LOGAN'S

COMPLETE TUTOR
FOR THE

HIGHLAND BAGPIPE

ENTIRELY REVISED
"
1'1 1'1, 1\1 \ I( )I(
by
I( )j I N ~I ( I.I.I.I.A N
I II I
PIPE-MAJOR
JOHN MAcLELLAN
M.B.E.

Chief Instructor
Army School of Piping
Edinburgh Castle

PRICE 6/-

I
I
PATERSON'S PUBLICATIONS LTD.
36-40~ WIGMORE STREET, LONDON, W.1 . PJ · PA II RS< )N'S PlJBI.ICATIONS LTD.
 THE
PIPERS' HANDBOOIZ
A complete non musical guide for the piper
to all aspects of

THE GREAT HIGHLAND BAGPIPE

including:
Maintenance
The altering and setting of reeds
How to set up a Bagpipe
Information about pipers of past eras
etc., etc.

by

PIPE MAJOR JOHN MACLELLAN, M.B.E.

®
I
PATERSON'S PUBLICATIONS LTD
Directed by Michael Diack
36-40 WIGMORE STREET, LONDON, W.l
 INDEX
Page
Appendix A. (Bagpipe literature) .. 36
Appendix B. (Bagpipe makers) 36
Army Class, The 32
Army School of Piping, The 34
CONTENTS Bags, Pipe 9
Page Blowpipe 7
Chapter I Components and maintenance of the Bowhill Colliery Pipe Band 23
Bagpipes Bridle String 18
7
Brown, R. U. 31
Chapter II Reeds 13 Burgess, John D. 23
Chapter III Setting up a Bagpipe 19 Camerons, The 30, 33
Chapter IV The major piping competitions Cameron, Donald 30
22
City of Glasgow Police Pipe Band 24
Chapter V The development of bagpipe music 26 Clan Macrae Pipe Band 24
Chapter VI Piping organizations Cobbler's wax II
34 College of Piping, The
Appendix A Bagpipe Literature (music) 35
36 Competitions 22
Appendix B Bagpipe makers 36 Development of Pipe Music 26
Dressing a Pipe Bag 13
Drones 9
Edinburgh City Police Pipe Band .. 24
Former Winners March Strathspey and Reel 23
Gold Clasp .. 20
Gold Medal 20
Hemp, resined 7, 9
Joints 2
Judging, Professional, .Amateur 25
Killberry book of Ceo! Mor 33
Literature, Bagpipe 33, 36
© Copyright 1964 by Paterson's Publications Ltd. Lawrie, W ... 23, 32
London Piping Society 34
MacArthurs, The .. 33
MacCrimmons, The 6, 26, 31
Printed in Great Britain
by HALSTAN & CO. LTD., Amershum, Buck! .
3
MacCrimmon Piobaireachd 28 Piping Times 35
MacCrimmon, Donald Mor 27, 28 Piobaireachd Society 32, 33> 34
MacCrimmon, Patrick Og 27, 28, 30
MacCrimmon, Patrick Mor 27, 28 Records, Double 23
MacCrimmon, Malcolm 27, 28 Reeds, Bass drone, Alterations to 19
MacDonald, Donald Chanter, Altering, Rejuvenating 14, 15
33
MacDonald, John .. 23, 31, 34 Tenor drone, Alterations to 17
MacDonald, John (Glasgow Police) Do's and Don'ts 18, 19
23
MacDonald, Wm. M. Fitting New .. 19, 20
23
Mackay, Angus 29, 33 Regiment Royal Artillery Pipe Band, 277 24
Mackay, John 29 Reid, R. 23, 30
Mackay, John Dall .. 29 Resin 7' 9
Mackays of Gairloch 29 Robertson, J. B. 23, 24
Mackays of Raasay .. 29, 30 Ross, William 23, 24, 31, 32, 34
MacKenzie, John Ban 30 Scottish Pipe Band Association 24, 35
MacLellan, John 32 Shotts and Dykehead Caledonia Pipe Band 24
MacLellan, J. A. 2 3, 24, 34 Stocks, Bass 10
MacLennan, D. R. 23 Blowpipe II
MacLennan, G . S . . . 32 Chanter 12
Meldrum, R. 23, 32 Tenor 10
Muirhead & Sons Pipe Band 24
MacLeod, D. 23, 24, 31 Temperate Climate 9
MacNeill, S. The Pipe Band 35
33
MacPherson, Angus 31 Unsteady pipes 9, 13
MacPherson, Calum 31
Macpherson, Donald 23, 30 Valves 7> 8
MacPhersons, The . . Volume 21
30
Nicol, R. B. 23 Water traps 8
Open Piobaireachd .. 20 Wooden Components 7
World Championship, Pipe Band 24
Pearston, T . 35
Pipe Bag, Changing 13 Yardley, G .. . 23
Dressing . . 13
Marking . . 10
Size 13
Tying in .. II
Pipe Chanter, Cleaning 9
Correction 21
Pitch 20
Testing 20, 21

