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Greetings from the Government of Manitoba ………………………………………………... 4
Greetings from the Mayor of Winnipeg ………………………………………………………….. 5
Thank you from your WSF Committee ……………………………………………………………… 7
Adjudicators …………………………………………………………………………………………………... 8-11
Scottish Auction ……………………………………………………………………………………………… 13
Playing the Highland Pipes with other Instruments | Piping Today ………………… 14-22
The Pipe Bands in Attendance …..…………………………………………………………………….. 24
Program Schedule ………………………………………………………………………………………….. 26
Ceilidh …………………………………………………………………………………………………………….. 27
Pipe Band Competition Event Details ……………………………………………………………… 28-33
Scottish Word Search …………………………………………………………………………………….. 34
Sponsors | Contributors | Vendors | Cultural Displays …………………………………… 38
Future Events …………………………………………………………………………………………………. 40
Trophy Supporters ………………………..……………………………………………………………….. 50
Grey’s Notes | Michael Grey ………………………………………………………………………….. 52-53
TABLE OF CONTENTS
Our program has gone through extensive
changes this year. We have been able to
bring you some interesting stories from
the Piping World courtesy of “Piping
Today” magazine | The National Piping
Centre, plus many advertisements from
supportive sponsors. We encourage you
to visit their stores and websites.
Page 4
Welcome
I am pleased to welcome everyone to the 2014 Winnipeg Scottish Festival,
a lively celebration of Scottish heritage and cultural pride.
The spirited festivities of this annual event showcase Scottish tradition,
cuisine and entertainment as demonstrated by multi-talented Manitobans
of Scottish descent. The festival also serves to remind Manitobans of our
province’s tremendous diversity and how it helps to shape and strengthen
our provincial identity.
Congratulations to the many dedicated volunteers, organizers and
participants who worked so hard to bring this annual, family-oriented
festival to life. Sharing your heritage and promoting its future through this
ambitious festival is a warm tribute to your ancestors and a generous gift
for present day Manitobans.
Ron Lemieux, Minister
Manitoba Tourism, Culture, Heritage, Sport and Consumer Protection
Page 5
Page 6
THE ANAVET UNIT 303 PIPES AND DRUMS
PM Robyn McCombe
The band, after performing at a St. Patrick’s Day Concert
Pipe Major Robyn McCombe invites anyone
interested in joining the band to come by on a
Monday evening at 7:30 p.m.
Learn more about our band on the PPBAM website
http://ppbam.org/manitoba-pipe-band-history/ or
from our history book “Through the Mists of Time”,
compiled and written by retired PM Bill Ramsay.
The book can be purchased for the price of $35
through any member of the band.
The band practices at the club rooms
of Rockwood ANAVETS Unit 303,
located at 341 Wilton Street, Winnipeg
To book the band
for your special
event, contact
Jan Embury:
p: 204-475-8286
e: jembury2@shaw.ca
Our Pipe Band is one of the oldest in Manitoba,
dating back to 1918. The band is made up of very
talented players and learners of all ages, who work
together to provide great entertainment.
Some of our players are available to teach those
who wish to learn or improve their playing skills.
We are pleased to have a growing number of
novice players. The ANAVET band is a terrific
performance band and has also enjoyed some
time in the competition circle. The band plays at
many parades and festivals around the province
and is a regular at Folklorama’s Scottish Pavilion.
Page 7
THANK YOU TO THE OUTGOING 2013 FESTIVAL COMMITTEE:
Kathy Brown | Velma Davis | Mary Knight | Marnie Wilson
YOUR NEW FESTIVAL COMMITTEE:
Evan Maydaniuk | Doug Roxburgh | David Bowman
Craig Weston | Scott Stothers | Jimm Simmon | Kyle Campbell
The 2014 Winnipeg Scottish Festival Committee is pleased to support our
Scottish Culture in Manitoba through the hosting of these indoor games.
We welcome all competitors in solo piping, solo drumming, quartets and pipe
band events. We are very pleased to have participants from British Columbia,
Saskatchewan, Manitoba, Ontario, and South Dakota.
Our adjudicator panel comprises outstanding judges from across the country.
We are very pleased to have them join us in making this a successful
competition for everyone!
Please take a moment to visit our vendors and our cultural display. We
appreciate the support of many individuals and businesses who have
contributed trophies, prizes, silent auction items and advertisements in this
program.
It would not be possible to hold a contest of this size without the support of
our many volunteers – thank you for twenty-one fabulous Festivals!
GOOD LUCK TO ALL COMPETITORS!
Page 8
TERRY LEE
Pipe Major Terry Lee is
one of the most
prominent and successful
pipe band leaders in the
world. Under his direction,
the SFU Pipe Band
captured the World Pipe
Band Championship of
1995, 1996, 1999, 2001,
2008 and 2009, and is one
of only two bands in
history to win both the
Medley and MSR events at
the World Championships
more than once (MSR five
times, Medley five times).
Terry is also one of only
seven Pipe Majors to win
the World Championship
more than twice.
His ability to produce superb band performances in both the contemporary
and traditional style, and to significantly enhance the musicality and
technique of his players is respected worldwide. Terry serves as General
Manager of the well-known Scottish supplies store, Tartantown. On
September 10, 1999 P/M Terry Lee and P/S Jack Lee were each presented
with the Meritorious Service Medal by Governor General Romeo LeBlanc in
Quebec City, Quebec.
