Box and Fiddle
Year 19 No 07
April 1996
Price 70p
12 pages
7 month subscription £8.00
Editor – Ron Ramsay, 48 Hospitalfield Road, Arbroath, Angus, DD11 2LS
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian, EH22 2NL
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
Well, here we are at the last issue of the season. The next issue is due on 1st September, 1996, and I ask you all to keep sending in reports, pictures, etc. and stories of what you get up to during the holidays (with a musical flavour, of course!)
Although newsprint has risen sharply in cost during the past few moths, it is proposed that the cost of the paper will remain the same, although consideration will be given to have the advertisements raised fractionally.
Hope to meet all the Club scribes at the Annual Weekend Gathering to thank them personally for their reports which keep the paper going. So if you see me, please introduce yourself – it’s nice to put a face to a name.
Have a nice break.
Ron Ramsay
Musselburgh Festival 1996
by Neil Copeland
Saturday, 2nd March, 1996, was the date for the 22nd Annual Accordion and Fiddle Championships organized by the N.A.A.F.C. in the Brunton Halls, Musselburgh.
Advance notification from East Lothian District Council that, due to refurbishment works, both the Theatre and the Concourse Area would not be available caused a major rethink of the scheduling of competitions and halls. However, despite some early concerns, it was still possible to accommodate all competitions within the Brunton Halls complex. On arrival at the Halls on Saturday morning, it emerged that the so-called works had not yet commenced and that the ‘lost’ accommodation would have been available after all. All that was missing however, were the trade stands in the main foyer – in all other respects, Musselburgh Festival 1996 was just as in previous years. The problem of 1995 (no heating) certainly was not evident this year with the main complaint being that the complex was too hot! A minor hiccup over the Box Office opening times caused some concern early on but this was resolved by mid morning and ticket sales were then available.
Entries were slightly up from 1995 and competitors came from as far afield as the Isle of Lewis, Wick, Northern Ireland and Oxfordshire – surely proving the Musselburgh Festival is a national event in the musical calendar. However, a major disappointment was the continued lack of Band entries – so come on all you budding bandleaders, give us your support next time – it is, after all, for fun! This lack of competitors did not detract from a very entertaining competition and it appeared that the result, when announced, was welcomed by the majority of those spectators present.
The number of people attending the event during the day was slightly down on previous years and this was most evident in the Main Hall where there were still some empty seats during the afternoon competitions - a situation which would have been unthinkable some years ago. There was also a marked drop in the number of people attending both the Evening Concert and Grand Dance and the Festival Committee will be discussing the possible reasons for this at its next meeting. The standard of playing throughout the day, however, certainly could not be described as down, and all of the adjudicators commented on the tremendously high standard of playing from all competitors.
The introduction of the new Open Fiddle Competition Solo Class proved to be a major success and the evening play-off by three finalists was, for me (an accordionist), the highlight of the concert. Also featured in the concert this year was the play-off for the Senior Accordion (Traditional) Championship and Jim Johnstone certainly had a most unenviable task to deal with during an exceptionally high standard final.
Ken Mutch and the B.B.C. Team were once again present to record the evening concert and interview some of the day’s ‘celebrities’ and their presence and continued support of the Festival was gratefully welcomed by the Committee. Ken also invited the new Open Fiddle champion – Laura McGhee from Monifeith – to take part in a Take the Floor outside broadcast from Stirling with Duncan Black’s Band and Anne Lorne Gillies – surely a great opportunity for a very talented young musician.
Following the highly entertaining concert, compered this year for the first time by Jennifer Forrest and which was rounded off with Ian Thomson’s SDB, Ian and his band of merry men (and woman!) took centre stage for the ‘Grand Dance’ – and that is exactly what it was. A great sound and with the floor full for every dance, it looked as though the Committee had yet again ‘got it right’ in their choice of band. This year the dance lasted until 12.45 a.m. at the suggestion of members of the public in 1995 and any comments on this venture would be most welcome.
In concluding, I would like to thank all of the Festival Committee, the many helpers, adjudicators, teachers, parents, Festival supporters and most importantly, the competitors for their support in thus again proving that Musselburgh Festival is the ‘friendly Festival’. Without them there would be no Festival. It was nice to arrive home shattered but satisfied that yet again, a successful and enjoyable day had been had by all who attended.
Junior Accordion
Under 12 Traditional Accordion Solo – Pentland Cup
1) Liam Stewart (Galston)
2) Brian MacDonald (Ayr)
3) Ritchie Criag (Haddington)
12 and Under 16 Traditional Solo – Jim Johnstone Cup
1) Gordon Fraser (Munlochy)
2) Jill Blackburn (Galashiels)
3) Fraser Burke (Dundee)
Junior Accordion Solo Pipe Music – Bill Black Cup
1) Gordon Fraser (Munlochy)
2) Stewart Walker (Inverness)
3) Fraser Burke (Dundee)
Junior Traditional Duet
1)
2)
3)
Senior Accordion
Senior Traditional Accordion Solo – Clinkscale Cup
1) Ian Skinner (Blackburn, West Lothian)
2) John Burns (Cumbernauld)
3) Wendy Godfrey (Perth)
Senior Accordion Pipe Music Solo – Bill Powrie Memorial Cup
1) Andrew Gordon (Bonhill)
2) Gordon Middler (Aberdeen)
3) Mhairi Coutts (Kirkcaldy)
Senior Overall Accordion Champion - The Bobby MacLeod Trophy
Andrew Gordon (Bonhill)
Open Buttonkey Accordion Solo – Windygates Trophy
1) Alexander Lindsay (Amulree)
2) Duncan McKinnon (Glasgow)
3) John Weaks (Glasgow)
Trios – Jimmy Blue Trophy
1) The Balgray Trio (Dundee)
2) Wendy Godfrey (Perth)
Bands – Overall Winner - Iain MacPhail Cup
Camperdown Ceilidh Band (Dundee)
Band – Rhythm Section - Arthur Easson Memorial Trophy
Camperdown Ceilidh Band, Dundee
Own Composition – Willie Wilson Cup
1) Alex Morrison (Forres)
2) Maureen Rutherford (Dundee)
3) John Burns (Cumbernauld)
Under 12 Classical Solo – Kelso Cup
1) Elizabeth Stirrat (Paisley)
2) Gordon McRae (Didcot)
3) Brian MacDonald (Ayr)
Under 14 Classical Solo – Aberdeen Cup
1) Julie Hamilton (Carstairs)
2) Gordon Shaw (Airdrie)
3)
Under 16 Classical Solo – Dundee shield
1) Jill Blackburn (Galashiels)
2) Jill Craig (Haddington)
3) David Nisbet (Earlston)
Open Classical Solo – Clinkscale Shield
1) Glenda Taylor (Beith)
2) Brian Aitchison (Galashiels)
3) Esma Mitchell (Edinburgh)
Under 13 Classical Duet – Beith & District A&F Club Cups (Willie Wilson Memorial Trophies)
1) Craig MacDonald (Ayr) & Brian MacDonald (Ayr)
2)
Under 16 Classical Duet - Alex MacArthur Cups
1) David Nisbet (Earlston) & Jill Blackburn (Galashiels)
2) Gordon Shaw (Airdrie) & William Paterson (Coatbridge)
3) Alistair Dunnet (Tranent) & Julie Hamilton (Carstairs)
