The Grade 2 Denny & Dunipace Gleneagles Pipe Band of Stirling, Scotland, is the beneficiary of new Grade 1-tested leadership, as the band confirmed the appointment of former Tayside Police leader David Clunie and former Lothian & Borders Police lead tip Arthur Cook to the roles of Pipe-Major and Lead-Drummer, respectively. The moves come less than a month after each departed his band.
Clunie replaces Mark Sutherland, while Cook takes over from John Gibson. Sutherland will reportedly leave the band was with the band for 25 years and announced his intention to leave after the 2010 season, while Gibson intends to stay in the drum section. Sutherland was part of the decision to settle on Clunie as his successor, and will retire from pipe bands to commit more time to his family and career.
Clunie had been Pipe-Major of the Tayside Police for two years following a year with the Grade 1 Clan Gregor Pipe Band, which disbanded in 2008.
"I am honestly excited by this new appointment," Clunie said. "The community spirit and enthusiasm within the band organisation and dedication of the band management is tremendous, and I look forward to the challenge ahead."
Clunie will also oversee Denny's teaching program, which includes a competing band in Grade 4A.
The band has also welcomed a new Pipe-Sergeant, Craig Whyte, who served as pipe-major of the band for a period in the 1990s. Several former member of Clan Gregor have reportedly also joined the band.
"The band would like to thank and acknowledge Mark Sutherland for all his years dedication and hard work," Clunie said on behalf of the organization.
Cook, a past winner of the World Solo Drumming Championship, had been Lead-Drummer of the Lothian & Borders Police Pipe Band for more than 23 years. He was replaced at L&B by Jacob Jorgenson, a native of Denmark who had been a corps drummer with House of Edgar-Shotts & Dykehead for the last decade.
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Tenor drummers: When composing rhythmical passages in a tenor drum score, don't just think about replicating the accented phrases within the snare score, but give equal consideration towhat is happening in the melody. Question your composition. For example, if a triplet occurs in the snare score,check if that triplet exists in the melody. If not,ask yourself if there is any value to that triplet being incorporated into the tenor score. That's just a short example, but applying that principle is a small step towards improving ensemble.