Alistair McCulloch
Fiddle Maestro, Performer, Composer & Teacher
by Karin Ingram
How old were you when you started playing the fiddle?
I started playing in 1981 aged nine. I was given a half sized fiddle by my late grandmother and took my first lessons at primary school in Cumnock. A few months later my family moved to Ayr and I was taught by Wallace Galbraith until I was 18. After working in a bank for 4 years I went to study music at Strathclyde University in Glasgow and studied under Douglas Lawrence until 1998.
Did you study Scots Fiddle at University?
Yes, I was able to concentrate on Scots Fiddle as opposed to classical violin for my first study. The course was a BA Applied Music, which is now extremely popular and attracts musicians from different musical backgrounds such as jazz and rock as well as classical. I graduated with first class honours in 1998, majoring in fiddle performance and research into different fiddling styles in the form of a thesis.
When did you start becoming interested in fiddle music?
As soon as I could play a few notes I wanted to play fiddle tunes. I studied classical violin for 10 years, which was very important, but my heart lay in playing traditional music. I suppose it was inevitable as I was exposed to Scottish music from a very early age, mainly through my dad, John, who plays the pipes and fiddle. I remember dad teaching me the names of tunes when I was 5 or 6 years old and quizzing me on them. I could apparently recognize 100 tunes before my seventh birthday.
Six months after I started playing, my dad took me along to the Ayr and Prestwick Strathspey and Reel Society. I was the youngest member for years and started performing solos at their concerts when I was about 12. I played regularly with the Society until I was 19.
Did you compete in fiddle competitions?
Yes, I won the angus fitchet Trophy at the Musselburgh Festival three time, the West of Scotland Festival several time, the Land o’ burns Festival a couple of times and the Mull Festival. I was also invited to compete in the Glenfiddich Championship at Blair Castle a number of times. I didn’t ever compete regularly, usually two or three times a year until I was in my early twenties. Nowadays, I find myself being asked to adjudicate at fiddle festivals and these have included Kirriemuir, Oban, Musselburgh, The Mod and The Glenfiddich.
Have you been a member of any Fiddle Orchestras?
Oh yes, in 1982 my teacher, Wallace Galbraith, founded The Ayrshire Fiddle Orchestra. The AFO is a youth fiddle orchestra with an age range of about 10 to about 20 and has a membership of around 120, made up mainly of string players from schools in Ayrshire. I was leader of the orchestra from 1988 until 1991 and continued to play whenever possible until 1995. I also arranged and composed a great deal of music for the orchestra. At the beginning of 2002 I was appointed joint musical director and now, when time permits, I conduct rehearsals and concerts.
I was, of course, also a member of The Scottish Fiddle Orchestra, which was founded by John Mason. I joined in 1985 and was a soloist for many years, a position I had to stand down from recently due to pressure of commitments. The SFO has seven or so main concerts every year and I have had the privilege of performing in some of the country’s finest concert halls including The Usher Hall (Edinburgh), Glasgow Royal Concert Hall, Aberdeen Music Hall, Birmingham Town Hall, York Barbican and the Royal Albert Hall and Barbican in London.
You mentioned writing music. Do you regularly compose?
I have never been able to churn out one tune after another, however I have probably written around 80 tunes. I find it difficult to know whether a tune will be successful or not, other people really need to be the judges. I am quite self-critical and if I am not sure of tune myself I probably won’t let anyone hear it. Recently I have undertaken a few commissions including The Cabrach Suite, which was written for the 100th birthday of Mrs Janet Roberts, great aunt of Mr Sandy Grant Gordon, managing director of William Grant and Sons of Glenfiddich.
I am currently in the process of compiling a collection of 40 of my tunes, which will be released in the coming months. The majority of the tunes have already been commercially recorded by either solo fiddlers, folk groups, fiddle orchestras or dance bands.
Do you have a favourite tune of your own?
Difficult to say, they are so varied. The slow air Hazelwood is a tune that gives me a lot of pleasure and The Doolin Reel is probably my favourite master tune. My most successful tunes to date have been Riverside Lodge, Liz Kane and The Amherst Two-Step.
Are you a full-time musician?
