This weekend, there will be a workshop (3rd year running) at Newcastleton Folk Festival in the Scottish Borders. It is for beginners, showing the basics of playing (bag pressure, holding a steady note etc.) how getting started on the small pipes. Some sets will be available for people who want to have a go, or bring your own if you want to start. More details will be given at the Festival Office, but the workshop will be on Sunday morning, about 10am and will officially last 2 hours (but in practice it continues!).
It’s all becoming a bit too much. Brexit and the media have released in people a bigotry that was hidden. A few occasions in the past 2 months I have gone busking to be faced with a mindless ignorance that comes from people who are prejudiced against foreigners.
These people seem to think the instruments I play (English concertina and the Border Pipes or the Northumbrian Small pipes) are foreign instruments and therefore I am foreign too.
The latest encounter happened yesterday. A young couple (who had a Lancashire accent) came up to me while I was busking with the English concertina. “Where are you from” he said. I replied I was from Carlisle. “O’ good as if you are a foreigner I would not give you any money”. As he said those words I pulled a face of disapproval, he noticed this and said “O’ I am not racist” he thought for a second and came back and put 1p into my box, he must have felt guilty!
Another occasion was when 4 kids, aged roughly 13-14, came past me while I was playing the Border pipes. One girl did not like the sound of the pipes and was shouting at me to stop, then screaming at me to stop, holding her hands over her ears and screaming, she kept on saying “play something English”. The 2 boys with her began to get annoyed so I decided to stop. I told them that with all their screaming they had no idea that this instrument was from this region and the tune I was playing was from Northumbria. They were actually de-crying their own culture. I told them they should get to know their own culture and music before they open their mouths.
Ok, they are young, bored teenagers, and as they hung around I learned that they had nowhere to go, and had no family as such; so they were looking for mischief. One other girl egged on the screamer to throw a pint glass of water over me, but she threw it on the ground instead in front of me.
Another experience was again when I was playing Border pipes and 2 young boys walked past and shouted “play something fucking English”, again I was playing a Northumbria melody on an instrument that was native to my area. These sorts of comments happen a lot.
A couple of years ago I was playing the Northumbria small pipes when 2 police men stopped me. One had a London accent the other was from Carlisle. The Londoner was obviously looking for a promotion, or to make his mark. He said derogatively “which country is that instrument from” I said “country or county? The Londoner looked confused, and that’s when the Cumbrian said to him “these are Northumbrian Small Pipes” the Londoner looked embarrassed and they both walked away.
When I sit and play the majority of people like my music. But when they approach me they always mouth the words “it is nice”, like I cannot understand them, some look at me as though they want to speak to me but feel I cannot understand English.
I can only draw from this that they see a busker and they see a foreigner. To tell you the truth I feel like a foreigner, as I do not recognize the prejudices that are on our streets these days.
Sun, nature, music and good company…for me, you can not beat that. Alba and I decided to rehearse for the first time together with the fiddle and the Galician chanter. We met in Retiro Park, inside of Madrid, on a saturday morning and with our little red book containing our set list – a collection of Northern Spanish and Northumbrian tunes – we began rehearsing the melodies to who ever passed by.
The bagpipe is a “hybrid” a combination of using a Galician chanter (in the key of D) and drones, which I made, based on the Border pipes, using a Northumbrian tuning (D and A). Alba simply tuned her fiddle into my chanter… and away we went.
Some people decided to sit on the benches and listen, take videos… old, young and a group of Hip-hop teenagers! The weather was great.
here are some of the videos from the rehearsal.
The Millar’s Daughter, is a Northumbrian Smallpipe tune found in Peacock Manuscript.
Frisky, is a Northumbrian Smallpipe tune found in the Peacock Manuscript.
Danse La Pirineo is a Aragon, Spain.
Muiñeiras De Rengos, a Asturian tune, here is just an extract.
Kelso Lasses, is a tune from the Scottish/English Borders, a 9/8 tune.
