2007 Pipe Sessions – Class Descriptions
Session 1
1A. Ed Neigh. Beginning 2/4 Marches.Investigate the structure of 2/4 Marches looking at phrasing and expression and improving musicality. Bring your practice chanter.
1B. Iain Macey. Beginning Piobaireachd. What is it? Look at the structure, techniques, and exercises needed to improve playing and understand more about this historic
“classic” bagpipe music. Bring your practice chanter.
1C. Ed Krintz. What Do Judges Look for in Band Competition? As an instructor with the North American Piping Academy, player, and frequent EUSPBA adjudicator, Ed understands what judges are looking for and how they compute a score. Get tips on what your band can do to get those valuable extra points.
1D. Instructor Judging Competition
1E. Chris Apps. Reed Adjustment - Chanter Reeds. Examine a variety of pipe chanter reeds and the “set up” characteristics common to all reeds. Chris will demonstrate tricks for adjusting the reed, setting pitch, and “balancing” the chanter.
1F. Instructor Judging Competition
1G. Jerry Gibson. Fireside & Ceilidh Pipes - Maintenance and Adjustment. If you have a set of Fireside or “Kay-Lee” pipes or are considering purchasing a set, this class will show you how to set up, tune, and maintain your Gibson small pipes. Bring your Firesides or Kay-lees if you have them. (Pipes will be available for purchase at 10% off at the workshop)
1H. Walter Cameron – New Scotland Kilts. Dress and Decorum. Learn correct uniform appearance and how to maintain a crisp clean look. Find out what gear goes together and what you need to complete a band uniform. How does your kilt look? Does it fit correctly? What do you look for in a properly made band kilt or how do you go about altering it? Learn how to properly care for your kilt and other band uniform accessories. 1I. Windsor Police Pipe Band (WPPB). Bagpipe Maintenance. It’s very difficult to play well if your pipes aren’t in top working condition. Learn how to check for an air tight bag, properly working valve, solidly hemped joints, missing or poorly adjusted drone reeds, or other problems. Bring your pipes.
Session 2
2A. Ed Neigh. Beginning Hornpipe. Another light music idiom that looks tougher than it is: Ed can dissect the tunes to make them understandable and playable. Bring your practice chanter.
2B. Iain Macey. Intermediate Piobaireachd. This class assumes you have some Piobaireachd experience and looks at techniques to improve your understanding and practice skills. Bring your practice chanter.
2C. Ed Krintz. Learning New Tunes. Learning new tunes is not a quick process, but it can be simplified. Develop a system for taking a tune apart and learning a tune more quickly by carefully examining similarities and differences in phrasing and tune structure. Bring your practice chanter.
2D. Instructor Judging Competition
2E. Chris Apps. Drone Reed Set-up. Look at a variety of drone reeds, examining the differences in synthetic drone reed design and how to get them set up in your pipes. Bring your pipes.
2F. Instructor Judging Competition
2G. Jerry Gibson. Bagpipe Maintenance. Examine what is needed for optimum performance and stability of your pipes from a pipe maker’s perspective. Why can over hemping cause damage to your pipes and other problems? What about moisture control? Bring your pipes.
2H. Walter Cameron – New Scotland Kilts. All About Proper Highland Wear. If you are playing with a band and need to get equipment, or you are planning on performing for fun or profit, you need to know what to purchase. What uniform items go together for which occasions? How are accessories properly worn? Get the “regimental touch” from someone who knows about kilts and uniforms.
2I. WPPB. Pipe Major’s Only. What does it take to manage a band, direct their musical performance, and do it without driving yourself crazy? Learn how to manage practice and make the most effective use of everyone’s time. (You don’t have to be a PM to attend this class.)
2007 Pipe Sessions - Class Descriptions
Session 3
3A. Ed Neigh. Improving Technique. Practice basic steps and exercises and learn approaches to tunes and phrasing. Improve your understanding of the importance of execution and timing. Bring your practice chanter.
3B. Iain Macey. How to Practice. Look at the fundamental needs of practice such as structure, amount, and frequency of practice time. Learn how to get the most from your practice sessions. Bring your practice chanter.
3C. Ed Krintz. Beginning 6/8 Marches. Learn how these marches compare to the other March time signatures (2/4, and 4/4). What makes them different? How are they
expressed and phrased? Bring your practice chanter. 3D. Instructor Judging Competition
3E. Chris Apps. Reed Making 101. Get a first hand understanding of what goes into the design and production of a modern pipe chanter reed and learn how to adjust and tune your chanter. Bring your pipe chanter.