ADJUDICATORS
We are fortunate to have secured the
best piping and drumming judges from
Canada and beyond. Please join us in
welcoming these fine musicians to
Winnipeg!
Page 9
J REID MAXWELL
Lead Drummer J. Reid Maxwell
is certainly one of today's most
decorated drummers. When the
SFU Pipe Band captured the
Worlds in 1995, Reid became
the first person in history to
lead the drum corps of two
different bands to be named
World Pipe Band Champions
(his other victory being in 1987
with Toronto's 78th Fraser
Highlanders, also the 1987
World Drum Corps Champions).
And all this was preceded by
two World Pipe Band
Championships and four World
Drum Corps Championships as a
teenaged member of Scotland's
Dysart & Dundonald Pipe Band!
With the band's capture of the
2008 and 2009 World Pipe Band Championship and World Drum Corps
Championship, Reid obtained his 16th World Championship, an amazing feat
by any standard. In 2000, Reid placed second in the World Solo Drumming
Championship. His ability to produce exceptional drum corps and his
dedication to the instruction of young drummers is held in high regard
worldwide.
Page 10
BOB WORRALL
Bob is one of North
America’s leading teachers,
adjudicators and performers.
Bob is a respected composer,
having published two
collections of bagpipe music.
He is featured on three solo
piping recordings and is a
member of the folk group
“Scantily Plaid”.
After a piping career with a
number of Ontario’s leading
pipe bands, including the
City of Toronto Pipe Band
and the General Motors Pipe
Band, Bob retired from
competitive piping in 1983.
His solo accomplishments
were extensive, both in North America and Scotland. He won the North
American Professional Championship an unprecedented 7 times and the
Ontario Professional Championship Supreme title for 12 of his 13 years in the
professional class. He was also the 1977 winner of the March and
Strathspey/Reel events in Inverness. He was a pupil of Bill Millar, Willie
Connell and the late John Wilson.
A member of North American and the Royal Scottish Pipe Band Association’s
judging panels; Bob has been selected to judge the World Pipe Band
Championships in Glasgow on eleven occasions. For the last seven years he
has been the colour commentator for the BBC’s broadcast of the World Pipe
Band Championships. He is a member of the Piobaireachd Society’s Senior
Judges list and has adjudicated major competitions throughout the United
Kingdom, New Zealand, Australia, Brittany and South Africa. Bob's recent
overseas piping ventures have included teaching and performing
engagements in Zimbabwe and Italy.
Page 11
KEN ELLER
Also known as "The Captain",
Ken has a 40 year piping career
at the Grade 1 level and has
been 15 times a winner of the
North American Pipe Band
Championships with two
bands: the 78th Fraser
Highlanders and the Clan
MacFarlane Pipe Band. Ken is
now retired from active
competition and has expanded
his involvement in instruction.
Ken has been a member of the
Piper's and Pipe Band Society
of Ontario (PPBSO) since 1962
and is also a member of the
Eastern US Pipe Band
Association (EUSPBA). In 1984/85 he was admitted to the panel of
Adjudicators for both of these organizations. In 2005, he qualified for Royal
Scottish Pipe Band Association (RSPBA) adjudication panel and has been
judging regularly in Scotland and Ireland since.
Page 12
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Page 14
Part One - by John Slavin
Playing the Highland pipes
with other instruments
A Beginner’s Guide
THE GREAT HIGHLAND BAGPIPE
is a versatile instrument capable of
producing breathtaking music in the
hands of the finest solo performers and
grade one bands, or of stirring the emotions of the listener when a pipe
band parades down the street with a
bit of pomp and swagger.
Those are the situations we most associate with Highland pipes, but over the
last 30 to 40 years there has been a growing interest in playing the Highland pipes
alongside other traditional instruments, and for the past 14 years, the RSAMD BA
(Scottish Music — Piping) degree course has been producing Highland pipers who
are quite comfortable in the folk band id-
iom.
The early folk scene piping pioneers in the 1970s were Jimmy Anderson and
then Tom Johnstone in Glasgow band, The Clutha; Duncan MacGillivray in Battlefield
Band; Iain MacDonald and then Dougie Pincock in Kentigern; and Alan MacLeod
in Alba and then the Tannahill Weavers. It may sound like a long time ago, but it
seems that the tradition moves at a slower pace and the skills and techniques of piping
alongside other traditional instruments have not been widely passed on and are not com-
mon knowledge to the majority of pipers.
The whole subject of playing pipes
with other musicians is a massive topic and
could delve so deep into the related music theory that only a book could do it justice.
This feature is taking it very slowly, giving you simple instruction on how to pitch your
pipe chanter, a little of the music theory involved and some knowledge of what other
musicians need to do to play along with
you.
You don't need to have a strong grasp of musical theory to follow steps one to
three, but it does assume you are a piper who can read pipe music; you know the
names of the notes on the chanter; you understand how to set the pitch of your pipe
chanter by sinking or raising the reed and
how to check the pitch using a tuner.
If you are able to do those things, the
steps below should allow you to set your
pipe chanter, and knowing you are at concert pitch, give you the confidence to
find a willing musician to share a tune; even if only to encourage you to share a few
tunes with a friend who plays guitar... and
everyone has a friend who plays guitar!
So if you have followed the points
above, your pipe chanter should now be at concert pitch. The following points, from
four to 10, start to explore the music theory,
but don’t give you all the answers. The various topics and theory will be explored in
future issues of Piping Today.
