The Highland Bagpipe Tutor Book 2 Transition To Bagpipes

The Highland Bagpipe Tutor Book 2 – Transition to Bagpipes builds on and develops the knowledge and techniques relating to playing the Highland bagpipe, which are introduced in Tutor Book 1. For many learner pipers the biggest hurdle they encounter is making the transition from playing tunes on the practice chanter to playing tunes on the bagpipe. Th ere is a lot to contend with, such as mastering the blowing technique, getting used to the bag and drones, building stamina, learning how to maintain and care for the instrument, tuning, reed manipulation and how to perform in public as a soloist or with other groups of pipers and musicians. This book follows the step-by-step approach of The Highland Bagpipe Tutor Book and each skill is taught in a logical, progressive manner using tried and tested methods gleaned from the combined experience of the teaching staff at The National Piping Centre. Of course there is no substitution for good teaching and so it is recommended that you use this book in tandem with lessons from an experienced teacher where possible. In offering this book we believe that there is much to be learned, not only for the learner piper but even for experienced players. It is a manual for good practice in terms of the care, maintenance and set-up of the bagpipe. The old adage “if a job is worth doing, then it is worth doing well” still holds true and those who apply this philosophy to the care, maintenance and tuning of the bagpipe will reap the benefits and enjoy the rewards of playing great music on a great instrument. Roddy MacLeod MBE BSc Former Principal - The National Piping Centre

FOREWORD By Seumas MacNeill and Thomas Pearston The aim of those responsible for the publication of this book has been to present a number of simplified explanations, in carefully chosen steps, so that anyone may easily become a competent performer on Scotland’s national instrument. Piping learned properly is relatively quite easy. The correct way to do finger movements is the simplest, for obviously only that way can the fast reels and jigs be physically possible. Only those who are taught badly or not taught at all find difficulty in learning the pipes. And yet, with all of its simplicity, the bagpipe is capable of the highest musical expression, being the vehicle of a classical music, Ceol Mor, which is the equal of anything in the world of music. The physical effort involved has also been greatly exaggerated. Many young boys and girls play without difficulty the Great Highland Pipe, and although the effort to learn may be considerable, the instrument should always be comfortable to play. The movements and tunes in this book have been described in great detail, partly because of the importance of building a firm foundation, and also that it will be possible for anyone to follow easily each step, even if someone is unable to obtain any other help. Teachers of piping will find that they can save themselves a lot of what is sometimes tedious explanation, especially in the teaching of staff notation, while those in charge of juvenile bands can change what is usually a rushed job into one of competent, easy achievement. This tutor book is the result of the experiences of the Senior Instructors of the College of Piping, combining many years of personal teaching experiences and ideas. Some teachers may find that they might not agree with absolutely every detail in the work, but they may rest assured that most alternatives have been carefully considered. Further note: By Colin R. MacLellan After its first publication in 1953, the College of Piping’s Tutor 1 has easily become the most successful instructional book for the Highland Bagpipe, with sales now approaching the half million mark. Since the “Green Tutor” first appeared, there have been advancements in teaching techniques and digital technology, as well as the creation of other piping institutions and educational establishments. Seumas MacNeill in the 1970’s, along with John MacFadyen and John MacLellan, created the Institute of Piping, which was instrumentally responsible for the establishment of a system of piping examinations leading to the first appointments of full time salaried teachers of piping in Scotland’s educational system. In turn, the Institute developed into what is 3 now the Piping and Drumming Qualifications Board, (PDQB), an organisation which comprises the five main educational establishments in Scotland, and whose educational qualifications are now fully accredited by the Scottish Qualifications Authority. In 2017, the “Green Tutor” was edited, keeping faithfully to its original flow and integrity, in order to bring it into line with these PDQB/SQA guidelines. Students will now have fully explained lessons which will track the PDQB/SQA standards and examinations. It is of great advantage to pipers both in Scotland and other countries to gain the academic currency which comes along with these qualifications. Detailed information and syllabi are contained in an appendix at the end of the book. The tutor also incorporates passages of video examples and instruction for all 27 lessons. These are available for use free of charge on The National Piping Centre website: www.thepipingcentre.co.uk/learn/tutorbooks

WHEN you started to learn the chanter you were no doubt keen to play tunes as soon as possible. Th e tunes themselves were exercises which were helping to make your fingers strong and active. You are far enough advanced now, to realise that to become a good player you must be prepared to work hard at the small details of technique. Movements that appear oft en in pipe music should be practised regularly by themselves. Th e following exercises are designed to perfect your doublings. Th ey should be practised very slowly to begin with, and then more quickly as you get the feel of them. Remember always: when in doubt about the required speed, play more slowly.

Piping brings happiness and undeniable positive value to our lives... or at least it should. Pipers of every level of experience and ability can feel incredibly frustrated and lost in the dark about an instrument they want to play well, but can't. It doesn't have to be this way. Join me as I guide you through a commonsense approach, which I call the Five Phases of Bagpipe Freedom, to liberate every aspect of your musicianship and rediscover your joy of playing the bagpipes.

(Instructional). The Hal Leonard Bagpipe Method is designed for anyone just learning to play the Great Highland bagpipes. This comprehensive and easy-to-use beginner's guide serves as an introduction to the bagpipe chanter. Video lessons of demonstrations of all the examples in the book are included! Lessons include: the practice chanter, the Great Highland Bagpipe scale, bagpipe notation, proper technique, grace-noting, embellishments, playing and practice tips, traditional tunes, buying a bagpipe, and much more!

Given by Eugene Edge III.