4 5
 INTRODUCTION
The Highland Bagpipe, like other bagpipes throughout the
world, has as its ancestor the simple cane pipe to which a bag was
attached. The popularity of the highland pipe has spread through
the world, and in many places it has ousted the local bagpipe, so
consequently when one now speaks of the bagpipe, it is invariably
the Highland Bagpipe that is brought to mind. The bagpipe
developed its present form about 1650, and from that time has
remained unchanged in general appearance and characteristics.
The pitch has perhaps altered, and the tone improved so that in
the present age the Highland pipe is a most advanced and har-
monious instrument, but only when properly tuned and well
played.
The music performed on the Highland bagpipe can be divided
into five parts.
(i) Piobaireachd
(ii) Competition type Marches, Strathspeys and Reels
(iii) Jigs
(iv) Marching airs and dancing tunes
(v) Slow Marches and Slow airs.
The first three can be called true bagpipe music while the re-
mainder are often adaptations of Scotland's traditional airs.
The history of notable performers dates to the MacCrimmon
family who lived in Skye. There were undoubtedly good per-
formers before this family, but historical records are not available
so that we might know who they were. It can be said that the
MacCrimmon family laid the foundations of today's piping, and
effected the beginning of the improvement in interpretation,
execution and musical know-how which has now reached such a
tremendous peak in both solo and pipe band playing. This im-
provement is largely due to various individuals and societies who
throughout the ages have kept our traditions alive, and brought
to us the high standard that obtains today.
The scope of this manual is to provide a book which contains
concise information about the bagpipe, its history, its performers
and its maintenance.
6
CHAPTER I
COMPONENTS AND MAINTENANCE
OF THE BAGPIPE
The highland bagpipe consists of a pipe chanter, a bass dmne,
two tenor drones, a blowpipe, five stocks, and a bag. A set of cords
keep the drones together and a cover is placed over the bag. The
best bagpipes are made of African blackwood, and they are
mounted and adorned with mounts of plastic or ivory or silver or
even gold. The bag is made of sheepskin, and in different countries
it is made to suit various climatic conditions, with sometimes even
a hide bag taken into use. The cords and cover are made of vary-
ing textiles as the fancy takes the piper, but they are usually made
up in woollen tartan. Only a bagpipe that is well cared for can be
expected to function properly, so the remainder of this chapter
will be devoted to the maintenance of the instrument.
1. JOINTS
Each joint must be perfectly airtight, but at the same time it is
essential that the joints be easily moved. To achieve this, the lap-
ping hemp should be well resined and evenly applied, with only
the last layer being free of resin. This layer should be treated with
a greasy substance to ensure ease of movement; vaseline is not
recommended as it eventually hardens. The hemp for the initial
layers may be put on double, but the lapping must be neatly done,
each strand being placed beside the other and a final finish given
by rolling the joint between two fiat surfaces. Should a joint not
move freely, the cause will probably be either that the lapping is
une~en or the top joint is worn. The first fault is easily rectified,
but m the case of the second a bagpipe maker should be asked to
remedy it by reaming out the bore.
2. THE BLOWPIPE AND VALVE
To aid the passage of air, the blowpipe should have as wide
a bore as possible, as a restricted bore makes the pipe harder to
blow, and can cause unsteady tone. Regular cleaning with a stiff
brush is most essential as the blowpipe can become incredibly
dirty. The valve which is the most important part of the blowpipe
must be properly fitted, and will function more efficiently if the
7
 hinge is placed to the top when the blowpipe is inserted in the
stock. The following diagrams show how to fit a valve that will
function properly.
(i) Mark the circular shape of the valve on a piece of leather
approx. k" thick by pressing the end of the blowpipe into
the leather, and cut out as in fig. (1).
(ii) Bend the cut valve to a right-angle shape, fig. (2).
(iii) Fit the valve firmly on the end of the blowpipe and secure
it with well-resined hemp, ensuring that the top of the
valve sits tightly over the bore, fig. (3).
(iv) Cut out a nick as at fig. (4) to enable the valve to move on
a hinge.
(v) Ensure that no part of the valve overlaps the blowpipe.
Top view fig. (5).
Fig. I Fig. 2 fig. 3 fig. 4 fig. 5
Valves sometimes stick, causing much unsteadiness of tone and
blowb.acks, and this can be caused by the leather being too soft,
too thm, or becoming spongy and sticking in the bore of the blow-
pipe. Another cause could be that the valve is overlapping and
sticking on the side of the stock.
3· WATER TRAPS
These commonly consist of a copper or brass tube not less than
t" in diameter set in a rubber or cork base and placed at the bottom
of the blowpipe stock. Moisture is trapped between the tube and
the side of the stock, and this moisture must be poured away each
time the pipe is played. The trap must be kept scrupulously clean
at all times. A water trap should only be used when the piper is a
wet blower. Care must be taken that the tube of the trap is not too
long, thus impeding the movement of the valve.
8 9
4· STOCKS
A common cause of an unsteady bagpipe is the collection of
bag dressing at the foot of the drone stocks. Drone stocks must be
cleaned regularly, about once a fortnight, and at the same time the
tying of the stocks to the bag can be inspected for tightness.
5· DRONES
After playing, the drones must be inspected, and should they
• be damp, brushed out or pulled through to dry them. Occasionally
an application of almond oil on the pull-through will help to keep
the wood in good condition, and this is essential in hot countries.
Tuning slides and stock joints must be cared for as in the previous
paragraph on joints.
6. THE PIPE CHANTER
This most important part of the bagpipe is often the most
neglected. It should be handled carefully as it is very fragile and
easily broken. The inside bore can collect an incredible amount of
sediment, and if this is allowed to increase the result will be a
diminished bore and an altered pitch. The chanter must be
brushed out at least once a month with a soft brush. The holes of
the chanter also require cleaning, and this should be done with a
matchstick and some cotton wool. Holes that are only slightly
clogged can cause a large distortion of pitch. Great care must be
taken in removing and inserting the chanter from and to the stock,
and it must always be held by the ball at the top, and never at any
other point. The chanter should always fit its stock properly,
neither too tightly or too loosely, and plenty of grease should be
used to avoid moisture acting on the hemp and causing it to swell.
The hemp must also be well resined.
7· THE PIPE BAG
The pipe bag must never be neglected, which is all too often the
case. Without a good tight bag the best pipe in the world is quite
useless; In temperate climate zones a sheepskin bag is recom-
mended, while in hotter parts of the world a hide bag is possibly
better; this is because the hide bag does not dry out quite as
readily as an ordinarily tanned sheepskin one. Chrome tanned
sheepskin bags can also be used in hot countries, as well as in
temperate climates, with equal success. The pipe bag is a reservoir
 If the pipe bag could be laid out flat, a bird's eye view of the
for air, and must be airtight, but it must not be a reservoir for markings in figs. (7) and (8) would look like this:
moisture, so consequently a bag dressing that acts as a sealer and
also helps to dry up excess moisture must be used. Anything that
does not do this is taboo; syrup, treacle and oily substances fall
into this latter category. Pure honey is useful, but dressings
approved by the bagpipe makers are probably better.
The manner of tying the stocks into the bag is very important,
and the drones must lie comfortably on the piper's shoulder. The
following manner of tying in a new bag is thoroughly recom-
mended.
1. Mark the bag by:
Fig. 9
(a) Folding it in half, ensuring that the welt of the bag at the
chanter stock end is placed to the welt at the top rear of the bag; Line of Stocks
mark the centre tenor stock at the fold (d) The blowpipe stock is inserted at a point midway between
the middle stock and the end of the welt at the chanter end. It
Centre Stock
should be dropped about t " from the top of the bag.