This feature was only made possible thanks to Calum MacCrimmon, Finlay
MacDonald, Dougie Pincock, Mike Katz and Angus MacKenzie, by the gen-
erous sharing of their extensive musical knowledge and experience of piping
in folk bands.
Page 15
1. You must have a B-flat concert pitch pipe chanter, and these are now available
from a few bagpipe makers.
2. Your low A needs to tune to 440 Hertz
(Hz) — that is not strictly true (it actually tunes to 466Hz) and we will find out why
in the next issue. However to keep things simple for the moment, get a calibratable
chromatic tuner, such as a Korg C-30, and
set it to 440Hz.
3. If the chromatic tuner shows B-flat ‘in
tune’, see example
one, when you play your low A into it
when set to 440Hz, then your chanter is
where you want it to
be.
Example 1—Chromatic tuner set to
440 Hertz showing the B-flat note ‘in
tune’ when a low A is played into it.
4. Your low A note actually sounds a B-flat and that is why the tuner shows a B-flat
when you play a low A into it. All the other notes on the chanter sound one semi-
tone higher than what they are traditionally
named: see Example-Two .
So in theory, if you were trying to
check that you and another musician were in tune with each other, you would ask
them to play a B-flat and you would play a
low A.
5. There are seven keys available on the
pipe chanter: A-flat major; B-flat major & B-flat minor; C minor; E-flat major & E-
flat minor; and F minor. Many pipe tunes are not in conventional major or minor
keys, but rather in modal keys, eg. mixolydian, and these will be explained in
future issues. In the usual piping scenarios, pipers don’t need to know the key of a tune
and most will only have experienced keys by the feel of different tunes. Once you
start to play with other musicians, you will inevitably be asked the question, “What
key are you in?”
Example—2
GETTING YOUR PIPE CHANTER IN TUNE
Page 16
6. The most commonly used keys for
pipe tunes are B-flat major, E-flat major
and C minor.
7. In the majority of traditional/pipe
music, you can find the key of a tune by
looking at the last note of the tune.
8. Other musicians who change the
tuning of, or transpose, their instruments
(fiddle, guitar, whistles, and most other
stringed instruments) to be the same
pitch as the pipes do not think in the
actual keys the pipes are playing, but
rather in the keys which are more
familiar to them: G major; A major & A
minor; B minor; D major & D minor; E
minor: see Example-Three.
9. If you are looking to find which key a
tune is in and you use the method at
number 7, and find that the last note is a
low A, you can tell the fiddler/guitarist
you are in the key of A major, (or A minor if you have been crossfingering
the C note). See Example Four—
opposite page.
10. Pipers who want to play with other
musicians should learn to think and
speak in the keys that other musicians
use, as well as being familiar with the
names of the keys that the pipes actually
sound.
These are the very basics of the
theory which will be explored further in
future issues.
GETTING YOUR PIPE CHANTER IN TUNE—continued
Example—3
Page 17
Example—4. A pipe tune with the C# and F# marked in the key signature and
guitar chords added above the bars. This music can be used by any musician
who tunes up, or transposes their instrument, eg. A fiddler who is tuned up
one semitone or a guitarist who is tuned up or using a capo on the first fret.
The final note of the tune is in low A, and as is the case with many
traditional pipe tunes, indicates the key of the tune—which is also A.
Example—5. The music above is the first four bars of the Gardens of Skye,
transposed to show what would be needed for a musician playing piano or
accordion to be able to read the music. The B-flat and E-flat have been
marked in the key signature, and if you compare it to example four above,
you will see all the notes that have been moved up one place on the stave.
Page 18
16. A piano or an accordion can not
transpose or tune up, so the musician
needs to play in the same keys that the
pipes actually sound: see example three.
17. Sheet music for Highland pipe tunes
can be read by any musician who tunes
up or transposes their instrument, but
mark in the C sharp and F sharp in the
key signature, and tell them that the G
note is a natural — and to ignore the
grace notes: see example four.
18. If providing music for a piano or any
other instrument which does not tune up
or transpose, then the music needs to be
rewritten, moving every note up one
place on the stave and indicating B-flat and E-flat on the key signature: see
Example Five–on prior page.
OTHER INSTRUMENTS
11. Many instruments will adjust their
tuning, or transpose, to allow them to
play more easily with Highland pipes. The techniques for tuning/transposing the
most common instruments are as follows:
12. The fiddle will tune up by one
semitone.
13. A whistle or flute in the key of E-flat
should be used.
14. A guitarist can put a capo on the first
fret, or the guitar can be tuned up by one semitone. This also applies to a bouzouki
or mandolin.
15. Most keyboards can transpose
electronically to suit any key.
So that is it in a nutshell and I hope I have interested you enough to try it for yourself.
The next issue will explore the above points in more detail — and also give you tips and
tricks from musicians who have made a living playing Highland pipes in folk bands.
The following points below give you the basics of what a few other instruments need to
do to be in tune with Highland pipes. So if you have a guitarist friend who has never
accompanied Highland pipes, just give him the instruction below and tell him to use his
usual chords for whatever key the tune is in.
Page 19
Continued….
alum attended Celtic Connections in
2004 as part of The National Youth
Pipe Band of Scotland ‘support team’ as
he was involved with setting up the band
and helping to arrange the backing music.
