Queensland Irish Association Pipe Band

Queensland Irish Association Pipe Band Bagpipe Learner s Book Current Syllabus from 2 January 2014 Learner s Book QIAPB v2014 1

QIAPB members have developed this book over time, and designed it specifically to be used by bandappointed tutors, though anyone seeking to improve their playing is welcome to use the contents for their own personal use. Some diagrams and charts have been sourced from online sites, and are credited to the original source where they occur. However, all the original contents of this book are QIAPB 2014. The QIAPB claims and retains ownership of all exercises and teaching approaches. Learner s Book QIAPB v2014 2

Queensland Irish Association Pipe Band Welcome! Welcome to the Queensland Irish Association Pipe Band (QIAPB) Bagpipe Learning Program. This book is a syllabus of practical and theory lessons for the practice chanter. Use this book as a learning tool for you to work through with your tutors over the following weeks. Progression through this curriculum (from Lesson 1 to playing on a set of pipes) usually takes between 6 and 18 months. How fast you progress will depend on your individual level of skill, experience, comprehension but most of all, your dedication to practising. Bagpipes are a difficult instrument to learn and play, but the sense of achievement and accomplishment you will experience when you finally master them is its own extremely satisfying reward. Expectations Lessons are free, with the expectation that you march off your training by joining QIAPB as a piper once you ve completed this syllabus. If you do not intend to join the band, paid lessons are available. Tutors dedicate their time for free, so we expect that you will respect their commitment with one of your own, by coming prepared, practising, and paying attention. On rare occasions, students who show no dedication may be asked to leave. You should aim to practice what you have learned each week regularly (10-30 minutes each day is ideal, and better than two hours once a week). Piping movements and embellishments progress faster when your fingers develop muscle memory through regular practice. Come prepared each week with your chanter, music, pencil and highlighter. Once you have spent some time learning and are committed to continuing, at some stage before progressing on to pipes you must become a member of the Queensland Irish Association. Forms are available from the reception desk of the club; your tutors can be your proposer and seconder for this. Curriculum This curriculum is designed to be undertaken one lesson at a time, and in the order set out in the lesson chart below. Lessons can take one week each, or as many as it takes the learner to master a skill. A tutor should sign off on each lesson prior to the learner progressing. Allowances will be made for learning style, but as this curriculum is designed to cumulatively develop your skills, no more than 2 exercises can be undertaken at a time without sign-off. Equipment Learners are welcome to buy/ bring their own chanter, but those who don t own one can be issued with a band chanter, for a deposit of $20, which will be refunded if you leave or buy your own. This chanter always remains the property of the QIAPB, and must be returned if you leave or when you buy your own. Learners should bring a copy of this book with them each week to class. A PDF Copy can be found at the following link: http://www.qldirish.com/the_qiapb_tutor_book.pdf. The band can supply you with a printed copy for a fee. CEAD MILE FAILTE! (A hundred thousand welcomes!) Learner s Book QIAPB v2014 3

Progressing on to a set of pipes Learners who progress successfully through this learner book are required to have six songs that they can play suitably and from memory before they will be allowed to start learning how to play a set of pipes. Progressing from learning on a practice chanter to learning on a set of bagpipes will only be allowed at the discretion of the Pipe Major, Pipe Sergeant, or Head Tutor. The Band has a limited number of in-house bagpipes for learners to progress on to. Sets of bagpipes will be distributed to learners only at the discretion of the Pipe Major, Pipe Sergeant, or Head Tutor, and not just because it is your turn. o Any learner who is issued a band set of pipes and wishes to continue playing is expected to purchase their own set within a period of 6 12 months, so other learners have a chance to start learning. o Band members and tutors can help you source good quality new or second-hand pipes, so please ask your tutor(s) or a band member before you purchase a set if you are unsure what to look for. Too-good-to-be-true deals often are! If you have your own set of bagpipes, you are more than welcome to bring them in when you are assessed and ready to play pipes. However, please remember that you will still be required to progress through all chanter lessons in this book until you are deemed ready to begin learning how to play a set of pipes. Band Information QIAPB is one of the oldest pipe bands in Queensland, and the oldest Irish pipe band in Australia. Despite existing in many forms during the latter 1800s, the band was first officially formed as the QIAPB in 1898, and has been an institution in Brisbane ever since. QIAPB fosters a family-friendly, social culture, and encourages good musicianship. The band is well-known in Australia and abroad, and is regularly invited to perform at local and international festivals, such as the annual Glen Innes Celtic festival, and the Festival Interceltique de Lorient in France. QIAPB proudly wear Ancient Urquhart tartan (green, blue, and white). You can see some examples of the uniform below, including brogues (shoes), socks, flashes, sock tops, kilt, sporran, vest, shirt, tie, jacket (worn occasionally), and glengarry (hat): Piper (standard dress) Pipers on street march in full uniform Drum Major Learner s Book QIAPB v2014 4