Fig. 6 Fig. 10

(b) The bass stock marking is measured 3" down from the
centre stock and I" forward.
All stocks are inserted from the chanter end of the bag; middle
stock first, while the chanter stock is tied in last of all.

9. METHOD OF TYING-IN STOCKS

Should a piece of tying-in string not be supplied with the new
bag, make up a string using sixteen strands of strong hemp, about
ten yards long, twist it well, and resin thoroughly with cobbler's
wax.
(c) The other tenor stock is similarly marked but is this time Having inserted the stock into the bag, bring the top of it taut
placed t " to the rear of the centre line. against the skin at the point marked and with a sharp knife cut a
number of star-shaped slits so that the bag can be forced over and
t3'' down to the grooved end of the stock. Tie the stocks into the bag
J, ,. securely finishing the tie neatly as follows.
(I) Start with a half hitch and after winding about four or five
I
turns round the skin lay a loop of separate string over these turns
fig. (I I) and continue winding for another three winds, fig. ( 12).
Fig. 8
II

IO
Thread the end of the string through this loop and then pull the
loose end under the final three winds by pulling the separate loop
in the direction of the bag.
.:.z._ loose end
Fig. II Fig. 12
As great pressure must be used to tie in a stock properly, the string
must be strained by either wrapping it round a stick which is
placed on the floor and held with the feet, or the string wound
round a type of capstan to take the strain. Cut off all spare ends of
skin to give a neat finish.
The stocks should be canted slightly to the rear, and that of the
bass drone should also be canted to the right. The blowpipe stock
should be canted well to the rear so that the blowpipe lies at a
comfortable angle. The drones should lie at about a 45 ° angle
across the shoulder. Before tying-in the chanter stock, stretch the
skin at the top of the bag, over the bottom end of the stock. This
can be done by forcing the stock up and out against the skin.
Small pieces of sheepskin are used to pack the sides of the welt to
give an absolute airtight finish, while the front overlap is securely
tied down against the stock.
Welt
I reeds and an unhygienic pipe bag.
db
packing pieces
Fig. 13
Fig. 14
The marking, placing of drone and blowpipe stocks is reversed for
a right shouldered player.
12
10. DRESSING THE BAG
Apply the dressing as recommended on the container. T he
secret to success is to rub the dressing well and truly into the skin,
particularly into the welt along the bottom of the bag. Force the
dressing into the skin by corking the drone and chanter stocks and
blow up the bag very hard. The surplus dressing is drained away
by hanging the bag to drip, and after the stocks are thoroughly
cleaned out the bag is ready for use. A new bag will require re-
dressing quite soon, and should a different type of dressing ever
be used, wash out the bag with warm water in whiCh a little
Dettol has been placed. The bag cover must fit loosely; a tight
cover causes folds in the pipe bag which lead to unsteadiness and
blowing troubles.
11. SIZE OF BAG; DRONE CORDS
An averaged-sized bag is about 27" long and 10" deep below the
drones. The piper should use as big a bag as possible, but the
length of arm will govern this, and on no account must a bag be
used whkh is uncomfortable and causes the chanter to be pulled
off centre. Swan-necked bags are useful for pipers with long arms.
The distance between the drones at the point where the cords are
tied should be a span of 7'' between any two drones.
12. WHEN TO CHANGE A PIPE BAG
A pipe bag must be changed immediately it is found to be por-
ous and not holding air. Another indication that a bag is finished
is when one begins to find that moisture is seeping through the
cover. On no account must any type of plastic inner cover be used
to counteract this; as it only leads to other troubles such as wet
CHAPTER II
REEDS
To function properly each reed must be properly inserted in its
socket. A tight fit is essential so that there are no air leaks up the
side of the reed and drone socket wall. The lapping on the reeds
~ust be neat, and no stray pieces of hemp be allowed to cover the
open end of a reed.
13
I. PIPE CHANTER REEDS
A good chanter reed will invariably look well finished although
this can also be said of many poorer ones as well. However, a
shoddy finish must be viewed with suspicion. The characteristics
that are normally present in a good reed are as follows.
(i) Both blades should be identical in appearance.
(ii) The mouth should not gape but be uniform in appearance.
(iii) The base of the reed should show that there is sufficient
room inside above the staple. This can be felt by squeezing
the reed gently above the staple.
(iv) The sides above the staple where the two blades meet must
be airtight.
When blown, a good reed will vibrate freely and the volume of
sound increase when more air pressure is added and the sound
made should be a crisp even crow. It is most important when
testing a reed to ensure that it is properly seated in the chanter.
A new reed is probably better to be stronger than that usually
played as new reeds soon weaken, but it should not cause dis-
comfort, or be so strong that the pressure required to keep it
going will stop the drone reeds. New pipe chanter reeds should
not be allowed to get wet, and as the pores of a new reed are open,
it should not be left in the bagpipe for long periods after playing,
because they suck up moisture from the bag by capillary action
and will not function properly. When not in use a new reed should
be kept in a container which is not airtight; an airtight container
only seals in the dampness. In very hot climates this problem will
not arise, and it is probable that a certain amount of moisture may
be required to keep the reed in condition. In temperate zones the
moisture content of the atmosphere is usually sufficient to do this
satisfactorily.
2. ALTERING A NEW PIPE CHANTER REED
Condition Action
(i) Too strong (a) If only slightly strong-squeeze blades together at
centre and top.
(b) If square shouldered-round off sides.
(c) Sandpaper slightly at bottom above the staple.
(d) Thin out top part of reed if the blades feel too thick.
Condition Action
(ii) Too weak (a) Little can be done, other than opening up the staple
with a suitable mandril. Should the reed be initially fiat,
cutting about n\"- -ft" from the top will sharpen and
strengthen it.
(iii) Top notes (a) Raise the reed in the chanter seat by using more hemp
too sharp but if the reed is still unbalanced thin out the upper
.. centre of the reed; this will tend to flatten the top notes,
but will also weaken it. Do not touch the mouth of the
reed.
(iv) Not vibrating* (a) Check for leakages at sides above the staple, by hold-
ing the blades between fingers and thumb and blowing
hard through the staple, if leaking-re-tie blades.
(b) The reed is too thick in its upper portion. Thin out
at (i) sides and if required, (ii) at the centre.
(v) Too fiat (a) Lower the reed in the chanter seat.
(b) Reed too long, shorten with a sharp tool on a hard
surface, and adjust as above if either (i), (ii) or (iv)(b)
occurs.
* A new reed which appears well built, and does not leak, may at t imes only
emit a slight sound when blown. The cause of this can be one of two things,
and it is difficult to say which remedy should first be tried. These causes are :
(a) That the reed is tied above the staple, thus closing the reed in, and it is sug-
gested that this first be checked, as most staples are -ft" long and they can be
checked from the outside. The only other way is to bind the blades to keep
them together and then undo the reed carefully and check visually. (b) That
the reed is too thick in its upper half and as only a slight sound has been heard
it leads one to think that the reed is too weak, but should there be plenty of cane
about the reed this will not be the case, and by rubbing down the top centre
portion of the reed it will begin to vibrate and sound properly. After working
on a reed, always open it up again as detailed in the next paragraph as it will
have been closed with the pressure that was brought to bear on it.
3· REJUVENATING AN OLD PIPE CHANTER REED
A good reed after being stored may have dried out completely,
shrunk slightly and perhaps collapsed. This reed can probably be
brought back into use if it is undamaged, and some, if not all its
former quality regained.
(i) Wet the reed thoroughly inside and out. This will swell the
cane and will stop side leakage.
(ii) After allowing the reed to dry naturally, squeeze the sides
at points (a) and (b) while holding the tips together at (c). This
15
 will open up the centre of the reed. Check for side leakage and 5· ALTERATIONS TO A TENOR DRONE REED
if present rectify as detailed in the previous paragraph.