Open Classical Duet – Dunfermline Cup
1) Sarah Armstrong (Northumberland) & Katie Donald (Lauder)
2) Brian Aitchison (Galashiels) & Paul Chamberlain (Lauder)
3)
Classical Polka
Under 10 Classical Polka Solo – The Todhills Trophy
1) Brian MacDonald (Ayr)
2) Elizabeth Stirrat (Paisley)
Under 14 Classical Polka Solo – Newtongrange Shield
1) Gordon Shaw (Airdrie)
2) Fraser Burke (Dundee)
3) Alistair Dunnet (Tranent)
Open Classical Polka Solo – Tign-Na-Gorm Cup
1) David Nisbet (Earlston)
2) Jill Blackburn (Galalshiels)
3) Brian Aitchison (Galashiels)
Fiddle Sections
Junior Fiddle Solo – MSR – Association Cup
1) Patsy Reid (Knapp)
2) Jane McLeod (Dundee)
3) Stephenie Brough (Dundee)
Junior Fiddle Solo – Slow Air – Dougie Welsh Cup
1) Stephenie Brough (Dundee)
2) Patsy Reid (Knapp)
3) Jane McLeod (Dundee)
Senior Fiddle Solo – Slow Strathspey, MSR – St. Boswell Cup
1) Susan McIntosh (Aberdeen)
2) Laura McGhee (Monifeith)
3) Sarah Fraser (Crieff)
Senior Fiddle Solo – Slow Air – Ron Gonella Cup
1) Laura McGhee (Monifeith)
2) Susan McIntosh (Aberdeen)
3=) Sarah Fraser (Crieff)
3=) Dick Rutter (Edinburgh)
Open Fiddle Championship – Banchory S&R Society Trophy
1) Laura McGhee (Monifeith)
2=) Susan McIntosh (Aberdeen)
2=) Stephenie Brough (Dundee)
Senior Fiddle Overall Champion - The Angus Fitchet Trophy
Susan McIntosh (Aberdeen)
Open Fiddle Groups – Lesmahagow Quaich
Tayside Youth Strathspey and Reel Group
Youngest Girl Competitor – John McQueen Medal
Elizabeth Stirrat (Paisley)
Youngest Boy Competitor – John McQueen Medal
Brian MacDonald (Ayr)
James Hill – The Hornpipe King
by Kevin McCann
Whenever a group of traditional musicians get together for a session and play hornpipes it is a rare occasion indeed that one or more of James Hill’s compositions are not played. A few of the tunes which come to mind would be ‘The High Level Bridge’, ‘The Low Level Bridge’, ‘The Beeswing’, ‘The Hawk’, ‘The Steamboat’ hornpipes and many others, all of the highest quality. I believe that a history of this talented fiddler and composer will be of interest to all players of and listeners to traditional music.
Before I begin the story of this intriguing character some information regarding the hornpipe is in order. The hornpipe was a primitive double reed instrument dating from around the 13th century. The dance and its related music came to have its maritime associations around the middle of the 18th century. As many ships companies carried a resident fiddler, music was readily available for dancing, thus providing a much needed form of daily exercise. Much of the even-rhythmical passage work coincided with the style of the reel, but the dotted rhymic characteristic of so many hornpipes were a later mid-19th century innovation and became extremely popular in Ireland. There is a marked differentiation in tempo between even and uneven rhythm hornpipes. The former, usually played in Scotland are generally played at 6-104-112 whereas the latter played mainly in Ireland tend to be more relaxed 6-69-76. When perusing any collection of Irish traditional music one is immediately struck by the extremely high quality of the hundreds of hornpipes therein e.g. in O’Neill’s or Cole’s Collections.
One wonders who the composers were who produced such marvelous tunes. Were they pipers, harpers or fiddlers? Whoever they were they were music men of unusual ability for there is an exquisite melodic quality in many hornpipes that can equal many airs. Who could beat, or even equal such great tunes as ‘The Belfast’, ‘The Derry’, ‘Chief O’Neill’s Favourite’, ‘Dwyers’, and many others far too numerous to mention here. For every composer of hornpipes known to us there are scores of great hornpipe composers totally and forever unknown to us whose melodies will be with us as long as a hornpipe is played or danced.
Composers of fine hornpipes known to us are Ed Reavy, Sean Ryan, James Scott Skinner, Paddy Kelly, Paddy Fahey and last but not least James Hill of Newcastle, Northumbria, about whom a fair amount is known and many of whose compositions have lasted to this day and can still hold their own with the best of them.
JAMES HILL
James Hill was one of the foremost fiddlers on Tyneside during the mid 19th century. He is also celebrated as a composer of numerous tunes, most hornpipes, of which I give more details later on. By looking through the list of tunes it can be seen that many are named after people, famous or lowly, local places, public houses, racehorses and contemporary events in the Newcastle area. James Hill was born in Dundee about 1814 and with his family moved to Newcastle ten years later. When living on Tyneside his main activities were between the late 1830’s and the late 1850’s. He died in Newcastle at a premature age in 1860. While hard facts concerning Hill are few and far between, a brief examination of the Victorian period between 1840 and 1850, particularly on Tyneside, can help to put the man and his music into perspective. Hill’s time on Tyneside between the 1830’s and 1860’s coincided with a period of particularly rapid industrialization and urban expansion. It was the age of iron, coal and steampower. Britain no longer remained an agriculturally based economy and the overall population growth took place against a background of migration from rural to urban areas. A large proportion of the urban, industrial population was, therefore, subject to poor housing, harsh working conditions and dreadful public health risks.
The only ‘luxury’ that many of the population had access to was a drink. This resulted in a great number of, and variety of, ‘gin palaces’ and beer parlours. Music was an integral part of many drinking establishments and the fiddle held pride of place, and music and dancing occurred everywhere a drink was drunk or a tune was played. Thousands of Irish driven from their homes by famine and disease migrated to Newcastle to work in the many factories in the region. The poorest area in Newcastle at that time was the Sandgate and in it grew a large Irish community. This community was the subject of anti-Irish Riots in 1851. It was within this decaying area occupied by the poorest part of the community that musicians like James Hill lived and worked.
PROFESSIONAL FIDDLERS
Of particular significance was the emergence during the 1840’s of public house fiddlers on a professional basis. It has been remarked that good fiddlers at that time took public houses as footballers and other celebrities have done more recently.
Professional fiddlers were rarely public house owners and were merely employed as a means of attracting customers to a particular public house. A reporter of the Newcastle scene at the time – a Richard Thornton – gives an account of the public house fiddlers and their popularity when he describes a visit with his father to a musical pub. “Our first call, I remember was to hear Jimmy Hill who was located on the Bottle Bank, Gateshead. Jimmy wrote several very fine hornpipes, ‘The Hawk’, ‘The High Level Bridge’, ‘The Low Level Bridge’, ‘Beeswing’, and many more and he was the daddy of them all at hornpipe playing. He did not live long poor fellow and was very fond of gin”. The fiddle was also popular with a number of other entertainersincluding Blind Billy Purvis (1784 – 1853), a travelling showman who played both union pipes and fiddle. Another showman of great versatility was Ned Corvan (1829 – 1860) whose act would include his own songs, monologues and violin solos.