3F. Instructor Judging Competition
3G. Jerry Gibson. Selecting a Good Practice Chanter. Investigate what goes into the design of a modern practice chanter and examine the differences between standard or long chanters, countersunk or counter bored holes, sound quality, intonation, and reed compatibility.
3H. Walter Cameron – New Scotland Kilts. What Makes a Good Kilt?
A quality kilt can last for many years. Before you purchase a kilt or have one altered get your questions answered. How do you clean and store a kilt? How much material is required? What is the difference between pleated to Sett and Regimental style? What weight of cloth do you want and why? How is a kilt properly worn? Be measured by an expert!
3I. WPPB. Setting, Pitching, and Tuning the Pipe Section. A hands-on session demonstrating how to properly pitch both chanter and drones for today’s instruments considering the current trends in competition band pitch and chanter design. See how a tuning meter works in this process. Bring your pipes.
Session 4
4A. Instructor Judging Competition 4B. Instructor Judging Competition 4C. Instructor Judging Competition
4D. Sandy Jones. Beginning 3/4 Marches. Investigate the structure of 3/4 Marches, by focusing on phrasing, expression, and improving musicality. Bring your practice chanter. 4E. Chris Apps. Small Pipe Demo. Take a look at several different small pipe styles: Shuttle pipes, Fireside pipes, Gibson Ceilidh pipes, Walsh small pipes, and bellows blown pipes, and the different keys available.
4F. Dale Brown. Beginning MSR.Consider the selection and combination of a March, Strathspey, and ReeI medley. Examine the transition from one idiom to another. Bring your practice chanter.
4G. Jerry Gibson. Reed making 101. Get a first-hand understanding of what goes into the design and production of a modern pipe chanter or practice reed.
4H. Walter Cameron – New Scotland Kilts. Kilt Care & Maintenance.
Kilts and 100% Barathea wool jackets will last for years if well maintained. Proper care of your Band uniform will make it look better and last longer. Learn the techniques
essential for maintaining your uniform and keeping it in “ready-to-go” shape.
4I. WPPB. How to March. Looks easy, right? Get some tips on forming up as a band, moving into and out of a circle, and counter marching. Practice starting off playing and marching, marking time, and marching tempos. Review marching commands.
2007 Pipe Sessions - Class Descriptions
Session 5
5A. Instructor Judging Competition 5B. Instructor Judging Competition 5C. Instructor Judging Competition
5D. Sandy Jones. Intermediate 2/4 Marches. A session for intermediate players and above who will learn the phrasing for competition 2/4 Marches. Bring your practice chanter.
5E. Chris Apps. Reed Adjustment - Chanter Reeds. Examine a variety of pipe chanter reeds and the “set up” characteristics common to all reeds. Chris will demonstrate tricks for adjusting the reed, setting pitch, and “balancing” the chanter.
5F. Dale Brown. Teaching Strategies. Whether you have students of your own or you are trying to move your band along, get some ideas and tips on how to effectively transmit your piping skill and information to your students and practice strategies for improving band performance.
5G. Jerry Gibson. Bagpipe Maintenance. Examine what is needed for optimum performance and stability of your pipes from a pipe maker’s perspective. Why can over hemping cause damage to your pipes and other problems? What about moisture control? Bring your pipes.
5H. Walter Cameron – New Scotland Kilts. Dress and Decorum. Learn correct uniform appearance and how to maintain a crisp clean look. Find out what gear goes together and what you need to complete a band uniform. How does your kilt look? Does it fit correctly? What do you look for in a properly made band kilt or how do you go about altering it? Learn how to properly care for your kilt and other band uniform accessories. 5I WPPB. Bagpipe Maintenance. It’s very difficult to play well if your pipes aren’t in top working condition. Learn how to check for an air tight bag, properly working valve, solidly hemped joints, missing or poorly adjusted drone reeds, or other problems. Bring your pipes.
Session 6
6A. Ed Neigh. Intermediate 3/4 Marches. A session for intermediate players and above who will learn more about 3/4 Marches many of which have Harmonies to go with the melody. Bring your practice chanter.