L’Arrastrat’ is a tune from Catalonia, and the following tune is from Mallorca, Bollero de Santa Maria
Ribeirana de Redondela is a melody from Galicia.
I’m Over Young to Marry Yet, and the Highland Laddie, are Northumbrian tunes, both from the Peacock Manuscript.
A melody from Zamora, Spain.
Another version of the Northumbrian melody “Frisky”
We went to visit Juan Morley, in the town of San Joan. He is a researcher, musician and maker of the Mallorcan bagpipe “The Xeremies”.
He told us about the old scale used by the Xeremier players in the 60s. He said they used a different scale than today. A scale that is not based on harmony, or harmonizing with the drone, or perfect 5ths.
he explained: “you tune your drone (C) to your root note on the chanter (C) making sure the top octave (C’) is also in tune with the drone. Top and bottom of the chanter is in tune with the drone.
The 4th note (F) and 5th note (G) are also in tune with the drone using the harmonic series. So far it is normal to other modern bagpipes.
Here is where the differences occur. The tuning of the rest of the scale is different. It does not use semitones (or half tones) but quarter tones (1/4)…approximately!
Normally the 2nd would be a D (440cents), but with this old Xeremeis scale it is flat of of D, of about a 1/4 tone. Normally the 2nd note clashes with the drone anyways but this would make it more so.
the 3rd note should be an E at 440cents, and therefore harmonizing as a 3rd in the harmonic series… it would be a nice harmony, either using a major 3rd (an E) or a minor 3rd (Eb), but this old scale uses neither, it plays a 1/4 note flat of E.
the 6th note is a A (440cents) but again this is not concert pitch, it is a 1/4 note flat of A, again not harmonizing with other instruments, not with the drone.
the 7th note is flat also roughly a 1/4 tone, not a semitone.
Here, Juan Morley plays the “ancient” scale on the Xeremier.
I have only seen one other example of this tuning in Spain and this was with the Sanabresa Gaita, which also uses 1/4 notes in its scale.
We met the Xeremiers des Puig de Sa Font the next day in Sant Llorenç (Mallorca) for the Christmas parade in the town. They played at different venues as the main square was full of children’s activities. We had spent the previous day hearing them rehearse in the theatre.
They play a mixture of traditional Xeremies melodies from Mallorca, medieval melodies and new compositions by the director of the group, Antoni Genovart.
The Xeremies is a traditional bagpipe from Mallorca, with an unbroken line of musicians. I have been a fan of them for many years but I finally got a chance to hear them and to try them out during our time there. They have 3 drones out in front of the bag, 1 chanter with 9 holes, and are mouth blown. The other instruments are :
La Tarota – an oboe type instrument
Flabiol – (5 hole flute) and Tamborí (small drum)
Here is a recording of a Northumbrian Small Pipe melody called “The Millers Daughter” from the Peacock manuscript from 1800. It is a melody I have played a lot on Small Pipes and Border Pipes over the years.
I am experimenting a lot these days, by playing various Small Pipe melodies on the Galician chanter. The reason why I am playing these tunes on a Spanish bagpipe is not for this blog right now, but there are certain Northumbrian tunes that go well with the Gaita (bagpipe) and certain tunes that do not feel ‘right’.
I bought this chanter, which is in the key of D. A high pitch sounding instrument, that is not that common in Spanish music. Normally you would hear a chanter in C or Bb. I chose D as I wanted it compatible with a lot of Northumbrian/Irish session instruments.
The pitch is a little high, so I made a bass drone in D and a tenor drone in A, but this did not sound right either, it did not suit the melodies too well, so I made another bass drone in D. 2 bass drones in D, give a deeper harmonic in relationship to the high-pitched D chanter (although this recording does not show it too well, this was only a demo).
I have been re-looking at my Bandcamp site. It takes a lot of time to edit it.
