Newcastleton Workshop 2017

It was my 3rd year running the Small pipe workshop at Newcastleton Folk Festival (always the 1st weekend in July). This year was different as a lot more people attended; in fact more people than sets of pipes. No way can I cater for everyone, I brought 5 sets of pipes and the group was good enough to double up during the workshop. I estimated 9 people came, as well as 3 others from the festival that had some role to play. 9 I thought was a nice size. I began by giving a talk about the construction, maintenance; and technique of blowing up the pipes; bag pressure; finger styles used with the small pipes, and bellows technique etc. and then a demonstration of what I hoped they would achieve from the workshop… to hold a note steady for 3 minutes.
Then I gave out the pipes for the students to try.

It is difficult to cater for the different age groups and sizes of the students. I made these pipes with my own body size in mind, but a young girl was there and she found them too big, and adults with a large waist was pulling the blowpipe out of its stock and due to the increase of girth. I am not sure how to cater for all the different sizes of people? It is a case of redesigning the pipes for workshops, something which might be difficult; and I guess, if they had more time, it would not be necessary, as they would master the correct position.

Another comment was that the bellow of a student was pinching into the student’s wrist, indicating that I should put padding around the edges of the bellows like the Irish piper’s bellows. I should have pointed out that the shape of the bellows is traditional and there was never any padding on the bellows cheek. What could be happening is that the posture of the student was not correct and this put the pressure on one side of the bellow, making the other side to rise and cut into the wrist. It is a case of the “beginner is always right and the instrument is wrong…” errrr no! If a student spent more time getting the basics right then they would see that the basic technique is important. They all seemed to be in a hurry to play…but without these techniques you cannot play.

To be fair on the student, what is required from them is nearly impossible, to master a technique that would normally take days to master. They have just over 1 hour. It is a tall order for anyone.

Another comment was that my pipes are quiet. Well small pipes are relatively quiet, I think what might be happening is that they hear pipes being played in a session, a Border pipe or a Scottish small pipe made by a highland maker (possibly the Reel pipes,) which are made for a Highland player, and these require more pressure and give out more volume, and they think all small pipes are the same, which they are not. My pipes are intended to give a quiet sound as I do not want 5 pipes playing loudly in a small room. They are meant for the student to listen too, but ideally not for the other students to hear them.

Another point I noticed was that the student wanted to play the chanter. So they ignored what I was saying in the introduction, that “if you can keep a steady pressure and play a steady note continually for 3 minutes, you have advanced a lot”. They immediately went for the chanter and seemed to think the pipes were at fault because they could not get a good sound. These things are natural of course, who would want to play 1 note for 3 minutes when more notes are there to try? But next time I might just start off with a chanter without holes, just a piece of tubing would have been more useful and if someone can get that right then give them a chanter to try. Most had difficulties in holding the chanter anyways, so it would be one less thing to worry about if the chanter was left to dangle and not to worry about covering the holes.

Over all I think the workshop went well. I improved my delivery to the students, and I learned more about how to present the small pipes as well as dealing with a bigger crowd.

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Small Pipe Workshop in Hexham

The Small pipe workshop went really well last Saturday in Hexham (Northumbria). The students engaged with the exercises very well and I think got a lot out of it…well I know they did. I got good feedback from them and the boss of Core Music, who ran the event. I would like to do more events there, and do a follow up workshop for the Small pipes, as I feel the students wanted to go further with their playing. They managed to get a regular bellow technique; they got 2 drones in harmony and the beginnings of a steady chanter note, not bad for 3 hours. Northumbrian/closed fingering was popular; I guess Scottish Small pipe fingering is more popular over the border. If lessons could be held regular then I feel they could advance quickly.

Rothbury Folk Festival 2015

The weekend started on the Thursday before the weekend by going through to Newcastleton, getting up early morning and going to Hexham and playing Northumbrian small pipes for 3 hours in the shopping precinct. Luckily there was not much disturbance and I played ok and got some good responses… always a bit uncertain as Northumbrian pipes in Northumbrian can be a bit like teaching English to the English! Before we left Hexham I visited a music shop (also music co-operative) where I knew they held workshops, I asked about holding my “Small pipe workshop” there, I had a positive response.

Then onto Rothbury Folk Festival, we got there about 5pm set up the tent and headed off for a session in the Queens Head pub. Due to a lot of background noise I opted for the Border pipes tunes.