The band follows a regimental structure. We often march with a Drum Major leading the band on street parades, but the band s overall leader is the Pipe Major. o New pipers are expected to pay attention, always watch the ranking officer for commands (unless otherwise instructed), and to follow them. Rank positions Pipe Major Pipe Sergeant Pipe Corporal Piper Drum Major Drum Sergeant Drum Corporal Side drummer Tenor drummer Bass drummer Executive positions Pipe Major Secretary Treasurer Custodian Fundraising Officer(s) Accommodation Officer(s) PBA Representatives Role Highest ranking position in the band. Overall leader, music coordinator, and decisionmaker; chooses music and sets timing and style for all band members to follow. Second-in-command to Pipe Major; runs band if PM is unavailable or runs #2 band when required. Ensures band follows PM commands, tunes all pipers prior to performance and ensures band members are prepared and on time. Assistant to PM and P/Sgt; steps in as senior officer when both are absent. General band member who plays the bagpipes. Ceremonial position; commands band on street marches under PM s direction and liaises with event organisers. Responsible for selecting and teaching drum scores and leading drum section as directed by PM. Second-in-command to D/Sgt; runs drum section if D/Sgt is unavailable or if #2 band. Drummers who play the snare drum. Often play two rolls to start tunes. Drummers on tenor drums. They fill in the bass section of the band with differently pitched drums. Drummers who keep time on the big bass drum strapped to their front, according to tempo set by PM s foot. Role Appointed by Queensland Irish Association board. Has overall responsibility for musical direction, and authority to delegate powers, duties and responsibilities to other positions. Appointed by popular vote at band AGM. Responsible for keeping band records, arranging band trips and managing all band correspondence. Appointed by popular vote at band AGM. Responsible for keeping band accounts, managing band finances, and banking all band money. Appointed by popular vote at band AGM. Responsible for keeping records on and issuing band uniforms and equipment. Appointed by popular vote at band AGM. Responsible for instigating and managing fundraising events. Appointed by popular vote at band AGM. Responsible for arranging band accommodation on trips away. Appointed by popular vote at band AGM. Responsible for attending PBA regional meetings and feeding back information to executive committee. Learner s Book QIAPB v2014 5

Chart of Lessons Lesson 1 Preparatory knowledge of chanter and scale ~ 7 Theory: Treble clef, stave, and bar lines ~ 9 Lesson 2 Scale with hi-g grace note ~ 10 Theory: Note values ~ 11 Lesson 3 Birls ~ 13 Theory: Time signatures ~ 14 Lesson 4 Scale and hand changing exercises ~ 16 Revision: Random selection of past exercises ~ n/a Lesson 5 GDEs ~ 20 Theory: Dotted and cut notes ~ 21 Lesson 6 Tacums and strathspey tacums ~ 22 Theory: Musical style and exceptional note values ~ 23 Lesson 7 D Throws ~ 25 Theory: The anacrusis ~ 26 Lesson 8 Bottom-hand doublings ~ 27 Revision: Random selection of past exercises ~ n/a Lesson 9 Top-hand doublings ~ 28 Revision: Theory revision activity ~ 30 Lesson 10 Bottom-hand strikes ~ 31 Lesson 11 Top-hand strikes ~ 32 Lesson 12 Grace note birls ~ 34 Theory: Bagpipe Anatomy ~ 35 Lesson 13 Lemluaths and Taorluaths ~ 36 Theory: Marching Glossary ~ 37 Lesson 14 Pibroch and other embellishments ~ 38 Revision: Random selection of past exercises ~ n/a Tunes Intro to tunes and sign-off page ~ 40 Tune 1 Steal Away/ Jigs Set ~ 41 Tune 2 Amazing Grace Set ~ 43 Tune 3 Highland Cathedral ~ 45 Tune 4 O When the Saints ~ 46 Tune 5 La Boum ~ 47 Tune 6 Suo Gan ~ 48 Core Repertoire Dawning of the Day ~ 49 County Down Set ~ 50 Flower of Scotland Set ~ 51 Asturian March-in Tune ~ 53 Mo Ghile Mear ~ 54 Kelly Set ~ 56 Pikeman s Set ~ 58 Appendix 1 Theory Revision ~ 60 Appendix 2 Collation of Black Box Exercises ~ 63 Appendix 3 Blank Staves ~ 65 Learner s Book QIAPB v2014 6

LESSON 1: Preparatory knowledge of chanter and scale Lesson outcomes (LO) LO1. LO2. LO3. LO4. Student understands design and maintenance of practice chanter, difference from pipe chanter, and what purpose each serves. Student can demonstrate finger positions on chanter. Student can play a simple scale evenly (regardless of speed), both up and down. Theory: Student understands the basic elements of pipe music, and can name the notes of the scale and draw them on a stave. Activities 1. Tutor explains design of practice chanter and how to care for and maintain it. 2. Tutor shows student how fingers are placed on chanter for each note, and why. 3. Tutor leads student through how to play a scale, both up and down. Tutor will stop and correct as necessary. 4. Tutor explains basics of pipe music, including treble clef, stave, bar lines (including single, double, and repeat signs) and notes. Student will revise notes of a scale and treble clef, and accurately redraw them on a stave when asked. Exercise 1.1: Basic Scale These two dots are called a repeat sign. You will see them at the start and end of a section that you are supposed to play twice. When you reach a repeat sign in music, find the set that precedes them and play the music again from there, back to the second repeat sign. Once you ve played it the second time, you can move on to the next section of music (if there is one). You ll learn more about how to read this Exercise in the theory lesson on page 9. Learner s Book QIAPB v2014 7

Reference: Finger positions and notes Diagram Key: = open hole = closed hole Note Position Diagram Photo Note Position Diagram Photo Lo- G E Lo- A F B Hi- G C Hi- A D Diagram Source: http://www.thewhistleshop.com/catalog/otherinstruments/chanters/fineringchart/chanter.htm Learner s Book QIAPB v2014 8