6B. Iain Macey. What Do Judges Look for in Solo Competition? Prepare yourself for competition. Learn what direction to take from stewards, when and where to tune, and other expected protocols before competition. Discuss how a judge evaluates a
competitor’s performance.
6C. Ed Krintz. Intermediate 6/8 Marches.Designed for players who already play 6/8 Marches – looking at phrasing, expression, and improving technique. Bring your practice chanter.
6D. Sandy Jones. Bagpipe Maintenance. It’s very difficult to play well if your pipes aren’t in top working condition. Learn how to check for an air tight bag, properly working valve, solidly hemped joints, missing or poorly adjusted drone reeds, or other problems. Bring your pipes.
6E. Chris Apps. Drone Reed Set-up. Look at a variety of drone reeds, examining the differences in synthetic drone reed design and how to get them set up in your pipes. Bring your pipes.
6F. Dale Brown. Pipe Music: Reading and Theory. Understanding music theory, such as note values and time signatures, helps make piping more musical. Good basic knowledge and music reading skill can improve technique. Participants will be taken through the rudiments of music theory and introduced to some basic written pipe music. 6G. Jerry Gibson. Fireside & Ceilidh Pipes - Maintenance and Adjustment. If you have a set of Fireside or “Kay-Lee” pipes or are considering purchasing a set, this class will show you how to set up, tune, and maintain your Gibson small pipes. Bring your Firesides or Kay-lees if you have them. (Pipes will be available for purchase at 10% off at the workshop)
6H. Walter Cameron – New Scotland Kilts. What Makes a Good Kilt?
A quality kilt can last for many years. Before you purchase a kilt or have one altered get your questions answered. How do you clean and store a kilt? How much material is required? What is the difference between pleated to Sett and Regimental style? What weight of cloth do you want and why? How is a kilt properly worn? Be measured by an expert!
6I. WPPB. Band Sound & Unison. Understanding correct band performance
requirements can improve your overall sound. Learn some of the basic key issues for making a better performance. Practice the roll-off and strike-in, unison of the first note and phrase, tuning, staying in tempo, tune transitions, and cut offs. The importance of correctly understanding the band performance will improve your overall band sound.
2007 Pipe Sessions - Class Descriptions
Session 7
7A. Ed Neigh. Intermediate MSR.Meant for those already playing competition medleys or those who have had enough time and experience on the pipes to handle strathspeys and reels. Bring your practice chanter.
7B. Iain Macey. Improving Technique. Practice basic steps and exercises and learn approaches to tunes and phrasing. Improve your understanding of the importance of execution and timing. Bring your practice chanter.
7C. Ed Krintz. How to Practice.Look at the fundamental needs of practice such as structure, amount, and frequency of practice time. Learn how to get the most from your practice sessions. Bring your practice chanter.
7D. Sandy Jones. Teaching Strategies. Whether you have students of your own or you are trying to move your band along, get some ideas and tips on how to effectively transmit your piping skill and information to your students and practice strategies for improving band performance.
7E. Chris Apps. Reed Adjustment - Chanter reeds. Examine a variety of pipe chanter reeds and the “set up” characteristics common to all reeds. Also, Chris will demonstrate tricks for adjusting the reed, setting pitch, and “balancing” the chanter.
7F. Dale Brown. Exploring Other Time Signatures. Pipe music offers far more variety than pipers think. Check out tunes without the “standard” time signatures; they offer an interesting break from the same old tune settings. Bring your practice chanter.
7G. Jerry Gibson. Setting Band Chanters. Practice setting up reeds and chanters from the beginning; selecting reeds, adjusting them in the chanter, setting the pitch, and matching chanters. A discussion of current band pitch and the use of tuners will be included. (We’ll have a set of New Gibson Poly Chanters to use for demonstration which will be offered for sale at the end of the Workshop at a special price).
7H. Walter Cameron – New Scotland Kilts. All About Proper Highland Wear. If you are playing with a band and need to get equipment, or you are planning on performing for fun or profit, you need to know what to purchase. What uniform items go together for which occasions? How are accessories properly worn? Get the “regimental touch” from someone who knows about kilts and uniforms.
7I. WPPB. How to Run an Effective Band Practice. Learn how to manage a band and direct their musical performance. Discuss strategies for making the most effective use of band time. Manage practice time to include: practice chanter “drills” and exercises, time on pipes, bringing in the drum corps, and additional time allowance for band agenda outside of the practice schedule.