The NYPBoS had been offered an opportu-
nity to play a concert with Carlos Núñez,
and Calum explains how they prepared.
“The band had learnt all the music and we
were at rehearsals setting up the pipes
and they were sounding good, but I was a
little bit concerned that the band wasn’t
going to be in concert pitch B-flat. The
chanters were closer to pipe band pitch,
so I worked alongside Chris Gibb to flatten
them off, and though it still wasn’t down
to concert pitch B-flat it was closer — an
improvement at least.
“Carlos Núñez came to rehearsals to see
how things were going and I took the
chance to speak to him. I said, ‘I under-
stand you have played with pipe bands before, but
just so you know, we are not in concert pitch B-
flat.’ At which point his face changed colour and
he asked what I meant. So I quickly back-pedalled,
and said, ‘Oh no, no, we are close to B-flat, it will
be fine, we will get there.’
“So we had these normal pipe band chanters and
reeds — and just had to go to town on it. We
taped up everything, in particular the lower holes
of the chanter and lifted the reeds, and eventually
got everybody in tune, but the tone from the
chanters was horrific because it was all tape. So
the band went on to play with Carlos that night
and his comment after the show was, ‘This is the
best pipe band I have ever played with.’
As part of the interviews con-
ducted for this feature I focused
on certain topics which are
crucial, or closely related, to
the whole subject. These dis-
cussions are not all about the
theory but more about sharing
the experience of the guys who
do it for a living.
Here, piper and multi-
instrumentalist, Calum Mac-
Crimmon of Scottish folk band
Breabach, who were nominated
for a BBC Radio 2 ‘Best Band’
Folk award of 2011, talks about
the importance of having a con-
cert pitch B-flat chanter.
THE IMPORTANCE OF CONCERT PITCH B-FLAT with Calum MacCrimmon
Calum MacCrimmon on stage
C
Page 20
THE IMPORTANCE OF CONCERT PITCH B-FLAT—continued
It was all because they were actually in tune with Carlos and his band — I can only assume
that Carlos’s previous pipe band encounters were of poor concert tuning and accepted that
this is what pipe bands sound like. He was blown away that these youngsters played and
sounded so good... and that was with all that tape.
“It was at that point I realised that we had to get instruments that could cope with concert
pitch B-flat and I went to speak to Stuart McCallum at McCallum Bagpipes. I had tried the B
-flat chanter they already had but it was based on an Anderson reed which doesn’t
naturally sit at a very low pitch.
“So I did a bit of research on reed types and I found that Troy Reeds were the most suited
to sitting naturally at a low pitch. I based my research on 50 Troy reeds and set out to find
out the common problems of the B-flat chanter McCallum Bagpipes already had. The
chanter had to feel like a modern pipe chanter so to do that, and achieve the correct
tuning, we changed the position of the low G, the A and B holes and from there it was a
case of changing the size of the holes to get the tuning just right.
“I visited Stuart quite a few times and it took a while and a lot of trial and error on my own
part, but now I have a chanter which I can stick a Troy reed in and straight away I’m within
the realms of concert pitch B-flat.
“I then set up The National Youth Pipe Band with the new re-developed McCallum concert
pitch B-flat chanters, as I felt it was important that they were making the commitment to
be the first ones to get a great pipe band sound in B-flat. It enabled them to play with any
other band or orchestra in the world, because when they walked on stage they were at
correct pitch.
“The National Youth Pipe Band were one of the first bands to make the effort to be at
concert pitch and it was a very original sound. I know that they still use the normal pipe
band chanters when it is their own concert, but it is great that they have the resources and
understanding to set the band up and be in tune with other musicians when the chance
arises.
“It really lifts the musical world’s perception and appreciation of what pipers are in the
modern age. We are not just the out-of-tune pipe band sound coming around the corner
— we can be bang in tune. The pipes may not be an easy instrument to tune, every piper
knows that, but that is not a good excuse.
“There are lots of great players with great pipe bands out there and they could do it.
Certainly, any concert band should have the capability to achieve concert pitch B-flat.”
Page 21
ARANGING TUNES with Finlay MacDonald
HEN I asked the musicians how they
went about choosing tunes to play
in a folk band situation, the standard an-
swer was that the piper would pick a bunch
of tunes and play them to the band for
their feedback. The tunes which were
eventually selected would be the choice of
the whole band and generally tunes were
picked that gave scope for the other musi-
cians to do something creative with.
Finlay explained how he chooses and ar-
ranges tunes: “There are a few approaches
you can take and it really depends on how
you want to portray your music. There is
nothing wrong with playing a big set of
tunes which sit really nicely on the pipes
and are comfortable to play. Though at
other times it is good to stretch yourself
with tunes that are difficult and awkward
to play, maybe in a situation where the
tunes have been composed by musicians
who are not pipers and which don’t quite
sit as well on the pipes. It is good to challenge
yourself and push that out, though it is equally as
satisfying to rattle into a set of reels which natu-
rally feel good.
“When it comes to arranging I like to pick tunes
which sit comfortably on the lead instruments in
the band. So if it is pipes and fiddle which are
leading, then I will naturally tend towards pipe
tunes to give a big, strong feel to the sound, or
just write tunes to give the feel I’m looking for.
When I’m arranging I sometimes need a tune in a
specific key and with a certain vibe and if I don’t
know one I will just write one.