THEORY: The basics treble clef, staves, and bar lines The basics of (pipe) music include: notes, which are like the letters of the language of music. In pipe music you ll sometimes hear them referred to as dots. Each note in pipe music corresponds to a note of the English alphabet. There are only 8 notes in a musical octave, labelled from A-G. They look like this (we ll learn why there are different kinds later): the stave, which is a set of five horizontal lines that you write notes on. It looks like this (though it s usually the width of a page long): the clef, which tells you what general range of pitch the written notes on the stave should be played in usually low (bass clef), middle-range (alto clef), or high (treble clef). Because notes on a bagpipe are on the one register, pipe music is always written in treble clef, which looks like this: bar lines, which are like the commas and full stops of music language. They are the vertical lines that divide up sequences of notes. They look like this: Scales A scale is a set of notes that go up and down in order of pitch, and within the same octave. e.g. A B C D E F G A B C etc. Because the bagpipes start on a low-g, a scale on the bagpipes starts on G, then jumps back to A, then B, and so on, until it gets to hi-a. Theory in Practice: 1. Draw a treble clef, and then fill in the missing notes above the letters on the stave below: **Refer to Appendix on p 60 for more practice at identifying notes. Lesson 1 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 LO3 LO4 Learner s Book QIAPB v2014 9

LESSON 2: Scale with high-g grace note Lesson outcomes (LO) LO1. Student can play a scale with high-g grace notes, with correct timing. LO2. Student understands and can demonstrate correct posture. LO3. Theory: Student understands the different note values (semibreve, minim, crotchet, quaver, semiquaver), rest values, and values of grace notes/ embellishments. Activities 1. Tutor leads student through how to play a scale with high-g grace notes, both up and down. Tutor will stop student to correct them as necessary. 2. Tutor instructs student on correct posture. When playing the practice chanter: Keep back straight. Keep practice chanter in the centre of the mouth and in the middle of the body. Keep elbows and wrists in neutral position; there should be no bend from the elbow to the hand. Keep end of chanter resting on the table when playing. 3. Tutor instructs student on basic theory of note values and time signatures. Student completes exercise. Exercise 2.1: Scale with high-g grace note Exercise 2.2: Scale with high-g and high-a grace note Learner s Book QIAPB v2014 10

THEORY: Note Values Note Values (Note Tree) Whole note (semibreve), worth 4 beats Half note (minim), worth 2 beats Quarter note (crotchet), worth 1 beat Eighth note (quaver), worth 1/2 of a beat Sixteenth note (semiquaver), worth 1/4 of a beat Rest Values (Rest Tree) Values of rests are same as their equivalents in the Note Tree An example of rests in a tune can be seen in O When the Saints on p46 Grace notes and embellishments Grace notes and embellishments (in pipe music) are short notes/ groups of notes that have a very short value. They have three tails (see examples below). They are written in smaller font to regular notes, and their timing is largely interpretative, but always set by the Pipe Major. Grace notes (in pipe music) do not officially take any value away from regular notes in the bar. They are played at the start of a tune, as part of an embellishment, and between notes. As bagpipes have a continuous tone, grace notes help the listener to differentiate between notes. Grace notes can be grouped into regular patterns called embellishments, which you will learn how to play in subsequent lessons; some examples are doublings, strikes, grips (lemluaths), birls, and taorluaths. TIP: you don t have to learn each and every note of an embellishment every time it appears in a tune. Though they look complicated, once you have learned each embellishment properly, they will seem like a code which you will recognise and play easily when you read them in music. Don t be intimidated! Learner s Book QIAPB v2014 11

Theory in Practice: 1. Write each of the following notes on the stave, and with the note value shown. Semibreve=S; Minim=M; Crotchet=C; Quaver= Q, Semiquaver=SQ, Semidemiquver=SDQ Note: Lo-A E Lo-G B Hi-G F D C B Lo-A D Value: M C Q Q SDQ SQ SDQ C S M C 2. Write the letters that correspond to the notes on the stave below: Lesson 2 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 LO3 Learner s Book QIAPB v2014 12

LESSON 3: Birls Lesson outcomes (LO) LO1. Student can play birls accurately. LO2: Theory: Student understands time signatures and can demonstrate understanding by completing simple theory-in-practice exercises. Activities 1. Tutor leads student through how to play a birl accurately. Tutor will stop student to correct them as necessary. 2. Tutor will discuss and explain time signatures with student. Student completes Theory in Practice exercise. Exercise 3.1: Birls Exercise 3.2: Birl scale Learner s Book QIAPB v2014 13

THEORY: Time signatures Time signatures A time signature is a set of numbers at the start of a tune that tells you how many beats are in a bar, and what value those beats have. The most common time signature is 4/4, which looks like this when it is written in music. It appears just after the treble clef at the start of a piece of music. Think of it as a simple fraction: The lower number tells you how much value the beats have. In 4/4, the denominator is 4 (i.e. 1/4, which is the value a crotchet has in the note tree, repeated below) therefore, the note value of 4/4 time is a crotchet. In 6/8, the denominator is 8 (1/8), so the denominator is the eighth note, a quaver. The upper number sets the tempo, as it tells you how many of those notes are in a bar (so for 4/4 time, you will always need the equivalent of 4 crotchet beats in every bar; for 6/8 you will need the equivalent of 6 quaver beats in a every bar, etc.). The combination of notes you put into that bar becomes the rhythm of the tune. 2 4 3 4 Common time signatures in pipe music Used for marches and polkas Used for waltzes, minuets, country & western ballads, R&B, sometimes used in pop 4 4 6 8 This time signature is often called Common time, indicated in sheet music with a capital C in place of numbers; widely used in most forms of Western popular music, and in marches Irish jigs and some rock music Source: Wikipedia (edited table from original source) Learner s Book QIAPB v2014 14