In the case of public house fiddlers one would expect a fairly ‘robust’ style with strong bowing technique giving as much emphasis to volume as to the melodic nature of the music. In his time Hill was by far the best of the Newcastle fiddlers and was known near and far as the ‘Paganini’ of hornpipe players. As to Hill’s playing style and technique we must rely on Robert Stokes, a local reporter and music enthusiast ; “Hill had a powerful tone and capital bow-arm and his performance of such melodies as ‘Auld Robin Gray’ and ‘Roslin Castle’ was marked by a delicacy and expression which would not have disgraced a violinist of the first rank, whilst as a player of dance music he was unapproachable for power, vivacity and correct intonation”. It was also said that he could play “with untiring energy for hours altogether”. His composition exhibit a degree of complexity which must also reflect his skill as a player. A favourite key for many of his tunes was B flat, which accordion to J. Scott Skinner has a ‘velvety, very rich and fine effect”. Whilst the majority of the tunes are hornpipes, there are also jigs, a waltz, a polka and strathspeys which would suggest that he composed other types of tune which reflected the popular tastes of the audiences during that era. James Hill composed tunes to commemorate people, race horses and events and I will list some of the more interesting ones e.g.
1) Greyhound racing / Hare Coursing – ‘The Spotted Bitch’
2) Friends / Patrons
‘Spence’s Tent’ – a beer tent at the local racetrack owned by Mr Spence
‘The Marquis of Waterford’ – a racehorse owner and patron of horse racing.
‘The Hunter’ – for a hunting friend.
‘Little Jim’ – a son.
3) Industrialists
‘Atwood Hornpipe’ – honouring Charles Atwood, a Staffordshire industrialist and racehorse breeder and racer.
4) Tunes he liked to play
‘Auld Robin Gray’ – air
‘Roslin Castle’ – air
‘Fogaballa’ (Fag un Bealach) jig for his Irish friends.
5) Pubs and Publicans
‘Free Trade’ – politics and a pub so names.
‘The Hawk’ – one of Hill’s favourite pubs.
‘The Steamboat’ – a pub.
6) Places
‘The South Shore’ – (of the Tyne) called ‘The Scholar’ in Ireland.
‘The Newcastle Hornpipe’ – played by many fiddlers after the ‘High Level Bridge’.
‘The Stony Steps’ – the steps to the ferry which crossed the Tyne River.
7) Celebrities
‘Jennie’s Hornpipe’ – for Jenny Lind, the famous Swedish singer.
‘Earl Grey’ – strathspey for Earl Grey, British Prime Minister and hero of the Reform Bills.
8) Politics – ‘The Rights of Man’.
9) The Railway
‘The Navvy on the Line’ Hornpipe
‘The Locomotive’
‘The High Level Bridge’ – the railway bridge over the Tyne.
10) Racehorses
‘Underhand’ – won Northumberland Plate 1857.
‘Beeswing’ – a famous racehorse in England. Won all over in 1830’s and 1840’s and won 51 races including 25 Gold Cups. Two new variations to this hornpipe have been added by fiddler, Sean McGuire.
‘The Flying Dutchman’ – was almost as famous as Beeswing and sired one of Beeswings foals.
11) Sports / Rowing
‘The Champion’ hornpipe – for Harry Clasper who won numerous rowing races.
Readers would be curious about the status of traditional music in general in Northumbria and Newcastle in particular today and it is pleasant to say that the music is going strong there and needless to say the hornpipe is the favourite tune played there. The best known group are ‘The High Level Ranters’, a group of four who meet weekly at the Bridge Hotel in Newcastle and play traditional music and sing songs in great style and have produced four finely arranged L.P.s
ALASDAIR ANDERSON
The best known member of the group is Alasdair Anderson who plays English concertina and Northumbrian pipes, Colin Ross, who plays fiddle and pipes, Johnny Handle, accordion, piano, 4 string guitar and Tom Gilfellow, guitar and cittern. The four have a huge repertoire of tunes from Ireland, Scotland and North-East England and are, in my opinion, the best all-English group there is. Another musician from the area, better known to Irish enthusiasts is Kathryn Tickell, a star Northumbrian piper and fiddler who played in Dublin at a Pipers’ Convention some years ago. To end this articles on James Hill, I will quote a few lines from a poem written about him by a contemporary poet, Lewis Proudfoot
Time canna kill oo’r Jamie Hill
His lilting tune south shore
Still gars my feet, age cramper fast beat
Gude time upon the floor
An’ when I hear his hornpipe clear
His Bottle Band and Cage
His Barber’s Pole, these warm my soul
An’ gi’es new strength to age.
A Tribute to the Late John Mackie
by ?
Readers will be saddened to learn on Friday, 23rd February, of John Mackie of Meggatknowes, Yarrow, Selkirkshire.
John, who was 78 years young, was a doyen of the Accordion and Fiddle scene in Scotland and in recent years, had been particularly active as Secretary of the Yarrow A&F Club of which he was one of the founders. The Club was established mainly due to his enthusiasm in January, 1989, when the very first guest artiste was Bill Black and his Band, an association that has continued since the same Bill Black was the guest at the Club last month.
John would never have made claim to being a great accordionist himself, but his influence in encouraging the developing talents of others, particularly younger players, was immeasurable. Young players such as Lynne Bradshaw, Ian Lowthian and David Nisbet pay testimony to that.
After an active working life, John who had been a widower, retired to live in Yarrow with his second wife Margaret. He had long before this time made his mark on the Scottish music scene. A fair player himself, but hampered by a series of strokes which impaired the movement in his left hand, he was a personal friend of the Norwegian classical virtuoso Toralf Tollefson and was invited to write the obituary of the great man when he died last August.
John’s taste in music was not confined to traditional Scottish Country Dance music, but embraced classical, Continental and South American styles, as well as Gershwin, Oscar and Hammerstein and the like.
He will be sadly missed compering the Yarrow Club at the Gordon Arms, where he always had a joke to tell the audience, sometimes told with an Aberdonian accent no doubt picked up from his many conversations with Robbie Shepherd. John will also be sorely missed for his charitable work, whether it be in organizing charity concerts the Yarrow club frequently undertook, or busking in the streets of Selkirk in organized charity fund-raising events.
“The auld bugger is irreplaceable” said Harry Mitchell of the Gordon Arms, at which, one can hear John’s comment, “Ah don’t mind the bugger, but less ae the Auld.” Harry further stated that, “The Club would not have survived in the beginning, without john’s enthusiasm. He knew so many people who were prepared to travel vast distances to appear at the Club and it was always very evident, he was held in high esteem by those people.”
As a tribute to John, the Yarrow Club will henceforth be known as the Yarrow (John Mackie Memorial) A&F Club and a special trophy bearing his name will be annually contested for at the Perth Festival.
A native of West Lothian, John had lived in the same Water Board house, at Crosswood Reservoir on the Lang Whang for over 50 years, having succeeded his father as Reservoir Superintendent. He was well known in the scattered but close-knit community that lives in and around the Whang, a place of hill farms, conifer plantations, winter snows and the call of the curlew.
At the outbreak of the Second World War John served in the Royal Artillery before volunteering for the Commandos. He took part in the notorious Dieppe Raid where he was badly wounded, and thereafter spent the rest of the war as a Commando Instructor, during which time he put the famous war heroine Odette Churchill through her paces. Incidentally, he never went back to France, always saying when asked, that he didn’t like the reception he had received when he had been there.