Saturday was a quick listen to the town pipe band, then the Andy May Trio on the village stage, then off to the piper’s competition in the hall. It was full of people and a good turnout of performers. This year there was Border pipes competition. Listening to the Northumbrian pipers beginners and intermediate performers I noticed a lack of “drone tuning” therefore the pipes sounded horrible “TUNE YOUR DRONES TO THE CHANTER”  it is basic stuff, the judges need to be more strickt about this.

After the duets we headed off to a small room above the Newcastle pub and played a few sets. It was funny really as Border pipers sat in one end of the room and the northumbrian pipers sat in the other end… they did not mix… of course they were friends, but musically there was no common ground. Different tunings (A verses F) loud and soft… except for a few tunes in G (one G border pipe and some had G Northumbrian).

Then off to the Queen’s again for an evening session. This lasted until about 01.30am for me then I wandered off back to the tent. Then a strange thing happened about an hour later I had strong car headlights on my tent, voices calling out “are you in there”. One of my fears in a car/tented campsite is that I get run over by drunken drivers. This seemed to be happening with a car nearly on top of me. I stuck my head out of the tent and there was a police car. They kindly shone a strong beam of light deliberately into my face and asked me “I had seen Andy, who wears a green arm cast?” I replied to the negative. There had been a police helicopter above wakening everyone up and I guess the infrared camera had singled me out as I walked home.

The Sunday was a good small session in the Queen’s lots of varied music and a mixture of styles and instruments and song, I played Northumbrian small pipes more here due to the lack of background noise.
An excellent weekend.

Newcastleton Folk Festival 2015 (review)

I had a different, and in many ways a better festival this year. I did not attend the sessions like I normally do. I found last year a bit frustrating with all the noise (drunks not music) and a lack of places to play (for quieter instruments) all added to me walking aimlessly around. This year was different the organizers had added new venues to the places to play, one was a “quiet room” not in the main square (away from the pubs) but where you could have a tune. Also there were fewer drunks there this year and possibly less musicians (?) so I could find places to play.

I found the marquee empty on a Saturday morning so I played my Northumbrian small pipes, I played and played and slowly people began to sit down, after 2 hours of playing the tent was getting full, a few more musicians arrived and added more… then I left, found another piper and played on the grass (Border pipes and Scottish small pipes) and spoke to some people about the festival, piping and things in general. I met with a Northumbrian piper and had a few tunes together.

The after-hours sessions were great, songs and music, which went on until the early hours (got to bed 3am both nights) and on the Sunday night the “survivors session” we finally got out at 5.30am… and excellent sessions (I even sang while playing the pipes… a rare occasion).

The workshop went well, 10am to 12.30pm was useful to the students and myself (I even got a hug off one of them) what was apparent was the lack of contact the individual pipers had (isolation) and no advice or after care help; something they found the workshop was useful for. After the workshop we chatted and played until about 4pm!

I learn a lot too about my pipes and the adjustments I need to make, but the comments about the pipes were good and positive. I will make some mouth blown pipes too incase they will be needed. I will look for more festivals in the future and other venues to attract the students.

Completed Small Pipes for Newcastleton Folk Festival 2015

There are 7 completed Small pipes for the Newcastleton Folk Festival. I have covered most of the bellows with a fabric except for 2 of them.

Bubinga chanter, cherry and cedar drones. The bellows were donated by a friend this is the only item that I did not make.

Indian Red Wood chanter and drones, the deeper colour on the chanter is due to oiling. The bellows I made in 1994 in Lithuania

Bubinga chanter and drones, cedar wood decoration on drones

Cherry chanter and drones, walnut wood decorations on drones

Bubinga chanter, cherry drones with Indian red wood decorations

Indian red wood chanter and drones, cherry wood decorations on drones, cedar wood decoration on chanter

Cedar chanter and drones, this was the first bagpipe I made in Spain in 2014

Bagpipe Society Blowout, 2015

It was my first time at the ‘blowout’ (Polesworth, Tamworth, England) in a beautiful surrounding of the Abbey. Each piping culture has its traditions and this was a new tradition for me. Here there was a different style and feeling about the music, pipes, people and events, perhaps a more European style or perhaps an ‘English” style. I say English as it is a reinvention of a tradition that died out. And the reintroduction of the tradition has established a very firm and loyal group of people to their type of music.