W
Finlay MacDonald is Head of
Piping Studies BA (Scottish
Music — Piping) degree course
at the Royal Scottish Academy
of Music and Drama. He has
been in demand as a performer
and has toured with top Scottish
bands such as Deaf Shepherd,
Battlefield Band and Old Blind
Dogs, and, as well as having
recorded on more than 20 al-
bums as a session musician, he
has released two albums with
his own, Finlay MacDonald
Band.
Finlay MacDonald on stage
Continued….
Page 22
ARANGING TUNES—continued
“I now often find that it is possible to do more with an arrangement when it is a simpler
tune; and in the past I have probably been through the mill trying to play and arrange the
most complex of tunes. Those complicated tunes do have their place and it is all to do with
how you want your music to come across but I now feel that you can’t beat a lovely 3/4
march with nice chords,
harmony and a bit of
percussion behind it. That is
where I am at the moment;
enjoying these big strong
tunes.
“Tune players generally have
an inbuilt ability to put sets of
tunes together, without really
analysing what they are do-
ing. I could be playing a tune
and think, ‘that would be
good for starting a set’, and
then I will just naturally feel
what the next tune should
be. It is important when you
put a set together to think
about it as a piece of music,
rather than individual tunes,
so that it has a start, a middle and an end. There are so many ways to go and you don’t
need to follow the same formula — start with a big tune, then go small and have a big fin-
ish; or start small then get bigger before coming back down — there are so many options
and it is great to explore them.
“It is quite different arranging for a folk band compared to a pipe band where everyone
has to be playing all the time and it is impossible to use dynamics. It can feel limiting when
arranging for a pipe band but it becomes a challenge in different ways. When arranging a
tune for various instruments I always like to think of a spectrum of sound with the pipes
always fixed at one level, and then consider
what the other instruments can do to fill in the
spectrum above and below the pipes. So you
will have the bass guitar or drum filling in the
lower end of the spectrum, the snare away up
high above the pipes and the fiddle, whistles or
flute weaving in and out and above and below
the level of the pipes.”
Finlay MacDonald & Chris Stout on stage
More can be found in Piping Today
Magazine produced by the Piping
Centre in Glasgow, Scotland.
Visit www.thepipingcentre.co.uk for
more information.
Page 23
Page 24
PLEASE WELCOME PARTICIPANTS FROM THE FOLLOWING
PIPE BANDS:
ANAVETS 303 Pipe Band—Winnipeg, MB
Dakota District Pipes & Drums—SD
Dowco Triumph Street Pipe Band—Vancouver, BC
City of Regina Pipe Band – Regina, SK
Conservatory of Performing Arts Pipe Band – Regina, SK
Glenaura Pipes and Drums – Selkirk, MB
Lord Selkirk Robert Fraser Memorial Pipe Band – Winnipeg, MB
Omaha Pipes & Drums—Omaha, NE
Pipes & Drums of Thunder Bay—Thunder Bay, ON
Prairie Thistle Pipe Band – Winnipeg, MB
Queen's Own Cameron Highlanders of Canada—Winnipeg, MB
Simon Fraser University Pipe Band – Vancouver, BC
St. Andrew’s Pipe Band – Winnipeg, MB
Transcona & District Pipe Band – Winnipeg, MB
Winnipeg Police Pipe Band – Winnipeg, MB
Page 25
Page 26
PROGRAM SCHEDULE
A fun filled day of Piping, Drumming,
Vendors and Cultural Displays. Don’t
forget the Ceilidh later on tonight!
MORNING
Time (approx) Location
7:30am Doors Open
8:30am Solo Piping Events 1st Floor
8:45am Solo Drumming Events 2nd Floor
11:30am Quartets 1st Floor
AFTERNOON
Time (approx) Location
1:00pm Full Band Events 1st Floor
Grade 5 & 4 - Slow March - 6/8
Grade 3 & 2 - Slow March - 6/8
Grade 4 - Quick March Medley
Grade 3 - March/Strathspey/Reel
Grade 2 - March/Strathspey/Reel
Grade 4 - Medley (3-5 minutes each)
Grade 3 - Medley (3-5 minutes each)
Grade 2 - Medley (4-6 minutes each)
5:00pm Massed Bands | Awards Presentations
EVENING
Time Location
6:00pm - till closing Ceilidh Metropolitan Ent. Centre
Page 27
Page 28
GRADE FOUR & FIVE SLOW MARCH
Prize Money:
1st $150 Donated by:
Winnipeg Scottish
Festival
2nd $75
3rd $50
2013 Grade Five Winners
1st Place—Winner of the :
Joan Cameron-Muir Memorial Award
none
2nd Place—Winner of the:
none
2013 Grade Four Winners
1st Place—Winner of the:
John Service / Harry McKane Memorial
Award
Lord Selkirk Boys Pipe Band
2nd Place—Winner of the:
Donald MacAngus Memorial Award
none
3rd Place
none
Order of Play Band Pipe Major
1 Lord Selkirk RFM Pipe Band Brent Pauls
2 Queens Own Cameron Highlanders John Dawson
THE MAIN EVENT
Be sure to cheer on your favorite band by
extreme applause at the end of their
performance. May all the competitors
have fun and do well.