Theory in Practice: 1. On the staves below, draw a treble clef, then write the time signature (i.e. 4/4). Then write four balanced bars of music using different mixtures of the note values you have just learned. Make sure the note values fit to the time signature specified. Stave 1: 2/4 Stave 2: 3/4 Stave 3: 4/4 Stave 4: 6/8 Lesson 3 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 Learner s Book QIAPB v2014 15

LESSON 4: Scale and hand-changing exercises Lesson outcomes (LO) LO1. Student can play scale exercises, with correct timing and no crossing noises. LO2. REVISION: Student can correctly play any previously-learned exercises that tutor selects at random, on demand, and from memory. Activities 1. Tutor leads student through how to play a scale and hand-changing exercises. Tutor will stop student to correct them as necessary. 2. Tutor will ask student to play a random selection of exercises from previous lessons. Student must play them accurately and from memory to have sign-off. Exercise 4.1: Basic scale runs (pattern 1) Exercise 4.2: Scale runs (pattern 1) with high-g grace note Learner s Book QIAPB v2014 16

Exercise 4.3: Scale runs (pattern 2) Exercise 4.4: Scale runs (pattern 2) with high-g grace note TIP: Exercises highlighted with black box should be revisited constantly, even when you have progressed on to tunes. Aim to practice this scale run pattern at least twice a week as a warm-up once you ve progressed on from this lesson. These exercises are collated on pp63-64 for you to continue referring back to when you ve finished this learner book. Learner s Book QIAPB v2014 17

Exercise 4.5: Hand changing exercises 1 (arpeggios) TIP: Remember to watch for crossing noises in this exercise they can creep in easily. Exercise 4.6: Hand changing exercises 2 Exercise 4.7: Hand changing exercises 3 Learner s Book QIAPB v2014 18

Exercise 4.8: The Pipe Major s Waltz Lesson 4 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 Learner s Book QIAPB v2014 19

LESSON 5: GDEs Lesson outcomes (LO) LO1. Student can effectively play GDE exercises, with correct, even timing. LO2. Theory: Student understands dotted and cut notes, and can balance a bar of dotted and cut notes in 4/4 time. Activities 1. Tutor leads student through how to play GDEs in exercises below. Tutor will stop student to correct them as necessary. 2. Tutor instructs students on dotted and cut notes and how they interrelate, and student completes exercise. Exercise 5.1: GDEs Exercise 5.2: GDE Scales Exercise 5.1: The GDE Exercise TIP: Exercises highlighted with black box should be revisited constantly, even when you have progressed on to tunes. Aim to practice this GDE exercise at least twice a week as a warm-up once you ve progressed on from this lesson (great also when stuck in traffic!). These exercises are collated on pp63-64 for you to continue referring back to when you ve finished this learner book. Learner s Book QIAPB v2014 20

THEORY: Dotted notes and cut notes Dotted notes A dotted note is a note with a small dot next to it (always written on the right-hand side, regardless of tail direction if applicable). The dot means that the duration of the note increases by half of its original value. e.g. If the note lasts 2 beats (a minim), the corresponding dotted note lasts 3 beats (one minim + one crotchet). A dotted crotchet is worth 1.5 beats (1 crotchet + 1 quaver). Cut notes It makes sense, then, that if you make one note longer, another has to become shorter so that the note values still balance in a bar, to fit the time signature. So, for example, in 4/4 time, if you had two minims in a bar, your total number of beats for the bar is 4, which is correct. However, if you dot one of them, there is an additional crotchet beat in the bar, meaning there are now 5 total beats. This is incorrect. To reduce the number of beats in a bar back down to 4, you need to subtract the note value from another note. A note that is cut down to a lower value to accommodate a dotted note is called a cut note. Theory in Practice: 1. Draw a treble clef, a 4/4 time signature, and then draw one bar of minims, one bar of crotchets, and one bar of quavers (remember the note values, and think about how many of each note you need to fit in the bar for a 4/4 time signature). 2. This time, replicate the line above, but make the first note of each bar a dotted note. Balance the other notes so that the note values still fit a 4/4 time signature. Lesson 5 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 Learner s Book QIAPB v2014 21

LESSON 6: Tacums and strathspey tacums Lesson outcomes (LO) LO1. Student can accurately play at least 3 tacums and 3 strathspey tacums successively, and with correct timing. LO2. Theory: Student understands difference between Scottish and Irish tunes, and can identify tacums and triplets in sheet music. Activities 1. Tutor leads student through how to play tacums in exercises below. Tutor will stop student to correct them as necessary. 2. Tutor will explain and demonstrate difference between Scottish and Irish tunes, and also demonstrate triplet and tacum timing. Student will then complete Theory in Practice exercise. Exercise 6.1: Tacums Exercise 6.2: Strathspey Tacums TIP: Strathspey tacums are played in strathspey tunes, which have a slightly different timing to other tunes (very cut-andheld). The first line below shows how strathspey tacums are written, and the second gives you an idea of the timing for how they are actually played, so you can practice them slowly. Written as Played as Exercise 6.3: Strathspey Tacums and triplets exercise TIP: Remember to continue revisiting black box exercises after you progress from this lesson; they are collated on pp63-64 for you. Learner s Book QIAPB v2014 22