I was expecting a heavy influence of French music, but I was surprised to see a good mix of styles in the form of workshops and concerts: Northumbrian/Borders; Occitan from the French Pyrenees; Hungarian; Irish; Welsh… these music’s were played on a type of bagpipe that I have a problem in naming.

They call it a “Border pipe” but I cannot see where their border is exactly? The majority played a type of pipe similar to the French/Belgium bagpipe: mouth blown or bellows blown, conical bored chanter, 2 drones, over-blown into a 2nd octave. Not so loud, plastic reeds, no African Blackwood in sight (made a nice change too) therefore the sound was mellow, perhaps they could call it a “French-Anglo Pipe” as the makers are English and the pipe is modeled on the French/Belgium style.

The makers present (selling their pipes) were in the main hall alongside a Society stall, a flute maker, an Occitan maker. Zampogna maker. There was a 2nd hand section of music books, CDs, cassettes…

One of the workshops I attended was a ‘beginner’s workshop’ to sort out teething problems players were having. This was very informative as it gave me a chance to see how the workshop was structured (with relation to my own workshop); I was also looking for some advice about my Spanish gaita as it was sharp in the bottom notes.  It came apparent that the information was only for a select type of pipes from a select few pipe makers. A general knowledge was not there of conical bored pipes.  The Society was open to all pipes but in reality (at this blowout in particular) only certain types of pipes were represented. Sometimes it felt like if you did not have a bagpipe from a certain type of maker then you were excluded from activities and advice, there was no advice about the Gaita. Also it presumed that because I had “asked the question” that I did not know anything about pipes or conical bored pipes, and I was told to go and “ask (someone) and you will find that the pipes are fine” (meaning “it is you who is wrong” well it seems I know as much as the person who is giving the advice, as he did not know either, a little condescending I thought).

The only sessions available were in D or G, G being the more popular of the 2. G pipes are common in French music, a large bass G. Which is fine, they sounded beautiful. But there are other pipes and I would have liked to have seen a session where any type of pipe could have been played… a few people had brought their sackpipa (key on A minor), , Spanish gaita (C),  , I had with me bagpipes in A minor, C, A major, D, F, and C minor… but no G. I did attend the Irish workshop which was in D, but others I could not. This did not lesson my interest. Other pipes present were a Welsh Pibgorn (D), Leistershire Small pipe (D), Italian Zampogna and there was a Dudy from the Czech/Slovak regions.

The D session on the Saturday was titled “English Session” this apparently is a new occurrence as only English melodies are played (I did not know this at the time and I played a Catalan melody which was met with a silence). After I realized my “mistake” I tried to play along with the English melodies, which there was a lot of. This was the biggest surprise of the weekend, a firm selection of English tunes were being played by all. The Northumbrian tunes came at the end of the night when they had played out all the English tunes. This is great as it establishes a firm melody base of for an English tradition, and leaves the Northumbrian tradition a little apart (which I feel is more accurate as it is more akin to the Scottish/English Border tradition).

Another surprise for me was the Occitan music and bagpipes. 2 makers from the French side of the Pyrenees were offering their instruments for sale, CDs, workshops and concerts. It was a music I only knew a little about (and only recently). They seemed to have a cross-over from the Catalan and Aragon side of the Pyrenees with the Sac de Gemecs (made from a fruit wood, a type of apple) and the Gaita de Boto (complete with snakeskin and girls dress). But also they had their own type of pipes a very large bagpipe in F with a large drone with a knitted “flecco” (decoration). A shepherd’s bagpipe without a drone, deep sound, sad sound, lovely (I had heard this on the Spanish side of the Pyrenees). And the Boha bagpipe with the drone apart of the chanter which can play 2 notes… (Therefore is it really a drone?). Also there was a variant of this having 2 melody pipes and 1 ‘drone’ built into the chanter, single reeds, polyphonic sound.

In the sessions I heard the Welsh Pibgorn, a dingle reeded instrument, 1 octave mouth blown with a distinctive sound, a beautiful decorated horn cut away at the bottom of the chanter, with cylindrical bored chanter.  Their melodies were not dissimilar to a Breton tune, in a minor mode.