I have re-mastered (as they say) the Border pipes CD “O’er the Dyke” and in doing so, it was like finding a lost manuscript, hidden in my archives. I had to re-understand what I was doing all those years ago while recording that CD, using the equipment I had back then. No such thing as DAWs as today, I used to record using a normal computer and its own sound programme. 2 computers to create 1 CD.
Technology moves so fast and now it is easier to record, edit and publish a CD using 1 computer and 1 programme. It takes a lot of time of course, days, weeks and months… but the actual recording can be done a lot quicker.
I have been working on 2 new CDs.
The 1st CD is of the Northumbrian Smallpipes: looking more closely at the Dixon manuscript, with their complex variations. And also I have been looking at various non-British melodies from Sweden, Spain, Belgium and France.
The reason for the mix of styles is a reflection of the countries that have influenced my music of the past 20 years. A CD has to be representative of what I am playing now, and what I am playing are melodies that are directly part of my life. Since I spend a lot of my time in Spain researching the bagpipe, I play a lot of Spanish bagpipe melodies, and since I visit Sweden I have collected 1 or 2 tunes from there… and so it goes on.
The 2nd CD is a concertina CD, with a doubling up of a mandolin on various tracks. The mandolin I started to play again after 30 years break. These tracks are a reflection of my busking activities in the UK and various duets I have been involved with in Spain. The style also covers a range of UK and Spanish melodies that work on the concertina (not all of them do work!). I had to learn a new repertoire on the concertina recently as one of the notes stopped working, so instead of transferring the existing melodies onto a new pitch, I learned a new repertoire in a different key.
These CDs I hope to have finished in December and January.
This years Newcastleton Folk Festival (2016) was enjoyable for me, I played various pipes (Gaita, NSP, Border and Scottish Smallpipes) and played at a few concerts and gave my workshop on the Smallpipes.
I was asked to play at the opening concert in the Church, part of it was video’d. I played for about 30 minutes and I really enjoyed the atmosphere. The melodies are all traditional Northumbrian/Border mainly from the Peacock manuscript (1800)
This is a recording of a melody I did in 2015, in the UK. I was practicing an Asturian melody on the Galician chanter. The melody is called “Si Vas A La Romeria”; I learned it at Casa de Asturias, in Alcala de Henares, Spain. It is my own interpretation of the tune, and I guess I am putting a British “accent” on it… but I hope it is recognizable to the original!
If you are reading this from outside of the UK you might not get the full weight of the statement when I say “it was sunny today”! A little bit of sun can make all difference, especially when one is busking with the gaita.
In the center of Carlisle this weekend there was an European Market, stalls mostly selling different foods from various countries/regions of Europe. Sadly, the music coming out of the stalls was of the nondescript type… so I took myself away from the center and down a back street. I took out the gaita and played…
Since I play mainly Asturian melodies these days I was scratching my head when I had exhausted my repertoire, but it is amazing how melodies that have not been played for several years come back quite effortlessly. I often remember another tune when I am half way through playing a melody, which makes me to quickly continue onto the next melody. In this way I can play one tune after another, with little break between melodies, with only a quick tune-up and off I go again.
Melodies popped into my head from Catalonia, Sanabria and Galicia, and I have been learning several Northumbrian melodies from the Peacock Collection that go well with the Galician chanter. Sometimes people stopped me and asked “what instrument is that? It is better than the bagpipe!” well there is a bag, and there is a pipe/chanter so how can it not be a bagpipe? but they mean the GHB anything else is not a bagpipe in their eyes. I have had this for years, when I started playing my NSP they used to ask the same questions, but today they know what the NSP is all about (a sign of progress I guess) but the definition of what is a bagpipe still needs some work!
I started playing at 12.15 and I stopped playing at 15.45, I did not repeat many melodies with in my set, but I began to get tired and I thought it was time to go home when I saw a big black cloud coming straight for me. It had rained once or twice while I was busking, but I continued playing through it and it quickly dried up. This one looked more substantial.
A nice way to spend a Bank Holiday, I hope I can do more like it…