Wilson makes it a dozen Clasps at Hastings

Published: April 25, 2014
(Page 1 of 1)

Greg Wilson

Hastings, New Zealand – April 25, 2014 – Greg Wilson hauled in his twelfth Clasp for Piobaireachd and, for good measure, won the overall prize in the Grade A light music at the 2014 Annual Hastings Highland Games, considered the pinnacle of piobaireachd competitions in New Zealand. Tracey Williams, recently returned from Scotland, picked up the 56th Gold Medal with “The Desperate Battle.” Andrew Edwards claimed the Silver Medal, Hamish Dick won the Under-21 New Zealand Championship Piobaireachd, and Braden Mills won the Bronze Medal. Wilson also picked up the Strathspey & Reel, double 2/4 Marches and was placed second in the Hornpipe and Jig. Liam Kernaghan won the A Grade MSR, the 2/4 March, and was second in the Strathspey & Reel, while Brendon Eade won the Hornpipe & Jig and the 6/8 March. All piobaireachd events were judged by Brian Switalla and Iain Hines, and Stewart McKenzie judged the A-Grade light music.

Piobaireachd
Gold Clasp
1st Greg Wilson
2nd Brendon Eade
3rd Stuart Easton
4th Marion Horsburgh

Gold Medal
1st Tracey Williams
2nd Daniel Milosavijevic
3rd Willie Rowe
4th Liam Kernaghan

Silver Medal
1st Andrew Edwards
2nd Donella May
3rd Lewis Gibson
4th Anna Smart

Under-21 NZ Championship
1st Hamish Dick
2nd Anna Smart
3rd Nicola Thomson
4th Cameron Richardson

Light Music
A-Grade
MSR

1st Liam Kernaghan
2nd Brendon Eade
3rd Stuart Easton
4th Jamie Hawke

2/4 March
1st Liam Kernaghan
2nd Brendon Eade
3rd Greg Wilson
4th Marion Horsburgh

2 x 2/4 Marches
1st Greg Wilson
2nd Brendon Eade
3rd Stuart Easton
4th Jamie Hawke

Strathspey & Reel
1st Greg Wilson
2nd Liam Kernaghan
3rd Stuart Easton
4th Jamie Hawke

6/8 March
1st Brendon Eade
2nd Stuart Easton
3rd George Mason
4th Liam Kernaghan

Open Hornpipe & Jig
1st Brendon Eade
2nd Greg Wilson
3rd Jamie Hawke
4th Willie Rowe

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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

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