The Hungarian duo (pipes and hurdy gurdy) were fantastic players, (I had seen them at the Piping Live Festival in Glasgow a few years previous) tight in their music and ‘tuning’ (an important lesson for us all). Played beautifully with traditional and composed pieces, improvisations and structured parts. The pipes were not so dissimilar to the Occitan Boha. With the Hungarian ’suggesting’ that the Boha was taken from their pipes. They look similar… but who’s came first is a question too far…

My final observation of the weekend was that there is a danger of the “small pipes” becoming obsolete in time due to their quiet nature. Those who had them were drowned out by the conical chanters. This is a reflection of what is happening in sessions too all over the country. If you are “not heard”, why play them? The highland pipe makers are increasing the volume of the “session small pipes” but not so with pipe makers (although there are exceptions). Perhaps the small-pipes need to become more assertive, and insist the venues, meetings, and festivals are predominantly ‘small-pipe sessions’ the same way the ‘English Session’ has become?

Newcastleton Folk Club

Newcastleton Folk Club is on every 4th Tuesday of the month, just over the Scottish Border. I have been going for a few months and enjoying it a lot. There is a nice mix of singers and instrumentalists, with a mixture of ballads, modern songs, humorous songs and the odd poem.

The musicians always have an element of piping as one of the organizers (Dave) is a small piper, and has been introducing the larger French-Anglo pipe and the Swedish Sackpipa into the mix. I play my Northumbrian and Scottish Small pipes, and this time I was joined with a fiddler and guitarist. There are a few guitarists generally to accompany songs or to perform solo. Other times there have been Irish pipes, mandolins, mandolas, and a whistle.

There is a rotation of music, so everyone gets a chance to play/sing. This week I played 3 sets on the Scottish Small pipes, the first being composed of 2 Lowland Scots tunes “Now Westlin Winds” and the “The Gallowa Hills”; the second set was made up of 3 Northumbrian tunes “Neil Gow, Chevy Chase, and Frisky”.

The next set of tunes was on the Northumbrian Small pipes, I played 2 tunes called “Bonny at Morn” and “Fairly Shot on Her”

The last set was on the Scottish Small pipes, which was accompanied by a guitarist and violin player. The tunes were “The Rowan Tree” and the “When the Battle’s O’er”, 2 Highland pipe tunes.

Drone Design with Computers

I spent too much time over a drone yesterday. The boring and rough turning was done the day before, so all was left to do was shape it, but this is where the time went, designing and turning all has to be done in my head then acted upon; and since it has been months since I had made a drone I was again remembering how to do it. I had altered the design since last time too by using new measurements and new forms; using my chisels instead of the tool post and cutters. It was a success, it looked ok, until the last piece was to be turned and here (again) tiredness took over and I glued the finishing piece and left it for the night. I should have left the gluing until today, as it was not long enough. Not to worry the beauty about wood is that you can redo it.

Later I decided to revisit the design of the drone, not in my head, but on the computer by using a “vsd” format. This allows quite detailed drawings to be experimented with, and a working blueprint to be achieved ‘on paper’. So I am hoping today I will have gained some time and drones will not take so much time.

I started working on my new idea for the bellows, I submerged the wood into a barrel of water to make it more supple, then I laid heavy weights on it to iron out any lumps and bumps, and then let it to dry.

Drone Configuration and Melody Types

An interesting talk with a young piper yesterday in Carlisle prompted me to write a little about drone tuning. Our conversation centered on the types of drones one should use and for which melodies. He was interested in using the drone configuration of A, d’, a’’ (Bass A, tenor D, alto A) with his ‘A’ Scottish small pipes. This drone configuration is not unusual in the European style but it is with Scottish small pipes. When I first heard about it I was skeptical, there would be a clash of sounds, but it was not as bad as what I thought as I listened to him play.

The problem is the amount of melodies he could play, not many would fit the harmonic arrangement. The Highland tunes would be more willing to blend in with the drones especially the one which were routed in the D note, but the Northumbrian and Border melodies that used the C# (3rd note of the A scale) a lot clashed with the D drone. He thought it sounded ok, but I begged to differ.

When I started to play the Northumbrian small pipes in G I looked for melodies that played with the A drones (a’, a’’) there was not many melodies either, the root note of the melody being the A note on the chanter. With the drone playing the root note it harmonized with the rest of the scale. Not a problem.