John was a man of wide interests. A friend of the late Hugh MacDiarmid, John shared the poet’s socialist philosophy and was consistently riled by what he saw as capitalism’s excesses, particularly in recent years. His countless published letters in ‘The Scotsman’ and locally in ‘The Southern Reporter’ confirmed his status as an intellectual. He had an uncanny knack in conversation of making contentious remarks without causing offence and then often sat quietly in the background as others continued the debate he had stimulated. A great aficionado of Robert Burns, John traveled twice to Russia, helping to reinforce the links between the nations forged through Scotland’s national poet.
John Mackie was an extraordinary ordinary man. Unassuming and non-judgmental. He was simply a man most people intuitively liked. He will be sadly missed by his many friends.
News of John’s death was announced on Robbie Shepherd’s Sunday morning BBC Scotland Radio show. There was a large gathering for his funeral service in the main chapel at Mortonhall Crematorium on Wednesday, 28th February, 1996, when, at John’s own request, a tape of Tollefsen’s arrangement of ‘The Carnival of Venice’ was played.
John Mackie is survived by his wife, Margaret, and four step children.
Willie Cassie - Obituary
by Frank Farquharson (Chairman, Fintry A&F Club)
It is with great regret that I have to inform you of the passing of Willie Cassie from Kippen at the age of 79.
Born in Aberdeenshire, his love of anything or anybody connected with that part of Scotland was of great interest to Willie. His passion and knowledge of the music of the North East was an education with the emphasis being on fiddle music.
Having been raised in the country of farming stock his love of animals and all things associated with agriculture were his main interests throughout his life. Willie left Morayshire for Boquhan Farm, Kippen in 1963 with his family to take up the position of Dairyman at what was at that time a model farm away ahead of all others.
When he left that employment he had a change of occupation becoming an employee of the County Council Roads Department where he remained until his retiral in December, 1981.
To prevent time dragging, Willie, to further his love of our music, took up the fiddle and every spare minute was spent practicing. He soon became competent enough to take the stage at the Clubs and any Club within a 50 mile radius was near enough for Willie. He went on to become a Committee member of the Dunblane Club, but it is as a stalwart of the Fintry Club that he will be best remembered. He was happiest ‘among his ain folk’. The above photo shows Willie with the trophy for the most improved player at the MAFIA Club in 1985.
When ill health overtook him and he was unable to drive, it slightly curtailed his travels, but his interest did not wane as surrounded by his radio and tapes he knew what was happening in the music circles.
His passing leaves a vacant chair both in family and music circles and our thoughts go out to his family at this time. They have lost a ‘Boss’ and I personally have lost an irreplaceable friend and pal. We are all the better of having known Willie.
Musical Feast at Blackpool
The hugely successful Festival was held at Pontins Holiday Centre between 14th and 17th March, 1996……………………
The Sound of Music
by Dr Kevin McCann
It’s only 80 years since musicians stood around a big horn to cut the first recordings of fiddle music. Here we are in the 90’s ; digital technology has given us D.A.T. and hard disc recorders and of course ……CD format.
CD is not simply a great commercial format to release music on. New CD recorders present archivists with a convenient and practical format, offering random access at the touch of a remote.
The practices of ‘acoustics’ is as old as the practice of Lutherie (instrument making). Throughout history the science of acoustics has been studies by students of architecture, physics, philosophy and music. From the time of the ancient Greeks, this science has been used to amplify sound and to create natural reverb in performance theatres.
Since the advent of electricity (the same invention that brought us digital technology) this practice has been lost to architects and interior designers. Sure, they are still building great theatres, churches, studios and other performance spaces but the ‘traditional’ environment of the acoustic musician is often overlooked. Many acoustic musicians are unaware of the fact that their surroundings directly affect the performance of their equipment and consequently their own performance.
Carpet is one of the worst acoustical offenders. It can suck the life right out of the fiddle, the player, and the listener too! If you play the fiddle at home, and you find that you get disgusted and frustrated, and your wife and kids are cringing every time you take the fiddle out of its case, then chances are it’s not just your playing, but it’s also the room. Acoustics that cause the fiddle to sound shrill, cutting and lifeless.
A poor room can quickly steal away the sonority and soul the fiddle maker spent so much time developing. You have to really struggle to play the fiddle! Combine that with a roomful of noisy people and you have a battle!
Carpet, foam, suspended ceilings, fibreboard, foam furniture……this stuff is all used extensively in modern homes and buildings. Such materials cause sound to be absorbed and reflected unevenly. The result is a sound from the fiddle that is lacking in low and mid frequencies with louder high frequencies that are rough, shrill and cutting. This type of fiddle tune can trash the human ear in a very short time and extended playing can result in severe ear fatigue. At this point nothing sounds good!
If you want to hear the pure tone from your fiddle, take it outside and play it. Air absorbs component frequencies and harmonies move evenly through it than any other material.
Although you will hear a dry sound with zero reverb time, playing the fiddle outdoors can reveal hidden secrets in its tone that perhaps you haven’t heard before.
We can look to tradition for solutions to these acoustical problems. A walk through any of the classic old homes in Scotland can reveal practical and suitable acoustic designs. It’s also important to consider what is a practical space for the performance of music. A church may have a lovely sound for choirs and orchestras, but for fiddle music something a lot more intimate is required. In smaller rooms with hard plasters in combination with a generous coverage of wood creates a lively space for a fiddle. Plain wooden furniture is a better choice for playing music. A hardwood floor is nice and bright but a softwood floor is just as suitable. Personally I’ve found that a cement floor or flagged floor found in so many kitchens in farmhouses in Scotland and Ireland is best of all.
I still remember with affection and enjoyment the fiddle music heard in the kitchen of John Junner of Aberdeen played by the late Bill Hardie and Sean McGuire, the grand sound of a dozen fiddles played in the upper storey of an old distillery with a wooden floor at New Meldrum, near Banchory, and dozens of fiddle sessions in kitchens in Ireland where the cement floor provided dancing room for the dancers and the fiddler sitting in a corner knocking music out of his fiddle to beat the band. It’s hard to beat a good kitchen for good sound.