Page 29
GRADE THREE & TWO SLOW MARCH
Prize Money:
1st $150 Donated by:
Winnipeg Scottish
Festival
2nd $75
3rd $50
2013 Grade Three Winners
1st Place—Winner of the :
Ross Jackson Memorial Award
Winnipeg Police Pipe Band
2nd Place:
Glenaura Pipes & Drums
2013 Grade Two Winners
1st Place:
City of Regina Pipe Band
Order of Play Band Pipe Major
1 City of Regina Pipe Band Iain MacDonald
2 Glenaura Pipes & Drums Leigh Ward
3 St. Andrew’s Pipe Band Alex Peden
4 Winnipeg Police Pipe Band Nathan Mitchell
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GRADE FOUR QUICK MARCH MEDLEY
Prize Money:
1st $200 Donated by:
Prairie Pipe Band
Association of MB
2nd $125
3rd $75
2013 Winners
1st Place—Winner of the :
Milne-MacKay Associates Award
Lord Selkirk Boys Pipe Band
2nd Place:
Winner of the Sheppard Highland Supply
Award
Conservatory of Performing Arts
Best Grade Four Drum Corps:
Keeper Trophy donated by: Blair & Kathy
Brown
Lord Selkirk Boys Pipe Band
Order of Play Band Pipe Major
1 Conservatory of Performing Arts Iain MacDonald
2 Transcona & District Pipe Band Ryan Stewart
3 Lord Selkirk RFM Pipe Band Brent Pauls
4 Queens Own Cameron Highlanders John Dawson
GOOD LUCK TO ALL GOOD LUCK TO ALL GOOD LUCK TO ALL GOOD LUCK TO ALL
COMPETITORS AT THE WSF!COMPETITORS AT THE WSF!COMPETITORS AT THE WSF!COMPETITORS AT THE WSF!
The Prairie Pipe Band Association of Manitoba Presents:
INDOOR GAMES SOLO COMPETITION
Saturday - March 15, 2014 Westgrove School 10:00am
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GRADE TWO MARCH, STRATHSPEY & REEL
GRADE THREE MARCH, STRATHSPEY & REEL
Prize Money:
1st $250
Donated by:
MacDon
2nd $175
3rd $100
2013 Winners
1st Place—Winner of the :
Ian Mastel Memorial Award
Donated by: Dakota Pipes & Drums, Sioux
Falls, South Dakota
Winnipeg Police Pipe Band
2nd Place—Winner of the:
Dingwall Award
Macalester College Pipe Band
3rd Place:
St. Andrews Society Pipe Band
Best Grade Three Drum Corps:
Keeper Trophy Donated by: Bert & Gale
Walker
Winnipeg Police Pipe Band
Order of Play Band Pipe Major
1 St. Andrews Pipe Band Alex Peden
2 Glenaura Pipes & Drums Leigh Ward
3 Winnipeg Police Pipe Band Nathan Mitchell
2013 Winners
1st Place—Winner of the :
McIntyre Trophy
City of Regina Pipe Band
2nd Place—
St. Andrews Society Pipe Band
Order of Play Band Pipe Major
1 City of Regina Pipe Band Iain MacDonald
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GRADE FOUR MEDLEY
Prize Money:
1st $200 Donated by:
MacDon 2nd $125
3rd $75
2013 Winners
1st Place—Winner of the :
McIntyre Trophy
Lord Selkirk Boys Pipe Band
2nd Place—Winner of the:
MacDon Memorial Award
none
3rd Place:
none
GRADE THREE MEDLEY
2013 Winners
1st Place:
Winner of the Empire Iron Works Trophy
Winnipeg Police Pipe Band
2nd Place:
Winner of the Walker Award
Macalester College Pipe Band
3rd Place:
St. Andrews Society Pipe Band
Prize Money:
1st $250
Donated by:
MacDon
2nd $175
3rd $100
Order of Play Band Pipe Major
1 St. Andrews Pipe Band Alex Peden
2 Winnipeg Police Pipe Band Nathan Mitchell
Order of Play Band Pipe Major
1 Conservatory of Performing Arts PB Iain MacDonald
2 Lord Selkirk RFM Pipe Band Brent Pauls
3 Queens Own Cameron Highlanders John Dawson
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GRADE TWO MEDLEY | MARCH, STRATHSPEY & REEL
2013 Winners
1st Place:
Winner of the MacDonald Trophy
City of Regina
2nd Place:
St. Andrew’s Society of Winnipeg
Keeper Trophy Donated by Gale & Bert
Walker
St. Andrews Society of Winnipeg
Order of Play Band Pipe Major
1 City of Regina Pipe Band Iain MacDonald
Prize Money:
1st $600
Donated by:
MacDon
2nd $450
3rd $250
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SCOTTISH WORD SEARCH
C S P O R R A N F R G R E G A S J C C Y
P I P E B A N D U C E D I N B U R G H M
D D T W F N U V J M N N V B H L Y R E R
P H Y N P T M J M V P C U A J E I E H O
D M C S A B S U E R L U B T L V H R S F
L A H A X T R T R R I E H D E J K A F I
Z C O P E D R E R W Y I E R Y R V N N N
Z H F O O R T A I A G M W T O N A S E U
Q A W L U N I L T H T A F N E P B P S X
R T E F A S S A L K L H E G Q Q I V L K
Q T I H G O P A B K I T S L X P T C O K
L I C C N B N K G O W L L P G Y Y G W G
G E B R E D L K H D I W T A E E H L M L
I J L Y N L J O N S N P B R G Y P B A A
B N L O A E R G R N B A P P K A O M R S
S T Q R V N B Z Z D V O L Y B H R X C G
V S R T P Y E S N A L C W T E M T F H O
H O A I Z F C H Q J G F K M O D J R V W
W N P B L O R O L W X I G J A C B P O S
J E O Q C X F E N S E M B L E N S S B L
PIOBAIREACHD TARTAN HIGHLAND
KILT BAGPIPE SNARE
STRATHSPEY SLOWMARCH CLANSEY
BASS DRUMMER PIPEBAND
TUNER GLASGOW WORRALL
SCOTLAND RIVERWALK MEDLEY
MACHATTIE TROY BOWMAN
ENSEMBLE CHANTER EDINBURGH
TENOR UNIFORM SPORRAN
WILSON HORNPIPE TROPHY
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SPONSORS
Prov. MB—Dept of Culture, Heritage &Tourism MacDon
Arts Development Project Support Program The Winnipeg Foundation
Ethnocultural Community Support Program KGS Group
Prairie Pipe Band Association of Manitoba
St. Andrews Society of Winnipeg
CONTRIBUTORS | SCOTTISH AUCTION ITEMS
SPONSORS & CONTRIBUTORS
Without our sponsors, we could not make
this event possible. Please join us to
thank each and every one of these
wonderful businesses and contributors!
