Pipe and Drum Bands
Bagpipes and drums are ancient instruments found across the world in various forms, but the bagpipes are most closely identified with the Scots. The Triangle area is home to two pipe bands, the North Carolina State University Pipes and Drums and the Wake and District Public Safety Pipes and Drums, as well as numerous solo pipers. All levels of pipers and drummers from novice to professional are represented in both bands.
Contact the bands directly for information on performances, membership, lessons, information on hiring solo pipers and drummers or the purchase of bagpipes and chanters. No experience is necessary to join and membership in both bands is open to the public.
NCSU Pipes and Drums Band:
As part of the Music Department at NC State since 1968, the NCSU Pipes and Drums provides educational and performance opportunities for student and community participants through a variety of musical experiences. An academic course is offered which includes not only the basic skills of playing the pipes but also basic music theory as it pertains to piping, history of the instrument, and training in practice techniques. The pipe band serves as a cultural resource for the university and the greater community through 30 to 40 annual performances and presentations offered by the student/community band both on and off campus at parades, festivals, commencement ceremonies, golf tournaments, and concerts. The band is commited to continually reaching for a higher standard of play as it enters six competitions a year throughout the Southeast.
Contact: Paul Field, Band Manager (email@example.com)
Wake and District Public Safety Pipe and Drum Band:
In the heart of the Tar Heel state -- situated in the Capital County of Wake, is a band which virtually appeared from nowhere and in short order established themselves as a serious Pipe & Drum Band placing first in Grade V competitions all across the region since 2008. Today the band competes in Grade IV.
Wake & District is a growing band drawing membership from the entire public
safety services as well as members from the community and our nation's
The primary mission of the band is to provide a distinguishing tribute to
our fallen comrades and to be in service to the family, friends and
co-workers of public safety employees of North Carolina. The band strives
to strengthen relations between the protective services and the public while
preserving cultural heritage and enriching the community by providing
traditional Bagpipe and Drum music.
Contact: Mike Bishop, Band Manager (firstname.lastname@example.org)
The SCOT organization offers a solo piping competition as part of the Cary Indoor Games which is held every spring in late March or early April. The competition is sanctioned by the Eastern United States Pipe Band Association (http://www.euspba.org/).
A Very Short History of Scottish Fiddling
Anyone who has ever played a violin or a fiddle has at some point been asked,
"What’s the difference between them?" The answer is short: "Nothing." Both names refer to the same instrument. The term"fiddle" implies more about the folk--style of music—often for dancing.
The word "fiddle" refers to an instrument in the
violin family, in all shapes and sizes—you might hear people refer to the largest and lowest-voiced member of the family,
the "bass fiddle," meaning the stand-up, or double bass. Today’s violin, or fiddle, is the soprano voice in the family."Fiddle" evolved from Latin "vidula" (an early Roman stringed instrument), and appears in many languages to describe some
version of a stringed instrument: the French ""vielle," German "Fiedel," Norwegian "fele," Spanish, "vihuela de arco," and
Middle English "ffythele," for example. Ancient fiddles morphed into the medieval viol, the rebec, the Welsh crwth, and
even the hurdy-gurdy. Exactly when the fiddle also became known as a violin (from "vielle," or "viol," or "violon") is
unclear, but the terms have been used interchangeably for centuries.
In Scotland, the fiddle became a popular
instrument at the beginning of the 18th century. The first published collections of music for violin in Scotland were often
song tunes with instrumental variations, where the violin was an alternative to the flute or oboe.
Fiddlers in Scotland
(and everywhere) were at the center of town and village life—most places had at least one fiddler who played for weddings,
dances, and special occasions. Chieftains and lairds often had a fiddler as part of their household, and as patrons, were
important in encouraging and preserving the music of 18th- and 19th-century Scotland.
The Scottish fiddler’s musical
repertoire is vast. It spans almost three centuries, and includes concert music meant for listening, such as slow airs and
strathspeys; music for community work, such as waulking songs (vocal music to accompany fulling of cloth); marches; and
of course, the irresistibly rhythmic reels, jigs, hornpipes, strathspeys, and waltzes for dancing.
For centuries, the
bagpipes, harp, and fiddle were the core traditional instruments in Scotland. However, following the 1745 Rising, the
English proscription that forbade wearing kilts also forbade the playing of bagpipes. For social events, the fiddle took
the place of the bagpipes for many years. Many of the musical ornaments commonly heard in Scottish fiddle music hark back
to the bagpipes.
Although in the Lowlands of Scotland, in the region around Edinburgh, Dundee, and Aberdeen, much Scottish
music was written down and published in the 18th and 19th centuries, in the Western Highlands, it was still very much an
oral tradition. Tunes for harp, pipes, and fiddle were passed on from one fiddler to another, learned by ear. The late 18th
and early 19th centuries were a fertile time for fiddle music collections, including those of Robert Bremner, Captain Simon
Fraser, Robert Mackintosh, Niel Gow, and William Marshall. Their collections included many of their own compositions, and
also some from the Highland regions.
Scotland had a close relationship with Europe, particularly with France, and this
influence appeared most prominently in the Lowland and Northeastern regions of Scotland. Violin making, influenced by
European connections, was a respected occupation, and there were several good violin makers in Edinburgh and Aberdeen in
the 19th century. Scottish fiddle players in the late 18th and 19th centuries were often taught by classically trained
violinists, and their styles, particularly in concert performances, reflected the classical techniques that they had
learned, and that they passed on to their students.
For dance, however, Scottish fiddling differs from a classical
approach. Vibrato is considered an ornament, to be used sparingly. Bowing is highly rhythmic, providing an undercurrent
that can be almost percussive at times. Jigs (6/8 time) are light and fast, and slightly syncopated. The Scottish
strathspey (4/4 time) is a unique type of tune not found in other musical cultures—powerful, emotional, surging, and bowing
is key to playing it well. For the Scottish fiddler playing for dancers, rhythm, phrasing, ornamentation, and accents are
all geared to the dancers’ feet, and not so much a concert performance.