CLUB DIARY
Aberdeen (Dee Motel) – 30th Apr 96 – James Coutts SDB 28th May 96 – AGM & Players Night
Alnwick (Golden Fleece) – members only
Annan (St Andrew’s Social Club) - 21st Apr 96 – Nicol McLaren SDB 19th May 96 – Bon Accords
Arbroath (Viewfield Hotel) - 7th Apr 96 – Tayside Youth Players 5th May 96 – Dennis Morrison SDB
Armadale (Masonic Hall) – 4th Apr 96 – Sandy Leggat SDB 2nd May 96 – Black Rose Ceilidh Band
Ayr (Gartferry Hotel) – 7th Apr 96 – Fraser McGlynn Duo 5th May 96 – Peter Wood SDB
Balloch (St. Kessog’s Hall) –
Banchory (Burnett Arms Hotel) –
Banff & District (Banff Springs Hotel) – 24th Apr 96 – Strathmore Sound 22nd May 96 – Nicol McLaren SDB
Beith & District (Hotel de Croft, Dalry) – 15th Apr 96 – Fiona Cuthbertson
Belford (Community Club) – 25th Apr 96 – David Cunningham Jnr
Biggar (Municipal Hall) – 14th Apr 96 – Ian Powrie
Blairgowrie (Moorfield Hotel) - 9th Apr 96 – Lynne Christie SDB 14th May 96 – Paul Anderson
Bromley (Trinity United Reform Church) - 16th Apr 96 – John Stevens Trio 14th May 96 Club Night
Button Key (Windygates Institute) – 11th Apr 96 – Hebbie Gray
Campsie (Glazert House Hotel) - 2nd Apr 96 – Ian Muir Trio 7th May 96 – Iain MacPhail SDB
Carlisle (Border Regiment Club, Carlisle Castle) - 4th Apr 96 – John Morgan
Castle Douglas (Urr Valley Hotel) – 16th Apr 96 – George Stirrat SDB
Coalburn (Miners’ Welfare) - 18th Apr 96 – David Ross Duo 16th May 96 – Charlie Kirkpatrick Trio
Crieff & District (Arduthie Hotel) 4th Apr 96 – Billy Anderson and Albany
Dalriada (Argyll Arms Hotel, Lochgilphead) 16th Apr 96 – Gordon Pattullo 21st May 96 – Neil Sinclair Band
Dingwall (National Hotel) – 3rd Apr 96 – Alister McCulloch (fiddle) 1st May 96 – Alex & Archie McAllister
Dunblane (Westlands Hotel) – 16th Apr 96 – Craig McCallum SDB 21st May 96 Max Houliston
Dundee (Dexters) –
Dunfermline (Headwell Bowling Club) – 9th Apr 96 – Brian Griffin
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (Sweepers, Cambuslang) – 25th Apr 96 – Club night
Ellon (Ladbroke Hotel) – 10th Apr 96 – Dermot O’Brien 21st May 96 – Colin Dewar SDB
Fintry (Fintry Sports Centre) – 22nd Apr 96 – Black Rose Ceilidh Band 27th May 96 – Gordon Pattullo
Forfar (Plough Inn) - 28th Apr 96 – Gordon Shand SDB 26th May 96 – Glencraig SDB
Forres (Brig Motel) – 10th Apr 96 – John Renton SDB 8th May 96 – Black Rose Ceilidh Band
Fort William (Alexandra Hotel) –
Galashiels (Abbotsford Arms Hotel) – 4th Apr 96 – Ian Holmes
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel – Wooler) –
Glenfarg (Lomond Hotel) -
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 30th Apr 96 – Bill Stewart Band 28th May 96 - tba
Gretna (Halcrow Stadium) - 17th Apr 96 – Colin Dewar Trio 15th May 96 Deirdre Adamson
Highland (Drumossie Hotel) – 15th Apr 96 – Ian Muir Sound 20th May 96 – Craig McCallum SDB
Inveraray (Loch Fyne Hotel) - 2nd Apr 96 – Iain Cathcart SDB
Islay (White Hart Hotel) -
Isle of Skye -
Islesteps (Waterhole, Lochfoot) – 2nd Apr 96 – Bert Shorthouse Trio
Kelso (Ednam House Hotel) – 9th Apr 96 – Donal Ring Ceili Band 24th Apr 96 Bruce Lindsay Trio 29th May 96 – Black Rose Ceilidh Band
Kinlochshiel (Islander Function Room) -
Kintore (Torryburn Hotel) – 3rd Apr 96 – Dick Black Band 1st Apr 96 – Brian Morrison Band
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 11th Apr 96 – Jim Johnstone SDB 9th May 96 – Fiona Cuthbertson SDB
Livingston (Deans Community Centre) 16th Apr 96 – Deirdre Adamson 21st May 96 – West Telferton Caledonian SDB
Lockerbie (Queen’s Hotel) - 30th Apr 96 – John Fairbairn Trio
Mauchline (Sorn Village Hall)
Montrose (Park Hotel) – 3rd Apr 96 – Steven Carcary Duo 1st May 96 – John Duncan
Muirhead (Belmont Arms, Meigle) -
Newtongrange (Dean Tavern) – 14th Apr 96 – Annual Competitions
North East (Royal British Legion, Keith) – 2nd Apr 96 – Dochie McCallum & Friends 7th May 96 – James Coutts SDB
Oban (McTavish’s Kitchen) – 4th Apr 96 – Alistair Hunter Trio
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 25th Apr 96 – Willie McFarlane Band
Perth (Salutation Hotel) – 16th Apr 96 – Sandy Leggat SDB 21st May 96 – Ian Holmes SDB
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 9th Apr 96 – Andrew Gordon SDB
Rothbury (Queen’s Head) - 4th Apr 96 – Elizabeth Flanagan
Shetland (venue?) -
Stirling (Terraces Hotel) - 14th Apr 96 – Graeme Mitchell SDB 12th May 96 tba
Thornhill (Dumfries-shire) -
Thurso (Pentland Hotel) – 1st Apr 96 – Maurice Duncan Trio 6th May 96 tba
Turriff (Royal Oak Hotel) – 4th Apr 96 – Alister Salter & Ian Thow
Tynedale (Hexham Ex Service Club) –
Wick (McKay’s Hotel) – 16th Apr 96 – Hebbie Gray 21st May 96 – Black Rose Ceilidh Band
Yarrow (Gordon Arms) - 17th Apr 96 – Gordon Pattullo 15th May 96 – Fraser McGlynn Duo
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Arbroath
3. Armadale
4. Banchory
5. Banff
6. Beith
7. Belford
8. Biggar
9. Button Key
10. Campsie
11. Carlisle
12. Castle Douglas
13. Coalburn
14. Dingwall
15. Dunfermline
16. Dunoon & Cowal
17. East Kilbride
18. Fintry
19. Forfar
20. Forres
21. Glendale
22. Glenrothes
23. Gretna
24. Highland
25. Inveraray
26. Islesteps
27. Kelso
28. Livingston
29. Lockerbie
30. Montrose
31. Newtongrange
32. North East
33. Oban
34. Peebles
35. Renfrew
36. Rothbury
37. Stirling
38. Turriff
39. Tynedale
40. Wick
41. Yarrow
CLUB DIRECTORY AS AT SEPT 1995
(Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Sept 1976 – present)
3. Annan A&F Club (joined Assoc in 1996 but started?
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
6. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
7. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
8. Banchory A&F Club (1978 – present)
9. Banff & District A&F Club (Oct 1973 – present)
10. Beith & District A&F Club (Sept 1972 – per first edition – present)
11. Belford A&F Club (joined Sept 1982)
12. Biggar A&F Club (Oct 1974 – present)
13. Blairgowrie A&F Club (
14. Brigmill A&F Club (Oct 1990) Closed
15. Bromley A&F Club
16. Button Key A&F Club (
17. Campbeltown A&F Club (
18. Carlisle A&F Club (joined Sept 1993 -
19. Castle Douglas A&F Club (c Sept 1980 – present)
20. Coalburn A&F Club (
21. Crieff A&F Club (cSept 1981)
22. Dalriada A&F Club (Feb 1981)
23. Derwentside A&F Club
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dundee & District A&F Club (1970? -