THEORY: Musical style and exceptional note values Scottish vs Irish style Scottish music is usually very clipped, while Irish music is usually more rounded (though all timing depends on the preferences of the pipe major). QIAPB plays a solid mixture of both kinds of tunes, so it s important to familiarise yourself with both. Ask your tutor to play this part of a reel called Lexy McAskill, which is written here in Scottish style (clipped): And then compare it to how they play the same piece, but when written in Irish style (rounded): You should hear a difference between the bouncy feel of a Scottish tune and the even/ rounded feel of an Irish tune. Unusual timing: Triplets Triplets in all music are usually three quavers written together, which share the equal value of one minim (bear in mind that three quavers would usually be worth the value of a dotted minim). A triplet looks like this: TIP: In Scottish tunes, triplets are sometimes held slightly on the last note, so when you play them in a Scottish tune, give the last note of a triplet slightly more weight than the previous two. Make sure that in Irish tunes that they have round, even timing though. Unusual timing: Tacums As you learned above, tacums have different timing when they appear in normal tunes, as compared to strathspey tunes, which have a bouncier, very-cut-and-held feel. Learn to recognise the difference between the two embellishments when you practice them. Learner s Book QIAPB v2014 23

Theory in Practice: 1. The following tunes are from strathspeys that contain triplets, tacums, and strathspey tacums. Circle the triplets, put a square around tacums, and highlight strathspey tacums where you find them. The first of each has been done for you. Lesson 6 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 Learner s Book QIAPB v2014 24

LESSON 7: D Throws Lesson outcomes (LO) LO1. Student can accurately play at least three D throws successively, and with correct timing. LO2. Theory: Student understands the timing and theory behind anacruses. Activities 1. Tutor leads student through how to play D throws in exercises below. Tutor will stop student to correct them as necessary. 2. Tutor will explain anacruses to student, and student then explains back to instructor why La Boum has one, using sheet music provided. Exercise 7.1: D throws Written as Played as TIP: Practice each D throw slowly at first, as it s important your timing is accurate for this embellishment. Emphasise the low G (hold slightly longer than other notes in the embellishment) when you play. C and D that follow should be equal and clearly distinguishable. Exercise 7.2: D throw scales Exercise 7.3: D throws in first line of Buglehorn (short tune) Learner s Book QIAPB v2014 25

THEORY: The anacrusis An anacrusis is the note or sequence of notes which goes before the first bar in a tune (also called an intro, lead-in, or pickup). When a tune begins with an anacrusis, a corresponding number of beats should be missing from the final bar this keeps the number of beats in the whole tune the same as if it had no anacrusis. Essentially, the anacrusis is the missing part of the final bar, moved to the front of a tune. Theory in Practice: 1. Do not play this tune on your chanter. This common band tune has an anacrusis. Explain to your tutor why the value of the anacrusis notes fits as the missing notes in the final bar of this part: Lesson 7 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 Learner s Book QIAPB v2014 26

LESSON 8: Bottom-hand doublings Lesson outcomes (LO) LO1. Student can accurately play bottom-hand doublings on all notes from memory, on demand, and with correct timing. LO2. REVISION: Student can correctly play any previously-learned exercises that tutor selects at random, on demand, and from memory. Activities 1. Tutor leads student through how to play bottom-hand doublings in exercises below. Tutor will stop student to correct them as necessary. Exercise 8.1: Lo A Doubling Exercise 8.2: B Doubling Exercise 8.3: C Doubling Lesson 8 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 Learner s Book QIAPB v2014 27

LESSON 9: Top-hand doublings Lesson outcomes (LO) LO1. Student can accurately play top-hand doublings on all notes from memory, on demand, and with correct timing. LO2. Theory: Student can complete revision exercises accurately and unassisted. Activities 1. Tutor leads student through how to play top-hand doublings in exercises below. Tutor will stop student to correct them as necessary. 2. Student must be able to answer theory revision exercises to pass LO2. Exercise 9.1: D Doublings (jingles) Exercise 9.2: E Doublings Exercise 9.3: F Doublings Learner s Book QIAPB v2014 28

Exercise 9.4: Hi-G Doublings Exercise 9.5: Hi-A Doublings Exercise 9.6: Doublings (to same note) scale Exercise 9.7: Doublings (to next note) scale TIP: Remember to continue revisiting black box exercises after you progress from this lesson; they are collated on pp63-64 for you. Learner s Book QIAPB v2014 29

THEORY: revision Without looking at past activities, answer the following questions: 1. Write the notes shown below in letters as notes on the stave: Lo-G Hi-A B D C F Lo-A E Hi-G Hi-A B D C D A 2. Rewrite the following incorrect sequences of dotted and cut notes with the correct dots and cuts on the blank staves provided: 3. Does the following tune excerpt have an anacrusis? YES / NO (circle) Why? Lesson 9 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 Learner s Book QIAPB v2014 30

LESSON 10: Bottom-hand Strikes Lesson outcomes (LO) LO1. Student can accurately play bottom-hand strikes on all notes from memory, on demand, and with correct timing. Student can revise music theory in Appendix 1 for next two lessons, though this is not a required outcome. Activities 1. Tutor leads student through how to play bottom-hand strikes in exercises below. Tutor will stop student to correct them as necessary. Exercise 10.1: B Strikes Exercise 10.2: C Strikes Exercise 10.3: D Strikes Lesson 10 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 Learner s Book QIAPB v2014 31