Condition Cause Care

(i) Flat (a)

(b)
Tongue too long.
Tongue too weak.
l Shorten tongue by moving
(c) Soft cane J bridle
(d) Reed too long. (d) Shorten reed by cutting
off not more than t"·

(ii) Too sharp. (a) Reed inserted too far in (a) Put more hemp on the
Fig. IS drone. reed.
(b) Tongue too short. (b) Lengthen tongue by
moving bridle and if
necessary split the cane
(iii) Crispness of tone can be restored by cleaning the inside a little further.
with a feather soaked in spirit; the lips may require to be
strengthened by cutting a very minute part away to help crisp- (iii) Squealing. (a) Tongue too heavy. (a) Scrape off cane along the
ness and volume. tongue.
(b) *Bridle too tight. (b) Re-tie bridle string.

(iv) Stopping. (a) Reed leaking at tongue. (a) Discard.

4· DRONE REEDS (b) Reed leaking at end. (b) Re-seal with new wax.
(c) Ragged edges catching (c) Inspect, and remove
Like pipe chanter reeds a good drone reed should look good, tongue. cause.
vibrate easily, and when the air pressure is increased it should not (d) Tongue lying too flat in (d) Ensure that the bridle
stop. When blown hard and a finger touched to the open end, it its bed. covers parallel cuts and
is acting on the tongue.
should stop immediately and no air escape from it. Should the Spring tongue gently.
reed continue to sound it will be very liable to double tone in the (e) Reed wet. (e) Blow out water and dry
drone. Inspection of a reed should reveal that the tongue is cut naturally.
straight and that there are no loose strands of cane to catch the
tongue; the wall at the open end must be strong, as weak walls (v) Double toning (a) Tongue too strong. (a) Weaken by scraping as
collapse when pushed into a drone. The sound from a tenor reed after the pipe has in (iii) (a).
should be fairly highly pitched, while that of a Bass drone reed been blown up. (b) Tongue sprung from its (b) Straighten tongue gently,
bed. by putting a very thin
should be deep and vibrant. The tongue of a drone reed stops blade under the centre of
vibrating at the point where the bridle is placed, so consequently the tongue, and push
the bridle must be put on firmly, and when it is altered it should down the tip.
only be moved by very small amounts. Elastic bands do not make
good substitutes for well tied hemp bridles, as these are liable to
perish, and it is difficult to tension them correctly, also, as there is *New drone reeds may stop or start squealing after they have been played,
and this is usually caused by the cane swelling with the moist air, thereby
no resin to make it stick to the reed, the vibrations of the tongue causing the bridle to become too tight, and can be remedied by tying new
can make it move. bridles as follows .

16
TYING A BRIDLE STRING 7· DO'S
Using one strand of well resined hemp: Do insert drone reed firmly into drone sockets, and ensure that
(i) Wind round where the bridle is needed. Hold hemp with they are straight.
thumb. Do resin bridles thoroughly before tying, thus moisture cannot
act on them.
Do dry reeds when wet. Hold the tongue down and mop out
with a small mop which can easily be made.
Do handle reeds gently.

''
Do scrape along the whole length of the tongue to lighten it.
Fig. 16
8. BASS DRONE REEDS
(ii) Wind twice over the strand that is held moving to the left.
While much of the previous paragraph on tenor reeds is :~ppli­
cable to Bass reeds, there are two peculiarities that are theirs
«(0 alone. These are shown in this table.
'
z91
(
Condition Cause Cure

Fig. 17 (i) Difficulty in (a) Tongue too stiff. (a) Lengthen and make
striking in. more pliable by moving
(iii) Make a half hitch and slip it over the open end of the the bridle.
reed, push all the strands together and set to required tension; (b) Tongue too strong. (b) If after (a) has been tried
lock with a second hitch and trim loose ends. lighten by scraping.

[[) (ii) Roaring. (a) Tongue too light. Strengthen by moving bridle
to shorten tongue.

