The SFU leadership change: a video interview with P-M Alan Bevan and Terry Lee

Published: October 5, 2013
(Page 1 of 1)

The more than 30-year tenure of Terry Lee as Pipe-Major of the Grade 1 Simon Fraser University Pipe Band is one of the longest in the history of top-tier pipe bands, and when he handed the reins on September 28, 2013, to long-time SFU member Alan Bevan it was a historic moment.

Under Lee’s direction, SFU has been World Champions six times, runner-up nine times and finished in the top-three more in more than half of their appearances at the contest since 1983.

In this exclusive video interview, pipes|drums hears directly from Alan Bevan and Terry Lee about the future for the band, some of the reasons for making the move now, and the importance of planning for the future in the modern pipe band.

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  1. kiegelmann

    This is awesome. I am willing to bet a lot of people were thinking “something must have happened” or something along those lines. Excited to see where the band goes from here.

  2. SeanSomers

    And that’s the way to do it! Congrats Terry on your many accomplishments over the years, and good luck to Alan! Sean Somers

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THIS DAY IN HISTORY:
September 25, 1958Capt John MacLellan wins MSR at Inverness, completing “Grand Slam”.
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UPCOMING EVENTS October 1, 2016Australian Pipe Band ChampionshipsKnox Grammar School, Wahroonga, Sydney, Australia

October 7, 2016Willie McCallum Concert in Scotia, New YorkFirst Reformed Church of Scotia, 224 N. Ballston Ave (Route 50), Scotia, NY 12302

October 8, 2016The Nicol-Brown Amateur Invitational Piping CompetitionFirst Reformed Church of Scotia / 224 N. Ballston Ave (Route 50) / Scotia, NY 12302

October 9, 2016Master Class with Willie McCallum in Albany, New YorkCeltic Hall / 430 New Karner Road / Albany, NY 12205

October 22, 2016World Solo DrummingGlasgow Caledonia University, Glasgow, Scotland

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