Yes, I have a very varied working life. As well as regularly performing in various guises I also teach music. I am employed for two and a half days a week at Ayr College as course leader for the general music course. I am also an instrumental instructor at Strathclyde University where I teach fiddle students. Every Wednesday night I teach for an organisation called Glasgow Fiddle Workshop, which has a huge membership and caters for fiddle players of varying abilities. Finally, I have 8 or 9 private pupils who come to my house each week.
Can you tell me more about your performing?
I perform in different guises for different situations.
As a solo fiddler I regularly perform at concerts and Accordion and Fiddle Clubs, usually accompanied by Morag MacAskill from Milngavie. I also play in a fiddle / guitar duo which is much more folk based and is ideal for music festivals, concerts and short tours. I enjoy variety and have done a fair bit of session work and touring with various bands and artistes including Peter Morrison, Moira Kerr, Chris Armstrong and Donald Black. I have probably appeared on around 30 commercial albums and have recorded for BBC, Ulster and Border TV.
What about bands?
I am a member of the band ‘Coila’ which sort of evolved from the Ayrshire Fiddle Orchestra. We have been togther for over 10 years and the current line up is William Weir on accordion, Andrew McGarva on fiddle, Gavin Welsh on drums, and myself. With this line up we perform at ceilidhs all over Great Britain and abroad. The band can also be augmented into a concert band and we often work with Douglas Whyte on keyboards, Dave Cowan on bass guitar and occasionally Dougie Pincock on pipes, whistles and flute. With the 7-piece line-up, we don’t really play for ceilidh dancing which makes it possible to play more complex, modern arrangements in concert situations. Coila is more of a contemporary folk group than a dance band.
Where have Coila played?
Outwith the ceilidh scene, we have performed at a lot of festivals such as Celtic Connections, Shetland Folk Festival, Mayfest, Arran, Bute, Killin, Barra and Jura Festivals as well as functions like the premier of the movie ‘Rob Roy’ in Edinburgh and the International Rotary Convention at Ibrox Stadium. We have also played in venues such as Eden Court in Inverness and the Old Fruitmarket in Glasgow. Farther afield we have performed in France, Greece and Canada.
Do you play in any other bands?
I am a member of the band ‘Canterach’ which is a pipe and fiddle driven group supported by guitar / vocals, percussion and keyboards. We recorded a CD on the Lochshore label a couple of years ago and have performed in Hungary, Switzerland and Spain.
Have you played with any Scottish Dance Bands?
Yes, I have performed and broadcast with Iain Cathcart’s band for a long time, which is always good fun. I have also been a member of Alasdair MacCuish’s Black Rose Ceilidh Band. Amongst others I have had stints with The Jura Ceilidh Band and the bands of Gary Blair and Ian Thomson.
Do you have any favourite dance bands?
My all time favourites would have to be The Wallachmor Ceilidh Band and The Hamefarers.
Are you influenced by the modern folk scene?
Yes, very much so. I listen to a lot of traditional music and attend concerts when I can. My favourite Scottish band is Capercaillie. I find their music tasteful and so well arranged. All the members are fantastic musicians in their own right. I also have a lot of respect for Phil Cunningham who is a fantastic tune writer and pipers like Gordon Duncan and Fred Morrison. When I was younger I listened a lot to groups like The Battlefield Band, Boys of the Lough and Silly Wizzard.
Outwith Scotland I love the playing of Michael McGoldrick, a Mancunain who plays ulliean pipes, flute and whistles and Carlos Nunez, a brilliant Spanish piper. Other favourites I have include Alan Kelly, a piano accordionist from Galway, the Cape Breton group The Barra McNeiull’s and Irish group Lunasa and Altan.
Who are your favourite fiddlers?
I have quite a few.
Scotland – Willie Huner, Douglas Lawrence, Aly Bain and Charlie McKerron.
Ireland – Cathal Hayden, Sean Maguire and Tommy Peoples
North America – Graham Townsend, Natalie McMaster and Jerry Holland.
Of the new generation of fiddlers I think Chris Stout and Bryan Gear, both from Shetland, are great players as well as Dezi Donnelly from Manchester.
Do you have any concerns for the future of the Accordion & Fiddle circuit?