Fig. 18 CHAPTER lll

6. DON'TS
Don't rub reeds violently between the hands as this breaks the FITTING NEW REEDS, TESTING A
fibres at the sides of the tongue. PIPE CHANTER
Don't spring reeds violently.
Don't force a THICK knife blade under the tongue in an effort I. Having first ensured that the wooden parts of the pipe and
to cure a double tone. also the pipe bag are in a good state of maintenance (Chapter r)
Don't force the end of a handkerchief into a reed to dry it. the all important business of reeding the bagpipe must be con-
Don't use unresined bridles. sidered and this can easily be done in the following manner.
Don'i cut nicks out of the tongue to lighten it. (i) Fit a suitable reed in the pipe chanter and fix the sound of
Don't insert hairs in reeds, except perhaps as a last resort. Low A firmly in the mind.

!8 19
 (ii) Adjust one tenor drone so that half the hempen area is
showing, and fit a drone reed that will be in tune with low A
when the drone is adjusted as mentioned. This operation can
be more easily done if someone else blows low A on the chanter.
(iii) Take out the selected drone reed and match it in sound
and strength with another, then try both drones alternately,
making small adjustments until both sounds blend and the
drones tune at much the same point. Again this task is made
much simpler if a colleague can assist by blowing one tenor
drone.
(iv) Fit a Bass drone reed that has a deep mellow sound, and
try the Bass drone against one of the tenors.
(v) Cork the chanter stock and try the drones only, tune them,
and listen for steadiness and variation of sound and adjust as
necessary until the drones are quite steady and give off a good
tone. Increase pressure to see if the reeds are strong enough,
and do not stop.
(vi) Fit the chanter and if the selecting and fitting of the drone
reeds has been properly done, the pipe will only require a little
tuning and much unnecessary blowing and moving of reeds
will be obviated.
2. TESTING A PIPE CHANTER
The first requirement for testing a pipe chanter is a reed that is
teliable, perfectly true, and able to fit a variety of pipe chanters.
Having set the chanter properly it is tested against a good steady
bass drone which will readily show up any variation.in trueness.
A good pipe. chanter will require to have:
(a) A correct pitch.
(b) A true scale.
(c) Proper resonance and quality of sound.
(i) PITCH TEST
The pitch usually used nowadays is that when low A vibrates at
approximately 459 VPS, but despite this, , pitch can be correct
when it pleases, and unless a chanter is required at a certain pitch,
so long as the sound is pleasant it should suffice.
To test for a required pitch a chanter of the required degree will
be needed and the drones tuned to it. Using the same reed set the
new chanter properly, and try it against the tuned drones. If more
20
than the slightest alteration has to be made to the drones, the new
chanter will not be of the same pitch.
(ii) SCALE TEST
Stop both tenor drones and tune the Bass drone to low A.
Should the chanter be true as each note is sounded it will blend
exactly with the drone, although the drone is two octaves lower in
pitch. Should the chanter not be true, the extent of the variation
from trueness can be gauged by how much the drone needs to be
tuned to make it blend with that particular note. When the fluc-
tuation of sound between drone and chanter is slow the note is
only slightly out, but when it is fast there is a serious discrepancy.
If the drone requires to be tuned up to suit a note, the note is flat,
and when tuned down the note is of course sharp.
It is quite a possibility that low A be untrue, consequently when
testing a chanter the initial tuning must also be made to another
note as a check. Always suspect low A when all the other notes
sound out of true when the tuning is made to low A.
The sequence of notes for testing are:
(a) Tune to low A, test high A.
, , , , , E and high A.
, , , , , C, E and high A.
, , , , , B, D, F, high G, low G.
(b) Tune to C, re-test using the same sequence as above but
adding low A.
(c) Tune toE, re-test as above.
This test should only be made by someone who can tune
accurately, blow a steady tone, and set a chanter properly, and
as various makes of chanters have certain peculiarities every
effort must be made to see that a suitable reed is used for testing.
(iii) VOLUME
The volume of the chanter can be noted during the scale test. A
chanter that burrs on low G with a good reed should be dis-
carded.
3· CORRECTIONS
Should any note be slightly sharp, the pitch can be lowered by
applying some SCOTCH tape or similar substance across the top
of the hole; trial and error will determine how much is required.
2I