27. Dunfermline & District A&F Club (1974 – per first edition)
28. Dunoon & Cowal A&F Club (
29. East Kilbride A&F Club (Sept 1980)
30. Ellon A&F Club (
31. Etterick & Yarrow (Jan 1989 -
32. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
33. Forfar A&F Club (
34. Forres A&F Club (Jan 1978)
35. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
36. Galashiels A&F Club (joined Sept 1982 - present)
37. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
38. Glendale Accordion Club (Jan 1973)
39. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
40. Glenrothes A&F Club (Mar 93?
41. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
42. Highland A&F Club (Inverness) (Nov 1973 – present)
43. Inveraray A&F Club (Oct 1991 - present)
44. Islay A&F Club (23 Apr 93 -
45. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
46. Isle of Skye A&F Club (
47. Kelso A&F Club (May 1976 – present)
48. Kintore A&F Club (
49. Langholm A&F Club (Oct 1967 - present)
50. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
51. Lewis & Harris A&F Club (Aug 1994 -
52. Livingston A&F Club (Sept 1973 – present)
53. Lockerbie A&F Club (Nov 1973 - present)
54. M.A.F.I.A. (1966 – 1993?)
55. Mauchline A&F Club (first mention 1986? - present)
56. Montrose A&F Club (joined Sept 1982 - present)
57. Muirhead A&F Club (Dec 1994 -
58. Mull A&F Club
59. Newtongrange A&F Club (joined Sept 1977 - present)
60. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
61. North East A&F Club aka Keith A&FC (Sept 1971 - present)
62. Oban A&F Club (Nov 1975 - present)
63. Orkney A&F Club (Mar 1978 - present)
64. Peebles A&F Club (26 Nov 1981 - present)
65. Perth & District A&F Club (Aug 1970 - present)
66. Premier A&F Club NI (April 1980)
67. Renfrew A&F Club (
68. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
69. Shetland A&F Club (Sept 1978 - present)
70. Stirling A&F Club (Oct 1991 - )
71. Sutherland A&F Club (
72. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
73. Thurso A&F Club (Oct 1981 - present)
74. Tranent A&F Club
75. Turriff A&F Club (March 1982 - present)
76. Tynedale A&F Club (Nov 1980 - present)
77. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
78. Acharacle & District A&F Club (cMay 1988)
79. Bonchester Accordion Club (Closed?)
80. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
81. Buchan A&F Club
82. Callander A&F Club (
83. Campbeltown & District A&F Club (c Dec 1980)
84. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
85. Club Accord
86. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
87. Coupar Angus A&F Club (cSept 1978 - ?)
88. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
89. Denny & Dunipace A&F Club (Feb 1981)
90. Dornoch A&F Club (first mention in directory 1986)
91. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
92. Dunbar Cement Works A&F Club (Closed?)
93. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
94. Falkirk A&F Club (Sept 1978 - )
95. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
96. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
97. Kirriemuir A&F Club (cSept 1981)
98. Monklands A&F Club (Nov 1978 – closed cApril 1983)
99. Morecambe A&F Club (joined Sept 1982)
100. Newcastleton Accordion Club
101. New Cumnock A&F Club (cMarch 1979)
102. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
103. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
104. Straiton Accordion Club (c1968 – closed March 1979)
105. Stranraer & District Accordion Club (1974 – per first edition)
106. Torthorwald A&F Club (near Dumfries)
107. Walmer (Bridge of Allan) A&F Club
108. Wellbank A&F Club
Advertising rates
Full Page - £94
Half Page - £47
Quarter Page - £24
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian, EH22 2NL
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
Well, here we are at the last issue of the season. The next issue is due on 1st September, 1996, and I ask you all to keep sending in reports, pictures, etc. and stories of what you get up to during the holidays (with a musical flavour, of course!)
Although newsprint has risen sharply in cost during the past few moths, it is proposed that the cost of the paper will remain the same, although consideration will be given to have the advertisements raised fractionally.
Hope to meet all the Club scribes at the Annual Weekend Gathering to thank them personally for their reports which keep the paper going. So if you see me, please introduce yourself – it’s nice to put a face to a name.
Have a nice break.
Ron Ramsay
Musselburgh Festival 1996
by Neil Copeland
Saturday, 2nd March, 1996, was the date for the 22nd Annual Accordion and Fiddle Championships organized by the N.A.A.F.C. in the Brunton Halls, Musselburgh.
Advance notification from East Lothian District Council that, due to refurbishment works, both the Theatre and the Concourse Area would not be available caused a major rethink of the scheduling of competitions and halls. However, despite some early concerns, it was still possible to accommodate all competitions within the Brunton Halls complex. On arrival at the Halls on Saturday morning, it emerged that the so-called works had not yet commenced and that the ‘lost’ accommodation would have been available after all. All that was missing however, were the trade stands in the main foyer – in all other respects, Musselburgh Festival 1996 was just as in previous years. The problem of 1995 (no heating) certainly was not evident this year with the main complaint being that the complex was too hot! A minor hiccup over the Box Office opening times caused some concern early on but this was resolved by mid morning and ticket sales were then available.
Entries were slightly up from 1995 and competitors came from as far afield as the Isle of Lewis, Wick, Northern Ireland and Oxfordshire – surely proving the Musselburgh Festival is a national event in the musical calendar. However, a major disappointment was the continued lack of Band entries – so come on all you budding bandleaders, give us your support next time – it is, after all, for fun! This lack of competitors did not detract from a very entertaining competition and it appeared that the result, when announced, was welcomed by the majority of those spectators present.
The number of people attending the event during the day was slightly down on previous years and this was most evident in the Main Hall where there were still some empty seats during the afternoon competitions - a situation which would have been unthinkable some years ago. There was also a marked drop in the number of people attending both the Evening Concert and Grand Dance and the Festival Committee will be discussing the possible reasons for this at its next meeting. The standard of playing throughout the day, however, certainly could not be described as down, and all of the adjudicators commented on the tremendously high standard of playing from all competitors.
The introduction of the new Open Fiddle Competition Solo Class proved to be a major success and the evening play-off by three finalists was, for me (an accordionist), the highlight of the concert. Also featured in the concert this year was the play-off for the Senior Accordion (Traditional) Championship and Jim Johnstone certainly had a most unenviable task to deal with during an exceptionally high standard final.
Ken Mutch and the B.B.C. Team were once again present to record the evening concert and interview some of the day’s ‘celebrities’ and their presence and continued support of the Festival was gratefully welcomed by the Committee. Ken also invited the new Open Fiddle champion – Laura McGhee from Monifeith – to take part in a Take the Floor outside broadcast from Stirling with Duncan Black’s Band and Anne Lorne Gillies – surely a great opportunity for a very talented young musician.
Following the highly entertaining concert, compered this year for the first time by Jennifer Forrest and which was rounded off with Ian Thomson’s SDB, Ian and his band of merry men (and woman!) took centre stage for the ‘Grand Dance’ – and that is exactly what it was. A great sound and with the floor full for every dance, it looked as though the Committee had yet again ‘got it right’ in their choice of band. This year the dance lasted until 12.45 a.m. at the suggestion of members of the public in 1995 and any comments on this venture would be most welcome.
In concluding, I would like to thank all of the Festival Committee, the many helpers, adjudicators, teachers, parents, Festival supporters and most importantly, the competitors for their support in thus again proving that Musselburgh Festival is the ‘friendly Festival’. Without them there would be no Festival. It was nice to arrive home shattered but satisfied that yet again, a successful and enjoyable day had been had by all who attended.