I think it is vitally important that Scottish Dance music is made attractive to young people. If you look at the many traditional music festivals such as Celtic Connections, Fiddle 2002, initiatives such as the BA Scottish Music Degree at the R.S.A.M.D., the Feis movement, organizations such as the Adult Learning Project in Edinburgh and Glasgow Fiddle Workshop, all have no problem encouraging young people to participate in traditional music. The same cannot be said for the Accordion & Fiddle Club circuit. Why should this be? I think it is partly to do with the exposure enjoyed by certain types of folk music and also the fact that the music has developed in a way that appeals to young people. The traditional Scottish Dance band has remained relatively unchanged since the days of Jimmy Shand and the set format may appear dated to ‘outsiders’ and youngsters. I realise that aspects such as tempo and correct number of bars cannot be compromised, however I personally see nothing wrong with introduction of other instruments and experimentation with the back line. It is not unusual to hear the same tune played by Wolfstone and Iain MacPhail. The melody is no different, it is the backing that makes the difference, be it the chords, drumbeat or the rhythmic pattern of the accompaniment. I know change will be very difficult to effect, however I believe that unless the dance band scene is willing to embrace other musical styles it will eventually become stagnant. The quality of musicianship in the Accordion and Fiddle scene deserves greater coverage.
Do you listen to other types of music?
Apart from traditional music I enjoy listening to classical music, jazz, pop, in fact I think it is important as a musician to listen to many different types of music. I particularly enjoy orchestral music, especially Russian music from composers like Rachmaninov, Prokofiev and Schostakovich. I also love jazz greats like Louis Armstrong, Miles Davis and Stephane Grappelli. I find much of today’s chart music too manufactured although I really like Shania Twain and Robbie Williams. I prefer listening to older popular music like Queen, Abba and, of course, The Beatles.
Do you often travel abroad to perform?
Yes, I have been fortunate enough to tour several times in Canada and the USA. I have also seen a fair bit of Europe including Norway, Iceland, The Faroes, Denmark, Hungary, Spain, Switzerland, Belgium, France and Greece. Farther afield I have performed in Dubai and Venezuela.
What now?
I am currently working on the recording of my second solo album, which will be released early in 2003. I will also be publishing a collection of my own compositions. In July, I will be touring in Australia and New Zealand with the Ayrshire Fiddle Orchestra, which I am really looking forward to.
Box and Fiddle
January 2003
I started playing in 1981 aged nine. I was given a half sized fiddle by my late grandmother and took my first lessons at primary school in Cumnock. A few months later my family moved to Ayr and I was taught by Wallace Galbraith until I was 18. After working in a bank for 4 years I went to study music at Strathclyde University in Glasgow and studied under Douglas Lawrence until 1998.
Did you study Scots Fiddle at University?
Yes, I was able to concentrate on Scots Fiddle as opposed to classical violin for my first study. The course was a BA Applied Music, which is now extremely popular and attracts musicians from different musical backgrounds such as jazz and rock as well as classical. I graduated with first class honours in 1998, majoring in fiddle performance and research into different fiddling styles in the form of a thesis.
When did you start becoming interested in fiddle music?
As soon as I could play a few notes I wanted to play fiddle tunes. I studied classical violin for 10 years, which was very important, but my heart lay in playing traditional music. I suppose it was inevitable as I was exposed to Scottish music from a very early age, mainly through my dad, John, who plays the pipes and fiddle. I remember dad teaching me the names of tunes when I was 5 or 6 years old and quizzing me on them. I could apparently recognize 100 tunes before my seventh birthday.
Six months after I started playing, my dad took me along to the Ayr and Prestwick Strathspey and Reel Society. I was the youngest member for years and started performing solos at their concerts when I was about 12. I played regularly with the Society until I was 19.
Did you compete in fiddle competitions?
Yes, I won the angus fitchet Trophy at the Musselburgh Festival three time, the West of Scotland Festival several time, the Land o’ burns Festival a couple of times and the Mull Festival. I was also invited to compete in the Glenfiddich Championship at Blair Castle a number of times. I didn’t ever compete regularly, usually two or three times a year until I was in my early twenties. Nowadays, I find myself being asked to adjudicate at fiddle festivals and these have included Kirriemuir, Oban, Musselburgh, The Mod and The Glenfiddich.
Have you been a member of any Fiddle Orchestras?
