Introducing the next generation

Jim Gilchrist reports on the Society's annual Collogue, when students from the RSAMD Scottish music course showcased their considerable bellows piping skills

QUITE APART from Jon Swayne and company's at times spectacular demonstration of “tube acoustics”, extensively recounted elsewhere in this journal, the Society's annual Collogue, held once again at Edinburgh University School of Scottish Studies in George Square, featured a heartening showcase of bellows piping from students of the highly successful BA Scottish Music course at the Royal Scottish Academy of music and Drama in Glasgow.

The three students, Stephen Blake, Emma Buchan and David Wilton, were introduced by Finlay MacDonald who, apart from making a name for himself with his Finlay MacDonald Band and other contemporary folk groups, is a tutor at the National Piping Centre in Glasgow, among other things working with those RSAMD students who enrol in the BA Scottish Music - Piping Course introduced by the academy in 2001.

Stephen Blake playing small pipes in A as fellow- RSAMD student Emma Buchan looks on

Almost all the playing was Highland or Highland style material, but the standard of playing was very impressive and, combined with the young players' enthusiasm, bodes well for the future.

Finlay, who was in the first intake of students for the RSAMD's BA in Scottish Music course back in 1996, graduating in 1999, recalled how while he had played bellows pipes a little, it wasn't until he arrived at the Academy and found that one of the more exciting aspects of the course was playing with other instrumentalists that his bellows playing came into its own. “Because

of the dynamics of the Highland pipes, the Border pipes became very much my instrument outwith the Highland piping lessons,” he explained.

With that, he continued, came changes in how he played, as he listened to fiddle variations, for instance, or to harpists or accordionists. He reckoned that listening to fiddlers in particular, had influenced how he played the Border pipes. “When I play Highland pipes now it feels very different from when I play Border pipes, and I feel there's a lot more freedom with the bellows pipes.”

The piping element of the Scottish Music course was largely focussed on the Highland pipes, with tutors Alan MacDonald and Stuart Samson, but using bellows pipes enabled pipers to feel “a bit more included in the course's group work sessions” and helped their development in a group playing context.

With the advent in 2001 of the BA (Scottish Music - Piping) course, there was more teaching time devoted to piping, including studying the repertoire under the teaching of Alan MacDonald, which included a look at Lowland material. Finlay reckoned, however, that 100 per cent of those on the course came from Highland piping backgrounds and still mostly played the Highland instrument - although many of them would also have a bellows set. “We probably should try and encourage some more Lowland style playing,” he said, somewhat apologetically, “but the reality is that it's more Highland piping.” Overall, however, he thought it “quite a healthy situation”

It was notable that, back when he started on the course, playing bellows pipes was quite a new experience, whereas at last year's Celtic Connections in Glasgow, it was “quite a nice

moment” to see some 20 RSAMD students on stage, all playing bellows pipes.

He went on to open the playing, using Border pipes, with a slow air from Bulgaria, then a Macedonian tune, both picked up on his piping travels in these areas. He was followed by Stephen Blake, who played Scots and Irish 9/8 jigs and reels on small pipes in A. “We're open to everything,” he said. “You can incorporate it all into your own style, or you can go down one road if you want.”

Emma Buchan, who is Pipe Major with the National Youth Pipe Band of Scotland, played strathspeys and some fine Duncan Johnston tunes on Border pipes, while David Wilton (also a

David Wilton and Finlay MacDonald during the RSAMD recital at the Collogue

world highland dancing champion) also used Border pipes and ventured briefly into Lowland territory with Wally as the Marquis Ran before shifting into an energetic set of Irish polkas. Reflecting something of what Finlay had said about different approaches, indeed mind sets, David said that he has a different set of pipes for bellows, solo and band piping. “Different tunes and styles tend to come into my head, depending on what pipes I'm using.”

All four pipers played in a lively finale, joined by former LBPS chairman Nigel Richards on cittern. During the session, one or two listening members took the opportunity to ask whether the students had known about the Society competition, held in Glasgow the past two years, or other LBPS events - reflecting the feeling the that the Society could do with new blood. Few of them had, and Finlay offered to circulate among the students in future any material

Finlay MacDonald plays as Nigel Richards accompanies on cittern.

that Judy Barker, the Society secretary could send him.

From the AGM

At the AGM, held during the Collogue, Society chairman Jim Buchanan handed over office to Martin Lowe who has been acting chairman for most of the past year owing to Jim's ill health. Jim, who is very much on the mend following cardiac surgery, was presented with honorary life membership of the Society, and declared that he would hang it “next to my certificate from the cardiac rehabilitation unit”.

Martin Lowe warned about the danger of the society drifting into complacency, with a largely senior membership, and there was considerable discussion of how younger members could be attracted.