Survey Summary: 100 Years of Pipe Bands

With over 200 respondents a summarized view can now be passed along of the “100 years of pipe bands” survey offered last month to readers of bagpipe.news (and those of my blog). In my working life (corporate communications) I’ve always found surveys a good way to take a temperature check of a group of people. You’ll know political pollsters are masters in calculating the exactness – or degree of accuracy – of any group of responses. You may be surprised to find – as I once was – that response levels do not have to be especially high to show a degree of accuracy. I projected that 5000 people would likely be reached through both bagpipe.news and blog channels. Considering participant rate and target audience size it might be said that from the “100 years of pipe bands” survey, a confidence level of 95% can be inferred, with a margin of error of 7%. Margin of error (that the results don’t jive with the perspective of the target group) is quite high here. 5% is the industry standard (you can read more about confidence levels and survey margins of error here).
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100 Years of Pipe Band Music (Survey)

In listening to a recording of the 1947 World Champion, Bowhill Colliery Pipe Band, I got to thinking about the many, often dynamic, changes that have come to pipe band music over the last 100 years. From music to pitch and overall sound the transformation of the art form over a relatively short period has been remarkable. You can hear Bowhill Colliery here.

Bowhill’s march, strathspey and reel is interesting – if not the easiest listening – in part, because parts of tunes have not been repeated to fit the 3 minute and 30 second recording limit of the polyvinyl chloride (PVC) 78 RPM record. This is from a Beltona production recorded their winning year. Their tunes: Highland Wedding, Athole Cummers and Mrs MacPherson of Inveran.
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A Line Up of Knees

I was talking to John Walsh the other evening and learned – among other things – he had one brand new knee. It was last week in New Glasgow, Nova Scotia when his plastic patella was, er, planted. Like so many procedures of this kind there’s no shortage of discomfort in recovery.
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John Morrison of Assynt House

I was talking to Glasgow piper, Craig Turnbull, a little while ago. He had been travelling in the Western Isles and the subject of the famous reel. “John Morrison of Assynt House” came up. Craig had passed by Assynt House in Stornoway. I always had it in my mind that Peter MacLeod, Senior, the composer of this reel – a piece of music that is without doubt, one of the greatest music compositions of all time – named it for a place in Ross-shire, north of Inverness (Scotland).

Our discussion ended with me committing to do a little research to find out what was what. Because. I was sure I was right.
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The best advice a boss ever gave me

If the word leadership could be instantly removed from the English language the internet would have almost 4 billion fewer traces of Linkedin’s favourite noun. Four. Billion. People love “leadership”. We may not always be especially charmed by local political leaders but for leadership as a notion, an idea – there’s a lot of love.
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Tunes from John Wilson (1906 – 1979)

There aren’t a lot of easily available recordings of great players of the past – especially the long past. Here are a few samples from the great John Wilson. I no longer assume people know of him, or, for that matter, almost any of the greats of the not-so-distant-past.

John Wilson was born in Edinburgh. He came from a piping family, his Uncle John, for instance, was “The Baldooser” (how’s that for a nickname). You can find the jig named “The Baldooser” in Willie Ross’s first book. John Wilson took to the pipes very young and, even then, was a good player. His life changed forever when as a kid in Edinburgh he was playing on the beach with a detonator (as one did) and blew off big parts of his left hand. He always noted in the story’s telling that this happened the day before the Great War’s Armistice in 1918; the irony appealed to him, I’m sure.
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The Walking Dead of Qualifier Friday

With less than a score of grade one bands projected to attend the 2019 World Pipe Band Championships (and quite possibly an entry closer to ten than twenty) any case to be made for a Friday qualifier, or play-off, may likely come across as pretty weak. That the grade 4B contest in 2018 featured 18 bands in each run-off suggests that organizers have a perspective on optimum numbers for any contest (grade 4 is the less-experienced end of the grading spectrum, with grade one, the highest).

For those who aren’t dialled-in to the world pipe band thing – especially as it applies to the idiom’s premier grade – here’s context:
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Ronnie Rollo: Folk Artist

In a recent mid-winter clear-out of my house I found myself with a little extra wall-space. I also found a few things I’d forgotten. Anyone who knows me knows that walls were made for one thing: to hang stuff. When I was younger I used to move a lot. And here’s a Top Tip for the itinerant: I found that the fastest way to make a place feel like home is to nail to the wall a favourite photo, picture or poster (even before all boxes are unpacked). I say “nail”, I mean hang, as in hung. A well-hung picture makes any strange new place instantly more familiar.
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New Book: Young MacCrimmon and the Silver Chanter

I picked up the new children’s book, Young MacCrimmon and the Silver Chanter as a Christmas present for a (lucky) kid on my list. It’s a rare book that doesn’t gift its reader some new insight or bit of knowledge. Written by Mick Broderick and Robert Wallace and illustrated by Norman Matheson, this children’s book didn’t fall short: I was reminded that the late Broderick stood as a great Scottish tradition bearer and found piper-solo-piping-judge, Matheson, to be an outstanding illustrator – and so, an artist beyond his piping.
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Performance Options

A frequent topic of conversation in some pipe band, em, circles relates to performance options. For instance, is the three-pace roll start and march to centre field (where the band moves to centre stage and curtly turns their collective back to the audience) the best we can do? Except for the most change-averse, most interested in such things, I think, say a big “no”.
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