My young friend was interested in a small pipe that “fitted all situations”, I was too, many years ago and in some respects the addition of owning chanters reflect this still. But perhaps this has been tried before, in the past, and the best that was achieved by the tradition was a drone configuration of A, a’, a’; giving a strong root note for different types of modes/scales to be explored. For me it was interesting to see a “work in progress” but I wonder if it will be followed up in a few years time… I hope so.

Drones, Bellows and Reeds

I have not turned any drones for a couple of months so yesterday morning I had to spend most of my time trying to remember how to do it, or in what order I should do it. Also, within those months I have changed my making process and now I do things differently. What is the point (besides documentation) in writing anything down, to remember the process, when it is changing all the time?

With the new drill I bought the boring and drilling went very well, I did 2 sections of wood which will become a tenor drone.

Later that day I got given some wood which will become bellow cheeks. A change of design has been growing in my mind for several weeks now, to make the design of the bellows more airtight. My present system is an adaptation of the traditional method, but I have this idea and it will not go away! What I need to do is try it out, and this wood will be ideal for that. The process is not quicker but I believe it will be a cleaner and more secure/airtight that the traditional method.

I bought screws for the bellows cheeks, not the ones I was looking for, but they will do for the traditional bellows. This is the problem of making pipes in 2 countries (Spain and the UK), there is not the same product in both countries, not the same measurements and not the same price, and availability is not the same either. These screws will do for now until I can source better ones.

Later on that afternoon, I met a piper and we went to the park in Carlisle, the meeting was an interesting one but for the point of this blog I noticed that the reed I had made was not so bad. It was louder than what I had thought and the tone was sweeter. There were some problems with it (too sharp in the chanter) but from the point of view of making I was pleased.

Removable Chanter Stocks

Yesterday I made 5 removable chanter stocks; these stocks are made for each chanter so they protect the reed if removed from the bag.

In hindsight I could have made only the bag/chanter stock, but this is not only about the workshops, it is also about learning and creating a finish product I am pleased with. The bag/chanter stock would have been quicker but the chanter would have to fit each chanter stock exactly and I would not be able to interchange the chanters in different bags if there were any deviation in size. This might have been limiting if a student wants to try Northumbrian fingering and then they want to try Scottish small pipe fingering… they would have to change bags, bellows etc. which is all time consuming. With the removable option I can simple take one chanter out of the bag and add it to another without damaging the reed (most damage done to the reed is when it is removed from the bag).

As I was completing the 4th stock it suddenly jumped out of the chuck in the lathe and crushed itself against the tool post. Tiredness and lack of concentration can be dangerous. It is the first ruined piece of work so far… well there has been many failed experiments but this was my first broken experiment. It was a valuable lesson “take a break and rest”. Bad things happen very fast indeed!

Stocks and Newcastleton Folk Festival… it’s on !

At the end of the day I had 5 stocks completed, the drilling on the wood lathe went ok but the shaping and finalizing the stocks on the metal work lathe took the time. Also I had problems with the motor, it kept on speeding up then slowing down, I had to reduce the rpms to keep it stable, and so I was cutting slower. Anyways, it is progress and still on schedule.

Today I finalized the dates of the workshop at Newcastleton Folk Festival, so it is official, I will be giving a beginners workshop on the “Bellows blown Small-pipes”. The aim of the workshop is to introduce the student to the techniques of bellows blown piping, with ideas on bellows technique, bag pressure, holding a note, keeping the drones steady, and if there is time playing a scale… basically everything except learning melodies….that is for another workshop. With these techniques one can adapt to any of the bellows blown bagpipes (Irish, Border, Northumbrian, Scottish Small pipes, Pastoral, Dudy, Cornemuse, Mussette, etc.), as the basics are the same. If you are buying a set of bellows blown pipes with these techniques you can see if the pipes are in tune, working, playable… without the basic techniques this is impossible.

Stocks, Stocks and more Stocks

I realize I am starting late in documenting my attempts at making “small pipes” it is better to start now while I am still in the process of making, than to leave it and forget what I have done. The idea is to make at least 6 sets of small pipes to use in workshops at folk festivals. I think between 6 and 10 sets are a realistic number, 6 being the minimum to start with then increase it if I have the time. I get the chance to give my first workshop at the Newcastleton Folk Festival in July 2015.