Low G can be flattened by applying the tape across the top of one
sound hole. Do not diminish the hole too much as this will de-
crease the volume of the note. Use tape only to attain fine tuning
of notes as often a good reed has small defects which can be cured
in this manner to give perfect sound.
CHAPTER IV
THE MAJOR PIPING COMPETITIONS; AND THE
JUDGING OF PIPING
I. SOLO COMPETITIONS
The competitions which impose on the solo piper the most
stringent test of his art and skill, are those held annually at OBAN
and INVERNESS during the Argyllshire Gathering and the
Northern Meeting. At the Argyllshire Gathering, piobaireachd
competitions are held for
(a) The Highland Society of London's Gold Medal
(b) The Open Piobaireachd
Previous winners are barred in the Gold Medal competition, and
the intending competitor must submit a list of six tunes of his own
choice of which one is picked for him to play. The tunes for the
Open Piobaireachd competition are set by the Piobaireachd
Society, and the player must make a choice of three or four tunes
from a list of about six, and he will be required to play one tune
at the competition. Similar competitions are held at the Northern
Meeting, but for the Gold Medal conditions are slightly harder;
in each alternate year six tunes are set from which the competitor
chooses three or four, and eventually plays the one selected for
him by the judges. There is no Open Piobaireachd at the Northern
Meeting, the competition being for the Clasp to the Gold Medal
and only previous holders of the Highland Society's Gold Medal
are allowed to enter although this has not always been the case.
Until I949 only holders of the Gold Medal won at the Northern
Meeting were eligible to compete, and from I950 to I962 when
Gold Medallists were deemed to be in short supply the competi-
tion was called the Open and Clasp Competition, but in I963.the
rules as described came into force, consequently in the years I950
22
to I962 it was possible for this competition to be won by a piper
who wasn't entitled to the clasp, having previously not won the
Gold Medal at the Northern Meeting.
In the competitions for Marches, Strathspeys and Reels at both
meetings, competitors may submit tunes of their own choice. At
Oban a list of six of each type is required, while at Inverness the
list is reduced to four of each type, and in both cases the piper is
required to play one tune of each picked for him by the !udges.
Probably the hardest competition of all and the one wh1ch de-
mands a lot of stamina, technical skill, musical ability and compe-
tition know-how is the Former Winners March Strathspey and
Reel Competition held at both the Argyllshire Gathering and the
Northern Meeting competitions. This competition is confined to
previous winners of the March or Strathspey and Reel competition
and oddly enough winning the Jig competition at Inverness
allows entry to this premier competition. Each tune is played
twice over, and much can happen during a performance to pre-
clude consideration from the prize list.
Many pipers have won all these premier competitions, but occa-
sionally a "Double" is completed by winning in the same year the
similar competitions at both venues. The outstanding few who
have completed these doubles are:-
The Double Gold Medal
R. Meldrum, I 886
W. Lawrie, I9IO
G. Yardley, I91 I
J. MacDonald (Glasgow Police), 1926
R. B. Nicol, I93o
J. D. Burgess, I950
Wm. M. MacDonald, 1955
D. R. MacLennan, I956
Open Piobaireachd ObanfClasp, or Open & Clasp, Inverness
W. Ross, I907/ I2/28
J. MacDonald (Inverness), I908/24/27/29
J. B. Robertson, I938
R. Reid, I 94 7
D. MacPherson, I950/54
J. A. MacLellan, I958
D. MacLeod, I96I
23
The Former Winners March Strathspey and Reel, Oban and
Inverness
W. Ross, 1922/24/25/32
G. S. MacLennan, 1923
J. B. Robertson, 1929/33/37
J. A. MacLellan, 1948/58/63
J. D. Burgess, 1951
D. MacLeod, 1959
2. PIPE BAND COMPETITIONS
In the pipe band field the top award is called the World Cham-
pionship and each year it is held at a different venue. The pipe
band competing season is from June until September, and in the
winter and spring months various miniature band and quartette
competitions are held indoors.
The bands are graded by the Scottish Pipe Band Association
into various sections from Grade IV to the top bands in Grade I.
The usual test in the various contests is the playing of a set com-
prising of a March Strathspey and Reel, and this set is picked
from a selection of three sets submitted by the band earlier.
In the summer months there are many contests and at the end
of the season the Band in Grade I which has garnered the most
points in the Scottish, British, European, Cowal and World
championships is awarded the Guinness shield, and various other
shields are awarded to the leading bands in the other grades for
gaining the most points in these competitions.
These various contests are run by the Association, who lay
down a strict code of rules as to how the competitions will be run,
and by maintaining their own panel of judges who must be quali-
fied to the standards set by the Pipe Band Association, there is a
uniform standard throughout.
The World's Championship award was instituted in 1947,
and has been won by the following Grade I pipe bands.
Bowhill Colliery, 1947
Shotts and Dykehead Caledonia, 1948/52/57/58/59/60
City of Glasgow Police, 1949/51
Edinburgh . City Police, 1950/54/63 /64
Clan Macrae, 1953
Muirhead and Sons, 1955/56/61
277 Regt. Royal Artillery, R.A. (T.A.), 1962
3· JUDGING
This may be the place to mention a few points about the judg-
ing of solo piping which can be said to fall into two categories-
Professional judging and Amateur judging. The judges in the first
category are usually ex competitors who have probably been
excellent perfoimers and who have a wide knowledge of piping,
but this knowledge acquired in competitive days will no doubt
require to be widened to take in the scope of other styles that were
no doubt anathema to them in their playing days. The profes-
sional judge if one can call him this, will possibly have much feel-
ing for the piper on the platform, as he knows full well the strains
and doubts that can cross a competitor's mind, but he must also
take care not to allow the tune to flow over him, and in the early
days of judging the art of concentration must be brought to the
same high standard as that which was used when competing. The
Amateurs can be divided quite simply into those "who know"
and those "who don't know". Unfortunately the number of
judges who fall into the second category are too many. The
Amateur "who knows" usually has a very wide knowledge of pipe
music and especially of piobaireachd, and his opinion can usually
be backed by much study and a lot of experience as a piping judge.
However, despite protests to the contrary this type of judge
often cannot discern the niceties of fingering nor separate
excellent technique from that which can be classed as good, and
improvement in this field can only be achieved in improving one's
own piping, and seldom do Amateur judges ever play to profes-
sional standards, although a few have made an excellent effort in
this direction. The second type of Amateur is a great danger, and
often feels genuinely that he is doing a good job, but how can he
when neither equipped mentally or technically for the task? It is
quite wrong for such a person to sit on a judge's bench. The only
advice that can be offered in this case is: "Do not judge until you
know"! To sum up, the qualifications required by a good judge
are:
(i) A thorough knowledge of the music that is to be judged, and
a wide knowledge of the various settings and styles that can be
heard.
(ii) Ability to play properly at least twenty Piobaireachd and all
the popular Marches, Strathspeys and Reels.
(iii) Ability to listen to every performance with a concentrated
25
MALCOLM 1690 1737- Age 47 1769-Age 79 1769 Teacher, Piper,
Composer

DONALD BAN 1710 1735- Age 25 1737-Age 27 1746-Age 36 Piper, Composer

lAIN DUBH 1730 1770- Age 40 1795- Age 65 1822- Age 92 Teacher, Piper,
Compose~:

DONALD RUADH 1740 1798- Age 58 Unknown 1825- Age 85 Piper, Composer
 effort, and to judge every performance on its merit.
(iv) Ability to mark properly, and in this respect the pamphlet
"A Guide to Judging" obtainable from The College of Piping, ..... ..... ...: .....
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Glasgow, is most helpful. ~ ~ .9- .9-
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THE DEVELOPMENT OF BAGPIPE MUSIC "'
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THE MACCRIMMONS
The MacCrimmons were the hereditary pipers to the MacLeods :z:
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of Dunvegan, and this appointment was held by members of the ""
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26
27
 )
The great hereditary pipers were, as well as being pipers of 2. THE MACKAYS OF GAIRLOCH
great repute, composers of merit, and some in addition were Blind Roderick came to Gairloch from Sutherland about 1610
teachers of high degree. Donald Mor and his son Patrick Mor and became piper to the Mackenzies of Gairloch. While he was a
were the greatest composers of the clan while on Patrick Og and fine player, his son, lain Dall, 1656-1754 (Blind John) far out-
his son Malcolm fell the mantle of teaching, and it was in their stripped his father's accomplishments. lain became a pupil of
time that the College at Borreraig flourished best. Patrick Og was Patrick Og MacCrimmon's and so well did he gain proficiency in
a brilliant player, and because of his long reign as hereditary the art of piping that it was said that he equalled the great master.
piper, he was able to make his influence felt at the college more He was a composer of great merit and a fine teacher. He is im-
than that of any other teacher. It is thought that he laid the foun- portant in today's links with the MacCrimmons because much of
dations of our present Piobaireachd gracing. The tunes composed his teaching was passed on through his son Angus and grandson
by these MacCrimmon pipers contain many of the classic Pio- John Roy to John Mackay of Raasay. Two oflain Dall Mackay's
baireachd and the following tunes are attributed to them. piobaireachd, The Unjust Incarceration and the Lament for
Patrick Og MacCrimmon are beautiful tunes and show his skill
DONALD MoR A Flame of Wrath for Patrick Caogach as a composer, and it has been recorded that he composed as
Lament for Donald Duaghal Mackay many as thirty Piobaireachd altogether.
Lament for the Earl of Antrim
Lament for MacLeod of MacLeod 3· THE MACKAYS OF RAASAY
MacLeod Controversy It is from this family that much of our piping heritage stems.
The Earl of Ross's March John Mackay of Raasay was said by his son, Angus, to have been
MacDonald's Salute taught by the MacCrimmons, and he was most certainly taught
MacLeod's Salute by the son and grandson (Angus and John Roy) of lain Dall
PATRICK MoR The Groat Mackay of Gairloch. He was much revered as a teacher, piper and
I Got a Kiss of the King's Hand composer, and his four sons, Donald, Roderick, John and Angus
Lament for the Children were all first-class players. It is of Angus, however, that we must
Lament for Donald of Laggan mainly concern ourselves as he became the great piper of the
Lament for John Garve MacLeod of Raasay nineteenth century. Born in 1812 he competed in open competition
Lament for Mary MacLeod at the age of thirteen, and won a fourth prize, and in 1835 he
Lament for the Only Son became the Champion piper. While he was a piper of the fir~t
Too Long in this Condition rank, he is mainly remembered for his work in transcribing Pio-
PATRICK 0G The Half-finished Piobaireachd baireachd from canntaireachd (vocable music) into staff notation.
The Pretty Dirk Although not the first in this particular field, he probably bene-
fitted from earlier ~ttempts, and he was able to note down mainly
DONALD BAN MacCrimmon Will Never Return
from his father's repertoire some 183 piobaireachd, and also pub-
MALCOLM The Lament for Donald Ban MacCrimmon lished, in 1838, a book of piobaireachd containing 61 tunes, which
lAIN DUBH The Glen is Mine was to become the main reference book of this type of music in
DoNALD RuADH Mrs. MacLeod of Talliskers Salute earlier days. He also assisted Alex Glen in producing a book of
155 marches and dance tunes. Another feature of Angus's work
David Glen collection attributes MacCrimmon's Sweetheart to was the introduction of the competition march. He was thought to
Donald Ruadh, while Neil Ross, a Gaelic historian credits Mal- be the first to compose this type of music and also to adapt other
colm with being the composer. airs to make such tunes as the Abercairney Highlanders, and The