Velocity Jewelry (Krista Reid) Scottish Auction Gift
HighlandGear.ca (Greg Scott) 12 T-Shirts
CameronDrumming.com (Hugh Cameron) Metronome
McCallumBagpipes.com 2 African Blackwood Chanters & Ad
Lee & Son’s Bagpipes (Jack Lee) Goatskin Pipe Bag & Ad
Come2Drum.com (James Laughlin) Coffee Table Book
St. Johns Music (John Balsillie) Guitar for Scottish Auction
BagpipeLessons.com (Jori Chisholm) 1 year Lesson Donation
Andrea Stuart Scottish Auction Gift
Bowman Percussion Rad Pad
Scott’s Highland Services Pipe Carrying Bag
KinnairdBagpipes.com Evolution Drone Reeds
TyFry.com (Tyler Fry) 3 sets of Tenor Sticks
WallaceBagpipes.com Practice Chanter
Dunaber.com (Michael Grey) Music Book
VENDORS CULTURAL DISPLAY
Hint of Heather Chapel Lawn Lord Selkirk RFM Pipe Band
Krista Reid Jewelry Cheryl’s Executive Jewels SEPT-SIOL Cudbright
EVENT SUPPORT Cutting Edge Graphics (Chris Brown) | Signage Graham Schmidt | Website Support
Gary MacDonald | Display Stand & ipads Gord Taylor | ipad Registration Ap
John Slavin - DesignFolk.com | Piping Article Michael Grey | Piping Article
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2014 DATES
March 1 Tartan Ceilidh—Lord Selkirk RFM Pipe Band
March 15 Indoor Solo Competition—Prairie Pipe Band Association
April 5 Gathering of the Clans 2014—Khartum Pipe Band
April 26 Brandon Highland Festival—Brandon, MB
May 17-18 Saskatchewan Highland Gathering—Moose Jaw |Regina
May 24 Riverwalk Highland Gathering—The Forks, Winnipeg
May 25 Scotch and Cigar Tasting—Winnipeg Police Pipe Band
June 21 Manitoba Highland Gathering—Selkirk, MB
June 29-July 4 Sound Advice Summer School —Regina, SK
July 6-18 Piping Hot Summer Drummer—Silver Star Mountain, BC
2015 DATES
February Winnipeg Scottish Festival
FUTURE EVENTS
There are so many events that promote
our Scottish Heritage. Please be sure to
mark your calendar with the dates shown
below. Remember that their advertise-
ments have many more details too!
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TROPHIES
TROPHY AWARD NAME SPONSORED BY
Chanter Harold Stankey Memorial Award Mary Knight and Mike Kubasiewicz
Grade 4 Piping George Lawrence Award Transcona Pipe Band
Grade 3 Piping William A. Laird Memorial Award Bill Laird
Grade 2 Piping Mr. & Mrs. E.F. Shannon Memorial Bob and Lynn Cooper
Grade 1 Piping Marlene Stephen Memorial Award Marnie and Richard Wilson
Grade 2 Piobaireachd Joel Gaudry Memorial Award Lord Selkirk RFM Pipe Band
Grade 1 Piobaireachd Isoabel Barrable Memorial Trophy Glenda MacDonald
Drum Pad The Cooper Award Bob and Lynn Cooper
Grade 3 Snare LSBSPB Award Lord Selkirk RFM Pipe band
Grade 2 Snare LSBSPB Award Lord Selkirk RFM Pipe band
Grade 1 Snare W & G Bisset Memorial The Bisset Family
Novice Tenor Margret Cameron-Fisher Memorial The Fawkes Family
Novice Bass Salute to the Bass The Stuart-Perillo Family
Pro/Open Bass Ken Kolochen Memorial Award Kris and Kelly Kolochen
Piper of the Day Winnipeg Police Pipe Band Award Winnipeg Police Pipe Band
Drummer of the Day Drummer of the Day Award Karen and Lee Bowman
Grade 4 Quartet Blair and Kathy Brown
Best Senior Bass Brian Fraser Memorial Award Iain MacDonald
Grade 4 Drum Corp Blair and Kathy Brown
Grade 3 Drum Corp Bert and Gale Walker
Grade 2 Drum Corp Bert and Gale Walker
TROPHY SUPPORTERS
Without the generous support of so many
people and organizations we would not
have trophies available for this event.