There has been a lot of experimentation over the past year, but a few months ago when I was told I could do the workshop I had to get together the experiments (that worked) and start assembling them. I should also add that most of these experiments were done in Madrid, Spain. There I had tools and wood easily to hand, on returning to the UK I had to source all the materials again and things were harder to find here, and some things were not possible to get, so I had to begin again and experiment. Time was running out but today I thought to allocate time to each stage, for example last week and this week I dedicate my time to making stocks and by the end of the week I move onto the next stage eg. Drones. By this method I should complete at least some if not all of the small pipes in time, leaving enough time for tuning! So I began today by making stocks for each bag that did not have them, and I will work my way through the missing stocks systematically until all have them.

I have made 6 bags so far (I have made more, if I need them), I have inserted some of the chanter stocks, blow pipe stocks and drone stocks, but as I go along I notice I have to do little changes to them. For example, originally I had made the internal diameter of the blowpipe sock 16mm but I later noticed that it would have been better to make it 18mm so I have to enlarge it. Not big jobs but multiply it by 6 it can take a few hours. This is what I mean by “experiments”.

Today I made 4 bag stocks: 3 chanter stocks and 1 drone stock. The drone stock took most of the day due to slowly boring the stock then shaping the outside. I had an old bag which was precut, so I had to match the diameter of the hole in the bag, I did not have a large diameter piece of wood and when I found one it took some time to prepare it for drilling.

The 3 chanter stocks were not a problem; these can be tired into the bags when I get some better twine. This will complete what is required for the 6 sets.

This morning I placed the 6 bags on the floor and placed beside them the things I have made so far. I had made about 3 sets but something was wrong with all of them, so I will have to take the stocks out of the bags and redo them at a later date. It was a useful exercise as I could write down what is still needed to do, and what things I need to prioritize. The 3 bellows I have already are nearly complete I need to make one more here (as I have the cheeks cut already) and do the rest in Spain.

Small-Pipe Workshop Update at Newcastleton Folk Festival

The progress is slow but sure, I have 6 bellows at the moment, some have been donated (one by David, the organizer of the Newcastleton Folk Club, many thanks to him) and others I have made; so there will be at least 6 sets of pipes on the day for beginners to use.

I would also like people who already have a set of small-pipes but do not play them/cant play them, but wish to do so to come along also, it is all about getting you started, sorting out the beginners problems that we have all gone through. So if you know of someone who has given up trying to play or has a set in the box at home which have been put away in frustration ! encourage them to come to the workshop.

Players who have Northumbrian sets we will be using the big drone at first (the D/C drone) this will be compatible with the sets I am making in D. Scottish Small-pipers are generally in A or D so a harmony can be achieved… all this can be sorted out, the workshop is about bellows technique, bag pressure, keeping the instrument stable, getting all parts in harmony, and obtaining a scale in tune with the drones, and if there is time left a melody

if you wish to contact me regarding the workshop or anything to do with piping can do so at tilbsuk@yahoo.com

!

Small-Pipe Workshop

I will be offering this year at Newcastleton Folk Festival a beginner’s workshop in “Learning the Small-Pipes”. The workshop will be a basic introduction into small pipe techniques. 
Too often the beginner will not take enough time to learn the basic techniques of the bag, bellows, drones and chanter, and rush towards learning melodies and then finding out later that they have to restart learning, also most damage caused to a new instruments happens in the first few days of receiving their pipes. 
The workshop will go through the basics of bag pressure, bellows technique, tuning drone and fingering styles, and reeds. The workshop is designed for people who intend to start playing the small pipes not for people who already play them.
Buying a set of small pipes can be an expensive hobby, and often there can be a long wait to get a set of pipes. It is a commitment before you can start to play, and often it can be frustrating when you get your set, and often they are put aside as there are many things to do at once before getting a good sound from them.
If you are thinking of buying a set of small pipes, or waiting for your set to be made, or just wishing to try the instrument out… this workshop is for you.
It is also for people who have already their set of small pipes, perhaps the instrument has been put aside as it was found too complicated, bring them along and the workshop can help you to get started.
I can offer a limited number of small pipes for those who attend the workshop. These will be for those interested in Northumbrian Small pipes and Scottish Small pipe players, with open and closed fingering.
There maybe is also a chance to try mouth blown examples too…
Reservations is the best way of ensuring a place on the workshop, or just turn up on the day if there are sets available, those with their own sets bring them along too.
I am trying to ensure there will be 10 sets of small pipes available on the day. I will be posting updates to confirm the number of pipes available.