LESSON 11: Top-hand Strikes Lesson outcomes (LO) LO1. Student can accurately play top-hand strikes on all notes and strikes scale exercise from memory, on demand, and with correct timing. Activities 1. Tutor leads student through how to play top-hand strikes in exercises below. Tutor will stop student to correct them as necessary. 2. Student matches glossary terms to correct definition. Exercise 11.1: E Strikes Exercise 11.2: F Strikes Exercise 11.3: High-G Strikes Exercise 11.4: High-A Strikes Learner s Book QIAPB v2014 32

Exercise 11.5: Strikes scale exercise Lesson 11 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 Learner s Book QIAPB v2014 33

LESSON 12: Grace note birls Lesson outcomes (LO) LO1. Student can accurately play grace note birls by themselves and in scales. LO2. Theory: Student understands parts of a set of pipes. Activities 1. Tutor leads student through how to play grace note birls in exercises below. Tutor will stop student to correct them as necessary. 2. Tutor explains parts of the pipes to student. Exercise 12.1: Grace note birls Exercise 12.2: Grace note birls scale Learner s Book QIAPB v2014 34

THEORY: Bagpipe anatomy and glossary Term Bag Cover (pyjamas) Cords Chanter Blow pipe/ blow stick Bass drone Tenor drones Drone reeds Chanter reed Finger holes Sound hole Stocks Split stock Drying system Hemp Definition The bag that a piper blows air into as a reservoir for air to flow through the reeds. Originally made of sheepskin, but modern bags are usually gortex or other synthetic materials. Separate outer cover that covers the bag, usually has band insignia/ logo on it and a non-slip patch that sits under arm to prevent pipes from slipping. The plaited cords and tassles that tie the upper drone sections together. Section fingers sit on, like a practice chanter, to make a melody. Usually made of blackwood or polypenco. Section that player blows into to fill bag. Usually fitted with a non-return valve, that prevents air from escaping back out of bag when not blowing. Biggest of three drones (three drone sections). Large drone reed and deeper sound than other drones. Two smaller drones (two drone sections). Smaller drone reed and same higher sound. Usually a synthetic reed, that sits in bottom of drones, vibrates air to make drone sound. Double cane reed that sits in top of chanter, takes more pressure to start than drone reeds. Holes on chanter that correspond with your practice chanter. Hole at bottom of chanter allows chanter melody to project. Always ensure this hole is free from obstruction. Sections that protrude from bag to hold drone, chanter, and blow stick. Chanter stock that allows chanter to be removed without exposing reed. QIAPB always use split stocks to allow easy tuning and protect the chanter reed. Kitty litter tubing system/ canister inside bag that connects to drones/ chanter to keep reed dry. Waxed string that wraps tightly around movable sections of pipes so they fit and stay together. Lesson 12 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 Learner s Book QIAPB v2014 35

LESSON 13: Lemluaths (Grips) and Taorluaths (to Low-A) Lesson outcomes (LO) LO1. Student can accurately play lemluaths (grips) and taorluaths with correct timing. LO2. Theory: Student understands various marching terms. Activities 1. Tutor leads student through how to play grips and taorluaths in exercises below. Tutor will stop student to correct them as necessary. 2. Tutor runs student through marching glossary and drill procedures. Exercise 13.1: Lemluath (Grips) scale Exercise 13.2: Lemluath scale with grace notes Exercise 13.3: Lemluath scale returning to low-a Exercise 13.4: Taorluaths scale TIP: Remember to continue revisiting black box exercises after you progress from this lesson; they are collated on pp63-64 for you. Exercise 13.5: More Taorluaths Learner s Book QIAPB v2014 36

THEORY: Marching glossary Term Drill Rank File Spacing Leading foot Halt Gate wheel Mark time Quick march Left turn Right turn About turn By the centre By the right By the left Circular counter march Counter march Arm swinging Definition Practice for marching and general deportment/carriage during performances Line of band members from left-to-right Line of band members from front-to-rear Distance between each band member. Usually allow two paces/ one arm s length in all directions. When marching, always lead with your left foot when the Pipe/ Drum Major orders quick march. Stop! When band turns proportionally around a corner (small steps at turning point, longer steps at wheeling side of the band; each rank stays in straight line). Gate wheel is most common kind of wheel, but other wheels do exist (such as a box wheel). Marching on the spot Order to start marching (lead with left foot) All band members pivot 90 degrees on left foot to face left. All band members pivot 90 degrees on right foot to face right. All band members pivot 180 degrees to the right (facing backwards from starting point). Usually done when marching with a Drum Major. All band members get cues for rank distance from centre file. If no centre file (even no of ranks), front rows form triangle from centre ranks to Drum Major. All band members get cues for rank distance from front right corner member (Pipe Major). Standard marching cue when no Drum Major. All band members get cues for rank distance from front left corner member (Pipe Sgt/ Corporal). Standard marching cue when no Drum Major. Band breaks into two files, and splays out and around a set point in a circle, then forms back into correct files after turning 180. DM/ PM leads band in an about turn so that band follows the leader in opposite direction to rest of line. As each member of the band gets to the correct spot they also about turn and march through the files of band members in the direction they came from. When you are marching but not playing, you are expected to swing your right arm (the one not holding your pipes) in time with your left foot. Always make a fist with your thumb pointing out straight (towards the ground when at attention) across the top of your other fingers (i.e. not tucked in). Always keep swinging arm straight. Lesson 13 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 Learner s Book QIAPB v2014 37