Junior Accordion
Under 12 Traditional Accordion Solo – Pentland Cup
1) Liam Stewart (Galston)
2) Brian MacDonald (Ayr)
3) Ritchie Criag (Haddington)
12 and Under 16 Traditional Solo – Jim Johnstone Cup
1) Gordon Fraser (Munlochy)
2) Jill Blackburn (Galashiels)
3) Fraser Burke (Dundee)
Junior Accordion Solo Pipe Music – Bill Black Cup
1) Gordon Fraser (Munlochy)
2) Stewart Walker (Inverness)
3) Fraser Burke (Dundee)
Junior Traditional Duet
1)
2)
3)
Senior Accordion
Senior Traditional Accordion Solo – Clinkscale Cup
1) Ian Skinner (Blackburn, West Lothian)
2) John Burns (Cumbernauld)
3) Wendy Godfrey (Perth)
Senior Accordion Pipe Music Solo – Bill Powrie Memorial Cup
1) Andrew Gordon (Bonhill)
2) Gordon Middler (Aberdeen)
3) Mhairi Coutts (Kirkcaldy)
Senior Overall Accordion Champion - The Bobby MacLeod Trophy
Andrew Gordon (Bonhill)
Open Buttonkey Accordion Solo – Windygates Trophy
1) Alexander Lindsay (Amulree)
2) Duncan McKinnon (Glasgow)
3) John Weaks (Glasgow)
Trios – Jimmy Blue Trophy
1) The Balgray Trio (Dundee)
2) Wendy Godfrey (Perth)
Bands – Overall Winner - Iain MacPhail Cup
Camperdown Ceilidh Band (Dundee)
Band – Rhythm Section - Arthur Easson Memorial Trophy
Camperdown Ceilidh Band, Dundee
Own Composition – Willie Wilson Cup
1) Alex Morrison (Forres)
2) Maureen Rutherford (Dundee)
3) John Burns (Cumbernauld)
Under 12 Classical Solo – Kelso Cup
1) Elizabeth Stirrat (Paisley)
2) Gordon McRae (Didcot)
3) Brian MacDonald (Ayr)
Under 14 Classical Solo – Aberdeen Cup
1) Julie Hamilton (Carstairs)
2) Gordon Shaw (Airdrie)
3)
Under 16 Classical Solo – Dundee shield
1) Jill Blackburn (Galashiels)
2) Jill Craig (Haddington)
3) David Nisbet (Earlston)
Open Classical Solo – Clinkscale Shield
1) Glenda Taylor (Beith)
2) Brian Aitchison (Galashiels)
3) Esma Mitchell (Edinburgh)
Under 13 Classical Duet – Beith & District A&F Club Cups (Willie Wilson Memorial Trophies)
1) Craig MacDonald (Ayr) & Brian MacDonald (Ayr)
2)
Under 16 Classical Duet - Alex MacArthur Cups
1) David Nisbet (Earlston) & Jill Blackburn (Galashiels)
2) Gordon Shaw (Airdrie) & William Paterson (Coatbridge)
3) Alistair Dunnet (Tranent) & Julie Hamilton (Carstairs)
Open Classical Duet – Dunfermline Cup
1) Sarah Armstrong (Northumberland) & Katie Donald (Lauder)
2) Brian Aitchison (Galashiels) & Paul Chamberlain (Lauder)
3)
Classical Polka
Under 10 Classical Polka Solo – The Todhills Trophy
1) Brian MacDonald (Ayr)
2) Elizabeth Stirrat (Paisley)
Under 14 Classical Polka Solo – Newtongrange Shield
1) Gordon Shaw (Airdrie)
2) Fraser Burke (Dundee)
3) Alistair Dunnet (Tranent)
Open Classical Polka Solo – Tign-Na-Gorm Cup
1) David Nisbet (Earlston)
2) Jill Blackburn (Galalshiels)
3) Brian Aitchison (Galashiels)
Fiddle Sections
Junior Fiddle Solo – MSR – Association Cup
1) Patsy Reid (Knapp)
2) Jane McLeod (Dundee)
3) Stephenie Brough (Dundee)
Junior Fiddle Solo – Slow Air – Dougie Welsh Cup
1) Stephenie Brough (Dundee)
2) Patsy Reid (Knapp)
3) Jane McLeod (Dundee)
Senior Fiddle Solo – Slow Strathspey, MSR – St. Boswell Cup
1) Susan McIntosh (Aberdeen)
2) Laura McGhee (Monifeith)
3) Sarah Fraser (Crieff)
Senior Fiddle Solo – Slow Air – Ron Gonella Cup
1) Laura McGhee (Monifeith)
2) Susan McIntosh (Aberdeen)
3=) Sarah Fraser (Crieff)
3=) Dick Rutter (Edinburgh)
Open Fiddle Championship – Banchory S&R Society Trophy
1) Laura McGhee (Monifeith)
2=) Susan McIntosh (Aberdeen)
2=) Stephenie Brough (Dundee)
Senior Fiddle Overall Champion - The Angus Fitchet Trophy
Susan McIntosh (Aberdeen)
Open Fiddle Groups – Lesmahagow Quaich
Tayside Youth Strathspey and Reel Group
Youngest Girl Competitor – John McQueen Medal
Elizabeth Stirrat (Paisley)
Youngest Boy Competitor – John McQueen Medal
Brian MacDonald (Ayr)
James Hill – The Hornpipe King
by Kevin McCann
Whenever a group of traditional musicians get together for a session and play hornpipes it is a rare occasion indeed that one or more of James Hill’s compositions are not played. A few of the tunes which come to mind would be ‘The High Level Bridge’, ‘The Low Level Bridge’, ‘The Beeswing’, ‘The Hawk’, ‘The Steamboat’ hornpipes and many others, all of the highest quality. I believe that a history of this talented fiddler and composer will be of interest to all players of and listeners to traditional music.
Before I begin the story of this intriguing character some information regarding the hornpipe is in order. The hornpipe was a primitive double reed instrument dating from around the 13th century. The dance and its related music came to have its maritime associations around the middle of the 18th century. As many ships companies carried a resident fiddler, music was readily available for dancing, thus providing a much needed form of daily exercise. Much of the even-rhythmical passage work coincided with the style of the reel, but the dotted rhymic characteristic of so many hornpipes were a later mid-19th century innovation and became extremely popular in Ireland. There is a marked differentiation in tempo between even and uneven rhythm hornpipes. The former, usually played in Scotland are generally played at 6-104-112 whereas the latter played mainly in Ireland tend to be more relaxed 6-69-76. When perusing any collection of Irish traditional music one is immediately struck by the extremely high quality of the hundreds of hornpipes therein e.g. in O’Neill’s or Cole’s Collections.
One wonders who the composers were who produced such marvelous tunes. Were they pipers, harpers or fiddlers? Whoever they were they were music men of unusual ability for there is an exquisite melodic quality in many hornpipes that can equal many airs. Who could beat, or even equal such great tunes as ‘The Belfast’, ‘The Derry’, ‘Chief O’Neill’s Favourite’, ‘Dwyers’, and many others far too numerous to mention here. For every composer of hornpipes known to us there are scores of great hornpipe composers totally and forever unknown to us whose melodies will be with us as long as a hornpipe is played or danced.
Composers of fine hornpipes known to us are Ed Reavy, Sean Ryan, James Scott Skinner, Paddy Kelly, Paddy Fahey and last but not least James Hill of Newcastle, Northumbria, about whom a fair amount is known and many of whose compositions have lasted to this day and can still hold their own with the best of them.
