Colin MacLellan: the pipes|drums Interview, Part 4

Published: January 31, 2010

His return to Scotland, light music styles, pipe bands, reedmaking, the RSPBA, judging . . . the seven-page, near-5,000-words fourth instalment

 This content is for 1 Year Subscription and 2 Year Subscription members only. Please Subscribe or Login to read the article.
VN:R_U [1.9.22_1171]
Rating: 5.0/5
VN:R_U [1.9.22_1171]
Rating: 0
GET THE MOBILE APP!
The new pipes|drums app offers the same publication with a streamlined experience. Get the latest news optimized for your smartphone.
Download on the App Store

Get it on Google Play
THIS DAY IN HISTORY:
August 23, 1973Ed Neigh wins Dunvegan Medal, Portree, Skye.
MOST RECENT POST
  • Maxville memoir
    Mon, 7 Aug 2017
    Aways good to get back to Maxville for the Glengarry Highland Games, despite the usual scramble to get out of town before the holiday weekend traffic hits Toronto. Here are a few stand-out memories taken away from my two days. … C …
Read more »
UPCOMING EVENTS August 25, 2017Cowal Highland GatheringBlack Park, Dunoon, Scotland

August 26, 2017Glenurquhart Highland GamesBlairbeg, Drumnadrochit, Scotland

August 26, 2017Strathardle Highland GatheringBannerfield, Kirkmichael, Scotland

August 26, 2017Birnam Highland GamesDunkeld, Scotland

August 26, 2017Almonte Highland GamesAlmonte, Ontario

TIP OF THE DAY
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.
Scott Currie, SC Drumming, Uddingston, Scotland