LESSON 14: Pibroch (Piobaireachd or ceol mor) and other embellishments Lesson outcomes (LO) LO1. Student can accurately play eidres, five-fingered grace notes, and crunluaths, with correct timing LO2. REVISION: Student can correctly play any previously-learned exercises that tutor selects at random, on demand, and from memory. Activities 1. Tutor leads student through how to play movements in exercises below. Tutor will stop student to correct them as necessary. 2. Tutor will ask student randomly to play a selection of exercises student has learned previously. Student must play them accurately and from memory to pass. Exercise 14.1: Eidres TIP: Remember to continue revisiting black box exercises after you progress from this lesson; they are collated on pp63-64 for you. Exercise 14.2: Five-fingered grace notes on D Exercise 14.3: Five-fingered grace notes on C Exercise 14.4: Five-fingered grace notes on B Learner s Book QIAPB v2014 38

Exercise 14.5: Darados Exercise 14.6: Crunluaths Lesson 14 approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** LO Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date LO1 LO2 Learner s Book QIAPB v2014 39

Transition to pipes: Learning Tunes As mentioned in the introductory pages of this book, you must have at least six tune sets that you can play suitably and from memory before you will progress on to learning on a set of bagpipes. The following pages contain a number of basic tunes that the band plays regularly. Your tutor(s) will advise and correct you as you are learning these, but please note that it is best to learn to play one tune very well at a time, than to half-learn three or more by speeding through. When you have learned at least six tunes well, the Pipe Major, Pipe Sergeant, or Head Tutor, will run a tune and embellishments test with you. Once you pass you will be allowed to progress on to pipes. **To qualify for a tune s sign-off, you must be able to play it accurately, with embellishments, at correct speed, and with correct timing. ** Tunes approval **At least one chanter sign-off must be head tutor, P/ Sgt or PM** 1 2 3 4 5 6 Tune Name Chanter Sign-off 1 Date Chanter Sign-off 2 Date Pipes Sign-off Date Learner s Book QIAPB v2014 40

Tune (set) 1: Steal Away/ Jigs set Steal Away Jig in the Middle Jig of Slurs NOTE: You will notice that in Steal Away, two staves at a time are joined together by a bar line and a bracket. This indicates that these two staves are meant to be played together by two (or more) players at the same time, and contain harmonies that complement each other. The top stave is the melody, called firsts, which all pipers play at least once. The bottom stave is the harmony, called seconds, which only a few pipers play, usually only on the second time through a song. Occasionally you will see tunes with thirds or fourths as well. As a learner, you should only learn the top line of each set. Do not start to learn seconds until they are allocated to you. You may find it helpful to highlight the top stave or put a line through the bottom stave while you are learning these tunes, so you don t get confused about which line to go on to. TIP: You should always watch your tutor s fingers carefully, but especially so during Steal Away. Timing with slow airs is interpretative, and set by the PM in performance, so pipers are expected to watch carefully to stay in time. Steal Away Slow Air arr QIAPB 2011 Learner s Book QIAPB v2014 41

Jig in the Middle Jig arr QIAPB 2011 Jig of Slurs Jig arr QIAPB 2011 Learner s Book QIAPB v2014 42

Tune (set) 2: Amazing Grace set Amazing Grace (solo piper 1 st time, whole band second time) Amazing Grace 4/4 NOTE: Although the 2 nd time ending is written here with a slowed-down finish, QIAPB rarely plays this. Usually, a solo piper plays once through, then the whole band once with the 1 st time ending, then straight into the faster, 4/4 version. The 2 nd time ending is usually only played this way for massed band finishes. Amazing Grace Hymn arr QIAPB 2011 Pipe Major counts straight in to Amazing Grace 4/4 Learner s Book QIAPB v2014 43

Amazing Grace (4/4) Hymn (fast) arr QIAPB 2011 Learner s Book QIAPB v2014 44

Tune 3: Highland Cathedral Side drum/ solo piper intro (first part) Whole band starts second part Tune then repeated until PM calls to stop. Seconds second time through. TIP: Always hold the note before a birl, grip, or taorluath a bit longer than its actual value and remember to watch your tutor s/ PM s fingers carefully, as this is a slow air. Remember, too, to only play the top staves (firsts) the second stave in each set is for seconds players only. Seconds will occur in most tunes from this point on, so keep an eye out for them. Highland Cathedral Slow Air arr QIAPB 2011 Learner s Book QIAPB v2014 45

Tune 4: O When the Saints Bass drum intro O When the Saints Song arr QIAPB 2011 **Seconds 2 nd time through on this part Drum break 4 bars (rests for pipes) then seconds both times through, thirds (runs on firsts) second time through Learner s Book QIAPB v2014 46

Tune 5: La Boum TIP: Remember to hold the note before a birl, grip, or taorluath a bit longer than its actual value. Marches can sometimes speed up, especially around runs or groups of embellishments, so watch the PM/ your tutor carefully to ensure you don t speed up. La Boum March arr QIAPB 2010 Tune repeats (Part A Part B Part A etc.) at discretion of Pipe Major, with seconds every 2 nd time. Learner s Book QIAPB v2014 47

