently purchased a set of Sloan (A) smallpipes.  I am
specifically interested in tips on the bellows technique.  I would sure
appreciate help as I am in an area devoid of such an instrument and/or
player.

Thanks,

Sean

Why a bellows-pipe group?  The object is to provide a space for
announcements about concerts, festivals, workshops, any sort of
small-pipe or lowland /Border pipe related news or queries away from
the more active bagpipe lists and newgroups.
  This list is intended to be strictly low-volume.

If you know of any upcoming events, please post them here.
If you are looking for something related to bellows-blown
bagpipes,please ask here.

If you want carry on an extended discussion or a flame war, there are
other lists for that, please keep this low volume .

So who's got any news?