Oh yes, in 1982 my teacher, Wallace Galbraith, founded The Ayrshire Fiddle Orchestra. The AFO is a youth fiddle orchestra with an age range of about 10 to about 20 and has a membership of around 120, made up mainly of string players from schools in Ayrshire. I was leader of the orchestra from 1988 until 1991 and continued to play whenever possible until 1995. I also arranged and composed a great deal of music for the orchestra. At the beginning of 2002 I was appointed joint musical director and now, when time permits, I conduct rehearsals and concerts.
I was, of course, also a member of The Scottish Fiddle Orchestra, which was founded by John Mason. I joined in 1985 and was a soloist for many years, a position I had to stand down from recently due to pressure of commitments. The SFO has seven or so main concerts every year and I have had the privilege of performing in some of the country’s finest concert halls including The Usher Hall (Edinburgh), Glasgow Royal Concert Hall, Aberdeen Music Hall, Birmingham Town Hall, York Barbican and the Royal Albert Hall and Barbican in London.
You mentioned writing music. Do you regularly compose?
I have never been able to churn out one tune after another, however I have probably written around 80 tunes. I find it difficult to know whether a tune will be successful or not, other people really need to be the judges. I am quite self-critical and if I am not sure of tune myself I probably won’t let anyone hear it. Recently I have undertaken a few commissions including The Cabrach Suite, which was written for the 100th birthday of Mrs Janet Roberts, great aunt of Mr Sandy Grant Gordon, managing director of William Grant and Sons of Glenfiddich.
I am currently in the process of compiling a collection of 40 of my tunes, which will be released in the coming months. The majority of the tunes have already been commercially recorded by either solo fiddlers, folk groups, fiddle orchestras or dance bands.
Do you have a favourite tune of your own?
Difficult to say, they are so varied. The slow air Hazelwood is a tune that gives me a lot of pleasure and The Doolin Reel is probably my favourite master tune. My most successful tunes to date have been Riverside Lodge, Liz Kane and The Amherst Two-Step.
Are you a full-time musician?
Yes, I have a very varied working life. As well as regularly performing in various guises I also teach music. I am employed for two and a half days a week at Ayr College as course leader for the general music course. I am also an instrumental instructor at Strathclyde University where I teach fiddle students. Every Wednesday night I teach for an organisation called Glasgow Fiddle Workshop, which has a huge membership and caters for fiddle players of varying abilities. Finally, I have 8 or 9 private pupils who come to my house each week.
Can you tell me more about your performing?
I perform in different guises for different situations.
As a solo fiddler I regularly perform at concerts and Accordion and Fiddle Clubs, usually accompanied by Morag MacAskill from Milngavie. I also play in a fiddle / guitar duo which is much more folk based and is ideal for music festivals, concerts and short tours. I enjoy variety and have done a fair bit of session work and touring with various bands and artistes including Peter Morrison, Moira Kerr, Chris Armstrong and Donald Black. I have probably appeared on around 30 commercial albums and have recorded for BBC, Ulster and Border TV.
What about bands?
I am a member of the band ‘Coila’ which sort of evolved from the Ayrshire Fiddle Orchestra. We have been togther for over 10 years and the current line up is William Weir on accordion, Andrew McGarva on fiddle, Gavin Welsh on drums, and myself. With this line up we perform at ceilidhs all over Great Britain and abroad. The band can also be augmented into a concert band and we often work with Douglas Whyte on keyboards, Dave Cowan on bass guitar and occasionally Dougie Pincock on pipes, whistles and flute. With the 7-piece line-up, we don’t really play for ceilidh dancing which makes it possible to play more complex, modern arrangements in concert situations. Coila is more of a contemporary folk group than a dance band.
Where have Coila played?
Outwith the ceilidh scene, we have performed at a lot of festivals such as Celtic Connections, Shetland Folk Festival, Mayfest, Arran, Bute, Killin, Barra and Jura Festivals as well as functions like the premier of the movie ‘Rob Roy’ in Edinburgh and the International Rotary Convention at Ibrox Stadium. We have also played in venues such as Eden Court in Inverness and the Old Fruitmarket in Glasgow. Farther afield we have performed in France, Greece and Canada.
Do you play in any other bands?
I am a member of the band ‘Canterach’ which is a pipe and fiddle driven group supported by guitar / vocals, percussion and keyboards. We recorded a CD on the Lochshore label a couple of years ago and have performed in Hungary, Switzerland and Spain.
