2014 WSF program

PAGE

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.

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

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: [email protected]

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.

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!

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!

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.

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.

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.

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.

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

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

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.

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.

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

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.”

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….

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.

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

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)



5:00pm Massed Bands | Awards Presentations

EVENING

Time Location

6:00pm - till closing Ceilidh Metropolitan Ent. Centre

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


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.

GRADE THREE & TWO SLOW MARCH

Prize Money:


Winnipeg Scottish

Festival

2nd $75

3rd $50

2013 Grade Three Winners


Ross Jackson Memorial Award

Winnipeg Police Pipe Band

2nd Place:

Glenaura Pipes & Drums

2013 Grade Two Winners

1st Place:

City of Regina Pipe Band


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

GRADE FOUR QUICK MARCH MEDLEY

Prize Money:


Prairie Pipe Band

Association of MB

2nd $125

3rd $75

2013 Winners


Milne-MacKay Associates Award


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



1 Conservatory of Performing Arts Iain MacDonald

2 Transcona & District Pipe Band Ryan Stewart



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

GRADE TWO MARCH, STRATHSPEY & REEL

GRADE THREE MARCH, STRATHSPEY & REEL

Prize Money:

1st $250

Donated by:

MacDon

2nd $175

3rd $100

2013 Winners


Ian Mastel Memorial Award

Donated by: Dakota Pipes & Drums, Sioux

Falls, South Dakota



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



1 St. Andrews Pipe Band Alex Peden

2 Glenaura Pipes & Drums Leigh Ward


2013 Winners


McIntyre Trophy

City of Regina Pipe Band

2nd Place—




GRADE FOUR MEDLEY

Prize Money:


MacDon 2nd $125

3rd $75

2013 Winners


McIntyre Trophy



MacDon Memorial Award

none

3rd Place:

none

GRADE THREE MEDLEY

2013 Winners

1st Place:

Winner of the Empire Iron Works Trophy


2nd Place:

Winner of the Walker Award

Macalester College Pipe Band

3rd Place:


Prize Money:

1st $250

Donated by:

MacDon

2nd $175

3rd $100


1 St. Andrews Pipe Band Alex Peden



1 Conservatory of Performing Arts PB Iain MacDonald



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



Prize Money:

1st $600

Donated by:

MacDon

2nd $450

3rd $250

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

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

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!

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!

Ty Fry Advertisement

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

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.

Craig Calhoun advertisement

2014 WSF program

Documents

Transcript of 2014 WSF program