Tune 6: Suo Gan TIP: This song has a tendency to speed up, so be careful to hold the tempo steady and don t rush. Again, this is a slow air, so watch the PM s/ your tutor s fingers carefully to ensure you have the correct timing. Slow Air Suo Gan Traditional Learner s Book QIAPB v2014 48

Additional tunes (core repertoire) The following pages include sheet music that the band plays regularly. When you have checked for approval with a tutor, you can start learning some of these additional tunes as well as the previous ones, to build up your repertoire. TIP: Remember to always hold the note before a birl, grip, or tarlouth a bit longer than its actual value. Dawning introduces slurs; your tutors will show you how to play these properly in this tune. Dawning of the Day March arr QIAPB 2010 Tune repeats (Part A Part B Part A Part B etc.) at discretion of Pipe Major, with seconds every second time. Learner s Book QIAPB v2014 49

County Down Set Tenor and side drum intro into Star of County Down Whiskey in the Jar McGuire s Jig (advanced players only) TIP: Grace note/ strike combinations in this set are easy to mix up, but it s vital that you learn them in the right order. Pay particular attention to this when learning this set. Star of County Down March arr QIAPB 2010 Whiskey in the Jar March arr QIAPB 2010 McGuire s Jig follows; learners cut chanter and drones and stand to attention while advanced pipers play jig. Learner s Book QIAPB v2014 50

Flower of Scotland Set Flower of Scotland (5-pace roll) Battle (Massacre) of Glencoe TIP: The start of Flower on pipes is unusually timed. Make sure you pay close attention when learning how to strike in to this tune. Also, ensure you pay particular attention to the cut and held notes in Glencoe (watch tutor s/ PM s fingers carefully); it has quite unique timing. Flower of Scotland Slow Air arr QIAPB 2010 play straight into Glencoe Learner s Book QIAPB v2014 51

Battle (Massacre) of Glencoe Irish 6/8 arr QIAPB 2010 Learner s Book QIAPB v2014 52

Asturian March-in Tune Asturian March-in Tune March arr QIAPB 2011 Learner s Book QIAPB v2014 53

Mo Ghile Mear Solo piper plays first part once through Whole band plays first part slow, then first part fast, then second part fast, then first part fast again. All pipers other than soloist then cut chanter and drones. Soloist plays first part slowly to finish Mo Ghile Mear (My Gallant Darling) Air arr QIAPB 2010 Learner s Book QIAPB v2014 54

Mo Ghile Mear (continued) Learner s Book QIAPB v2014 55

Kelly Set Kelly the Boy The Boys from Wexford TIP: The Kelly set is a common marching set; often on marches, tunes need to be repeated ad nauseum. For this reason, you should practice playing these two songs leading into each other over and over again, i.e. Kelly Wexford Kelly Wexford Kelly etc. Kelly the Boy March arr QIAPB 2010 play straight into Boys from Wexford Learner s Book QIAPB v2014 56

Kelly set (continued) The Boys from Wexford March arr QIAPB 2010 back into Kelly Learner s Book QIAPB v2014 57

Pikeman s Set Pikeman s March Enniskillen Dragoons TIP: Like The Kelly set, the Pikeman s set is a common marching set; often on marches tunes need to be repeated ad nauseum. For this reason, you should practice playing these two songs leading into each other, i.e. Pikeman s Enniskillen Pikeman s Enniskillen Pikeman s etc. Pikeman s March March arr QIAPB 2010 play straight into Enniskillen Learner s Book QIAPB v2014 58

Pikeman s set (continued) Enniskillen Dragoons March arr QIAPB 2010 back into Pikeman s Learner s Book QIAPB v2014 59

APPENDIX 1: Theory Revision Theory Lesson 1: Pipe music basics How to draw a treble clef (Start on the second line from the bottom) Step 1 Step 2 Step 3 Step 4 Step 5 Image sourced from http://www.songsofthecosmos.com/encyclopedia_of_modern_music/c/clef.html EXERCISE: Try drawing a treble clef below, several times. Complete all 5 steps for each attempt. Identifying notes EXERCISE: Look at the whole notes in the tune below and write down what they are underneath the stave. Hint The first note is E. Learner s Book QIAPB v2014 60

EXERCISE: Same exercise as on previous page, but with a different tune. Writing notes on a stave Write the following notes on the stave. Practice drawing a treble clef first, and finish with a bar line. Lo-A E Lo-G B Hi-G F D C B Lo-A F Learner s Book QIAPB v2014 61

Theory Lesson 2: Note values and time signatures Understanding time signatures The bar lines in the following tune have been removed. Re-insert them so that the correct number of beats appear in each bar for the time signature shown. Note values EXERCISE: Write each of the following notes as the note value shown. Semibreve=S; Minim=M; Crotchet=C; Quaver= Q, Semiquaver=SQ Note: Lo-A E Lo-G B Hi-G F D C B Lo-A F Value: M C Q Q SQ SQ M C S M C EXERCISE: How many beats do each of the following notes have in 4/4 time? Learner s Book QIAPB v2014 62

APPENDIX 2: Collation of Black box Exercises Exercise 4.4: Scale runs (pattern 2) with high-g grace note Exercise 5.1: The GDE Exercise **Practice this exercise as much as possible** Learner s Book QIAPB v2014 63

Exercise 6.3: Strathspey Tacums and triplets exercise Exercise 9.7: Doublings (to next note) scale Exercise 13.4: Taorluaths scale Exercise 14.1: Eidres Learner s Book QIAPB v2014 64

APPENDIX 3: Blank staves Learner s Book QIAPB v2014 65