28 29
 early piping from his father and mother. He joined the Scots
Guards in 1896 and from that date until his retirement in 1957 as
tutor to the Army Class he served piping and pipers. There is no
evidence that Willie Ross was tutored by other than his own
family, his father, mother, and his uncle, Aneas Rose, who guided
his early steps in Piobaireachd, thus by his own great musical
ability Willie Ross rose to the top of his chosen profession. His
Northern Meeting record in Ceol Mor and Ceol Beag is so far
unsurpassed and his name is a household one among pipers. After
his retiral from the Army, it was in 1921 that he became the Pio-
baireachd Society's tutor, and through this appointment pipers
· both military and civilian were able to benefit from his tuition.
His pupils are scattered throughout the world and always provided
the cream of the piping world with many champions amongst
them.
9· FAMOUS PIPERS
Many great figures apart from those already mentioned have
appeared in the world of piping throughout the ages, some
composers, some great players, while some of them excelled at
both.
In the past 100 years or so one can probably single out for
special mention Hugh Mackay (composer), Wm. MacLennan
(player), Robert Meldrum (player and composer), D. C. Mather,
and James Center (players and composers), GeorgeS. MacLennan
(master player and composer), Willie Lawrie (player and composer)
John MacLellan Dunoon (composer), Peter Macleod (composer)
and Roderick Campbell (composer and player). While there have
been many other excellent pipers these men by their various abili-
ties rose above their fellows. There are many excellent pipers
today, but as they are contemporaries of the writer it will only be
fair to allow time or someone else to mark their fame.
The world of piping has not only been made up of players,
teachers and composers, there have been those who worked to
make the music of the pipe available to the piper, and those who
worked to ensure that the great heritage was passed on. In this
field, various individuals and organisations have played a major
role, and in this connection a look at what has been done in the
way of providing written music for the bagpipe will not be amiss.
In the early days of piping, if any music was written, it would
32
have probably been that of the written word-the vocables of the
Canntaireachd system that were used, although it is very doubtful
indeed whether any Canntaireachd was written in the days of the
MacCrimmons. The method of passing the music from piper to
piper would have been that only of singing and listening, con-
sequently the development of a good memory was most essential.
10. THE LITERATURE OF PIPING
A pioneer of writing Piobaireachd music was Donald Mac-
Donald who was a product of the MacArthur school of music
which itself was an offshoot from the MacCrimmon School; the
MacArthurs being hereditary pipers to the MacDonalds of the
Isles. Donald MacDonald published a book of Piobaireachd in
staff notation in 1810 and a M.S. for a second book was also pre-
pared, but it was never published. The gracenote system used by
MacDonald has fallen out of use; his music was highly embel-
lished, and it is thought that it represents the style of piping before
that of Patrick Og MacCrimmon.
The next book of Piobaireachd to appear was that of Angus
Mackay to whom reference has already been made, and even to
this day this book is an accepted and much thought of book of
reference. Other main collections of piobaireachd were David
Glen's (100 tunes), Pipe Major Wm. Ross's collection (this Ross
was piper to Queen Victoria) (23 tunes) and General Thomason's
monumental book of 278 tunes written in a type of musical short-
hand.
In 1902 the Piobaireachd Society was formed, and in the first
decades of the twentieth century a collection of five volumes was
published. There was much dissension as to the accuracy of the
settings of the tunes published and the collection was conse-
quently withdrawn as much as possible. Beginning in 1925 a new
series was commenced of which ten volumes have been printed.
Angus Mackay's MSS and the Nether Lorn Canntaireachd MS
have been the main basis of this work and to date 148 Piobaireachd
have been published. This collection also provides copious notes
on many other settings of the tunes printed in staff notation and is
a most valuable asset to the Piobaireachd student.
The Kilberry book of Ceo! Mor was published in 1948, and is a
collection of 114 tunes most of which were taught to the author,
Archibald Campbell of Kilberry by the Camerons or their pupils,
33
and is probably an attempt at putting the Cameron styles on paper. and Willie Ross were their instructors, and on such a sound base
This book is also published by the Piobaireachd Society. the Army took over the responsibility in 1959 when the Army
In the lighter musical field, Marches, Strathspeys and Reels, School was formed
etc., a large variety of books have been published. David Glen pro- The Scottish Pipe Band Association have done much to im-
duced the bulk of this music and his collection provided a feast of prove the playing of pipe bands, and the development of this type
tunes, while Logan's collection of eight books and Willie Ross's of music since 1854 when the Army pipers joined with the Fife
collection of five brought the earlier styles up to date, and Ross's band drummers to make the first pipe bands, has been tremendous.
collection is probably the best buy there is. In the present age pipe band music is very popular and highly
specialized, demanding from the piper and drummer a high degr~e
of musical discipline where individuality is superceded by um-
formity. This association was formed in 1931 and is highly organ-
CHAPTER VI ized, with branches throughout Britain and affiliated societies
throughout the world. The SPBA, as they are known, publish a
PIPING ORGANISATIONS bi-monthly magazine called the 'Pipe Band'.
No data on the development of piping could be complete with-
The great interest taken in piping by individuals and societies out mentioning the College of Piping. This was started in 1947 by
has done much to further the art of piping. In the later part of the Seumas MacNeill and Thomas Pearston from very simple begin-
eighteenth century the Highland Society of London began giving nings, and so well has the college advanced that it is now known
prizes for competitions in piping, and their medal is still today the throughout the world. College of Piping pupils are now figuring
premier prize. The Piobaireachd Society formed in 1902, has in the major piping competition prize lists, and this is a fine
devoted its energies to seeing that the classical music is kept alive, achievement in the seventeen years since its inception. 'The
and by providing tutors and qualified judges for competitions Piping Times' is published monthly by the college, and through
much has been done in this direction. The Scottish Pipers Asso- this magazine much has been done for the good of piping.
ciation, and the Amateur Society- The Royal Scottish Pipers
Society, have also played a great part in keeping alive much of the
traditional music of the bagpipe. A very strong Society, The
London Piping Society take a tremendous interest in piping in
London and their efforts have greatly helped to raise the standard
of piping. In practically every country in the world with very
strong societies in Canada, Australia, New Zealand and South
Africa the work of advancing the Highland Bagpipe goes on.
From the very earliest days of good piping there have been pipers
in the Army and very many famous players have been in its ranks
and since 1910 pipers aspiring to the rank of Pipe Major have
been singled out for expert tuition. From 1910 until 1914 Pipe
Major John MacDonald was the instructor, and from 1921 to 1957
it was Pipe Major Willie Ross who taught at Edinburgh Castle,
where the Army School is still situated under the present direction
of Pipe Major John MacLellan. The Piobaireachd Society made
this instruction possible from 1910-1957 as both John MacDonald

34 35
 APPENDIX A. BAGPIPE LITERATURE

1. PIOBAIREACHD
The main collections of Piobaireachd that have been published
are:
1. Domi.ld MacDonald's, 181o. Out of print. 23 tunes.
2. Angus Mackay's, 1838. Out of print. 61 tunes.
3· David Glen's. Out of print. 100 tunes.
(Musical authenticity by present-day standards unreliable,
MUSIC
but there is good musical phrasing.) FOR
4· William Ross's. Out of print. 33 tunes.
5· General Thomason's, 1900. Out of print. 278 tunes.
(Valued for compactness.)
'l'IIE HIGHLAND BAGPIPE
6. The Piobaireachd Society's. by
Series 1. 1900-1925. Out of print. (Said to be unreliable.)
Series 2. 1925- . Ten vols. 148 tunes. (A most extensive PIPE-MAJOR JOHN MacLELLAN
authoritative collection with comprehensive notes on settings.)
7· Kilberry book of Ceol Mor, 1948-. 114 tunes. (By A. Camp-
bell, distinguished student of Piobaireachd, taught mainly
in the Cameron style.) A <.t>llection of new tunes and up-to-date styles of older
8. Binneas is Boreraig. Vol. 1 1959, vols. 2 and 3 1964. favourites, together with a most comprehensive
50 tunes (by Dr. Roderick Ross, a student of Piobaireachd, section on methods of phrasing and playing.
particularly of the MacPherson style in which this Collec-
tion is written.)

PRICE 9/6d
APPENDIX B. BAGPIPE MAKERS

Alexander, George. London

Gillanders. Dundee
Glen, J. & R. Edinburgh
Grainger and Campbell. Glasgow
Hardie, R. G. Glasgow
Henderson, Peter. Glasgow
Lawrie, R. G. Glasgow and Edinburgh
MacPherson, Hugh. Edinburgh
Robertson, J. Edinburgh
Sinclair, W. Edinburgh
Thomson, Robert. Leicester