Please join us in thanking each and every
one of these wonderful supporters!
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Ty Fry Advertisement
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Summertime and the livin’ is easy; fish
are jumpin’ and the cotton is high.
Great words; in fact, great lyrics from
George and Ira Gershwin. And while
it’s our standard holiday season, with weather that’s light on the back,
summer isn’t really all that easy for
pipers (and I don’t know about you
but where I live the highest cotton
might just be clothes on the line).
And along with high cotton, summer’s the high piping season and for anyone
interested in playing well and doing the business, time that’s spare is usually taken
up with practice and preparation. That, and excuses for not practicing and prepping.
And I’m no different.
Today I’m lazing out; recklessly languid and enthusiastically idle. On this day, the
mid day July sun heats and the pipes sit. And I bring you the shamelessly shiftless
scribe’s contingency prose of choice: a list.
Lists are everywhere. The internet is
stinking with them: top five reasons to get married, top 10 reasons couples fight and
three reasons to hold an offshore bank account. Google’s database even shows
directories of listing websites: top 10 of top 10 lists. You get it.
Mind you, I might shift my tongue-in-
cheek a second and remember the main reasons people like lists: they bring order,
they help us remember, multi-task and think of other things, and,
sometimes, they even save lives — think Schindler’s.
It seems to me, too, that lists are usually
based more on opinion than fact. I mean, what else could they be? Even a geeky
scientist’s list, say, “the top five world-changing algorithms” (and all due respect
to geeky scientists — they’re the ones who really matter in this world) would only be a
learned person’s list built on assumptions.
Opinion, said that clever one-named Greek guy, Plato, is the medium between
knowledge and ignorance. And opinion by way of lists is a one-way public
proclamation of a person’s assumptions, their truth. Isn’t it always the way that the
person who shouts their opinion the loudest, most clearly, is most likely to have
their opinion perceived as truth — no matter how flimsy the facts? It is true.
The 19th century American poet, Ralph
Waldo Emerson, suggests that people are quick to pass along opinion yet aren’t able
to see that their opinion of the world is also a confession of character. Dead right — in
my opinion. So on that, a character
confessional, my indolent summer’s day list: Grey’s Random
List of Piping Truths (aka “stuff I’ve learned along the way”).
1. In a big contest, last on is the best
draw for band or solo piper. 2. In any contest, first on can be a good
draw if you are first to follow a lower grade that has already competed (i.e. a
favourable comparison).
Opinions, Assumptions and Truths
Page 53
Grey’s Notes can be found in Piping
Today Magazine produced by the
Piping Centre in Glasgow, Scotland.
Visit www.thepipingcentre.co.uk for
more information.
3. The senior solo piping judge sits in the middle of a bench of three; be wary
when this fails to occur (i.e. a suggestion of potentially unpleasant
bench dynamics). 4. The ability to create excellent sound is
one of the hardest piping skills to impart.
5. Doing it differently, even when it makes sense, is not easy.
6. Good tunes played on steady, bright, in-tune pipes (with a synthetic set-up)
will trump good tunes played on bright, harmonically lively not-quite in
tune pipes (with a sheepskin/cane set-up) every time.
7. Pipe band judges serve themselves best by avoiding post-competition
gatherings where the people they have recently judged meet (see: Viz
Magazine’s dictionary for “fist magnet”).
8. People generally default to thinking the worst of something or someone
rather than thinking the best. 9. Pipers and pipe bands often flatter
themselves by assuming a bad contest outcome is the result of a judge’s
personal vendetta.
10. From time to time there are instances of judges who carry “heavy personal
bias” aimed at those they adjudicate. 11. It is highly unlikely the way you were
taught to play is the only way to play (see: Robert Reid).
12. People know way more than you give them credit for.
13. Some people really do play the bagpipes so they can wear a kilt with
impunity. 14. It is especially painful for males to run
with over-packed sporrans (see: the need to put mobile phone, wallet,
sunglasses and car keys somewhere). 15. To win big in bands and/or solos your
instrument(s) simply must be in tune. 16. It is not a disadvantage for a person to
set off on a piping career with pipers already in the family.
17. Most pipers are terrible singers. 18. Great pipe bands are great teams. No
individual member can match the impact of the combined ability of the
group (see: the whole is greater than the sum of its parts).
19. To win with humility and lose with grace is much easier said than done
(see: look twice at those who suggest otherwise).
20. It is unhelpful for the piping world for those with shallow backgrounds of
experience and knowledge to insinuate themselves to be something other than
what they are (see: Masquerade from Phantom of the Opera).
21. The three pace roll to the bagpipe note E is the most musically naive
convention in the pipe band world. 22. People can say terrible things when
they think no one knows their identity (see: the internet).
23. Every pipe band is a living thing; it has a life span (see: Ecclesiastes 3:1,
“to every thing there is a season”). 24. Drummers view pipe music differently
from pipers. 25. Pipers view pipe music differently
from drummers.
26. Pick your battles — there’s no time to play if you’re fighting all the time.
27. You get what you give.
And finally, when it comes to opinions, assumptions and truths: just because you
say it doesn’t mean it’s true; that is, 67% of the time.
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Craig Calhoun advertisement
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