Have you played with any Scottish Dance Bands?
Yes, I have performed and broadcast with Iain Cathcart’s band for a long time, which is always good fun. I have also been a member of Alasdair MacCuish’s Black Rose Ceilidh Band. Amongst others I have had stints with The Jura Ceilidh Band and the bands of Gary Blair and Ian Thomson.
Do you have any favourite dance bands?
My all time favourites would have to be The Wallachmor Ceilidh Band and The Hamefarers.
Are you influenced by the modern folk scene?
Yes, very much so. I listen to a lot of traditional music and attend concerts when I can. My favourite Scottish band is Capercaillie. I find their music tasteful and so well arranged. All the members are fantastic musicians in their own right. I also have a lot of respect for Phil Cunningham who is a fantastic tune writer and pipers like Gordon Duncan and Fred Morrison. When I was younger I listened a lot to groups like The Battlefield Band, Boys of the Lough and Silly Wizzard.
Outwith Scotland I love the playing of Michael McGoldrick, a Mancunain who plays ulliean pipes, flute and whistles and Carlos Nunez, a brilliant Spanish piper. Other favourites I have include Alan Kelly, a piano accordionist from Galway, the Cape Breton group The Barra McNeiull’s and Irish group Lunasa and Altan.
Who are your favourite fiddlers?
I have quite a few.
Scotland – Willie Huner, Douglas Lawrence, Aly Bain and Charlie McKerron.
Ireland – Cathal Hayden, Sean Maguire and Tommy Peoples
North America – Graham Townsend, Natalie McMaster and Jerry Holland.
Of the new generation of fiddlers I think Chris Stout and Bryan Gear, both from Shetland, are great players as well as Dezi Donnelly from Manchester.
Do you have any concerns for the future of the Accordion & Fiddle circuit?
I think it is vitally important that Scottish Dance music is made attractive to young people. If you look at the many traditional music festivals such as Celtic Connections, Fiddle 2002, initiatives such as the BA Scottish Music Degree at the R.S.A.M.D., the Feis movement, organizations such as the Adult Learning Project in Edinburgh and Glasgow Fiddle Workshop, all have no problem encouraging young people to participate in traditional music. The same cannot be said for the Accordion & Fiddle Club circuit. Why should this be? I think it is partly to do with the exposure enjoyed by certain types of folk music and also the fact that the music has developed in a way that appeals to young people. The traditional Scottish Dance band has remained relatively unchanged since the days of Jimmy Shand and the set format may appear dated to ‘outsiders’ and youngsters. I realise that aspects such as tempo and correct number of bars cannot be compromised, however I personally see nothing wrong with introduction of other instruments and experimentation with the back line. It is not unusual to hear the same tune played by Wolfstone and Iain MacPhail. The melody is no different, it is the backing that makes the difference, be it the chords, drumbeat or the rhythmic pattern of the accompaniment. I know change will be very difficult to effect, however I believe that unless the dance band scene is willing to embrace other musical styles it will eventually become stagnant. The quality of musicianship in the Accordion and Fiddle scene deserves greater coverage.
Do you listen to other types of music?
Apart from traditional music I enjoy listening to classical music, jazz, pop, in fact I think it is important as a musician to listen to many different types of music. I particularly enjoy orchestral music, especially Russian music from composers like Rachmaninov, Prokofiev and Schostakovich. I also love jazz greats like Louis Armstrong, Miles Davis and Stephane Grappelli. I find much of today’s chart music too manufactured although I really like Shania Twain and Robbie Williams. I prefer listening to older popular music like Queen, Abba and, of course, The Beatles.
Do you often travel abroad to perform?
Yes, I have been fortunate enough to tour several times in Canada and the USA. I have also seen a fair bit of Europe including Norway, Iceland, The Faroes, Denmark, Hungary, Spain, Switzerland, Belgium, France and Greece. Farther afield I have performed in Dubai and Venezuela.
What now?
I am currently working on the recording of my second solo album, which will be released early in 2003. I will also be publishing a collection of my own compositions. In July, I will be touring in Australia and New Zealand with the Ayrshire Fiddle Orchestra, which I am really looking forward to.
Box and Fiddle
January 2003