JAMES HILL
James Hill was one of the foremost fiddlers on Tyneside during the mid 19th century. He is also celebrated as a composer of numerous tunes, most hornpipes, of which I give more details later on. By looking through the list of tunes it can be seen that many are named after people, famous or lowly, local places, public houses, racehorses and contemporary events in the Newcastle area. James Hill was born in Dundee about 1814 and with his family moved to Newcastle ten years later. When living on Tyneside his main activities were between the late 1830’s and the late 1850’s. He died in Newcastle at a premature age in 1860. While hard facts concerning Hill are few and far between, a brief examination of the Victorian period between 1840 and 1850, particularly on Tyneside, can help to put the man and his music into perspective. Hill’s time on Tyneside between the 1830’s and 1860’s coincided with a period of particularly rapid industrialization and urban expansion. It was the age of iron, coal and steampower. Britain no longer remained an agriculturally based economy and the overall population growth took place against a background of migration from rural to urban areas. A large proportion of the urban, industrial population was, therefore, subject to poor housing, harsh working conditions and dreadful public health risks.
The only ‘luxury’ that many of the population had access to was a drink. This resulted in a great number of, and variety of, ‘gin palaces’ and beer parlours. Music was an integral part of many drinking establishments and the fiddle held pride of place, and music and dancing occurred everywhere a drink was drunk or a tune was played. Thousands of Irish driven from their homes by famine and disease migrated to Newcastle to work in the many factories in the region. The poorest area in Newcastle at that time was the Sandgate and in it grew a large Irish community. This community was the subject of anti-Irish Riots in 1851. It was within this decaying area occupied by the poorest part of the community that musicians like James Hill lived and worked.
PROFESSIONAL FIDDLERS
Of particular significance was the emergence during the 1840’s of public house fiddlers on a professional basis. It has been remarked that good fiddlers at that time took public houses as footballers and other celebrities have done more recently.
Professional fiddlers were rarely public house owners and were merely employed as a means of attracting customers to a particular public house. A reporter of the Newcastle scene at the time – a Richard Thornton – gives an account of the public house fiddlers and their popularity when he describes a visit with his father to a musical pub. “Our first call, I remember was to hear Jimmy Hill who was located on the Bottle Bank, Gateshead. Jimmy wrote several very fine hornpipes, ‘The Hawk’, ‘The High Level Bridge’, ‘The Low Level Bridge’, ‘Beeswing’, and many more and he was the daddy of them all at hornpipe playing. He did not live long poor fellow and was very fond of gin”. The fiddle was also popular with a number of other entertainersincluding Blind Billy Purvis (1784 – 1853), a travelling showman who played both union pipes and fiddle. Another showman of great versatility was Ned Corvan (1829 – 1860) whose act would include his own songs, monologues and violin solos.
In the case of public house fiddlers one would expect a fairly ‘robust’ style with strong bowing technique giving as much emphasis to volume as to the melodic nature of the music. In his time Hill was by far the best of the Newcastle fiddlers and was known near and far as the ‘Paganini’ of hornpipe players. As to Hill’s playing style and technique we must rely on Robert Stokes, a local reporter and music enthusiast ; “Hill had a powerful tone and capital bow-arm and his performance of such melodies as ‘Auld Robin Gray’ and ‘Roslin Castle’ was marked by a delicacy and expression which would not have disgraced a violinist of the first rank, whilst as a player of dance music he was unapproachable for power, vivacity and correct intonation”. It was also said that he could play “with untiring energy for hours altogether”. His composition exhibit a degree of complexity which must also reflect his skill as a player. A favourite key for many of his tunes was B flat, which accordion to J. Scott Skinner has a ‘velvety, very rich and fine effect”. Whilst the majority of the tunes are hornpipes, there are also jigs, a waltz, a polka and strathspeys which would suggest that he composed other types of tune which reflected the popular tastes of the audiences during that era. James Hill composed tunes to commemorate people, race horses and events and I will list some of the more interesting ones e.g.
1) Greyhound racing / Hare Coursing – ‘The Spotted Bitch’
2) Friends / Patrons
‘Spence’s Tent’ – a beer tent at the local racetrack owned by Mr Spence
‘The Marquis of Waterford’ – a racehorse owner and patron of horse racing.
‘The Hunter’ – for a hunting friend.
‘Little Jim’ – a son.
3) Industrialists
‘Atwood Hornpipe’ – honouring Charles Atwood, a Staffordshire industrialist and racehorse breeder and racer.
4) Tunes he liked to play
‘Auld Robin Gray’ – air
‘Roslin Castle’ – air
‘Fogaballa’ (Fag un Bealach) jig for his Irish friends.
5) Pubs and Publicans
‘Free Trade’ – politics and a pub so names.
‘The Hawk’ – one of Hill’s favourite pubs.
‘The Steamboat’ – a pub.
6) Places
‘The South Shore’ – (of the Tyne) called ‘The Scholar’ in Ireland.
‘The Newcastle Hornpipe’ – played by many fiddlers after the ‘High Level Bridge’.
‘The Stony Steps’ – the steps to the ferry which crossed the Tyne River.
7) Celebrities
‘Jennie’s Hornpipe’ – for Jenny Lind, the famous Swedish singer.
‘Earl Grey’ – strathspey for Earl Grey, British Prime Minister and hero of the Reform Bills.
8) Politics – ‘The Rights of Man’.
9) The Railway
‘The Navvy on the Line’ Hornpipe
‘The Locomotive’
‘The High Level Bridge’ – the railway bridge over the Tyne.
10) Racehorses
‘Underhand’ – won Northumberland Plate 1857.
‘Beeswing’ – a famous racehorse in England. Won all over in 1830’s and 1840’s and won 51 races including 25 Gold Cups. Two new variations to this hornpipe have been added by fiddler, Sean McGuire.
‘The Flying Dutchman’ – was almost as famous as Beeswing and sired one of Beeswings foals.
11) Sports / Rowing
‘The Champion’ hornpipe – for Harry Clasper who won numerous rowing races.
Readers would be curious about the status of traditional music in general in Northumbria and Newcastle in particular today and it is pleasant to say that the music is going strong there and needless to say the hornpipe is the favourite tune played there. The best known group are ‘The High Level Ranters’, a group of four who meet weekly at the Bridge Hotel in Newcastle and play traditional music and sing songs in great style and have produced four finely arranged L.P.s
ALASDAIR ANDERSON
The best known member of the group is Alasdair Anderson who plays English concertina and Northumbrian pipes, Colin Ross, who plays fiddle and pipes, Johnny Handle, accordion, piano, 4 string guitar and Tom Gilfellow, guitar and cittern. The four have a huge repertoire of tunes from Ireland, Scotland and North-East England and are, in my opinion, the best all-English group there is. Another musician from the area, better known to Irish enthusiasts is Kathryn Tickell, a star Northumbrian piper and fiddler who played in Dublin at a Pipers’ Convention some years ago. To end this articles on James Hill, I will quote a few lines from a poem written about him by a contemporary poet, Lewis Proudfoot
Time canna kill oo’r Jamie Hill
His lilting tune south shore
Still gars my feet, age cramper fast beat
Gude time upon the floor
An’ when I hear his hornpipe clear
His Bottle Band and Cage
His Barber’s Pole, these warm my soul
An’ gi’es new strength to age.
A Tribute to the Late John Mackie
by ?
Readers will be saddened to learn on Friday, 23rd February, of John Mackie of Meggatknowes, Yarrow, Selkirkshire.
John, who was 78 years young, was a doyen of the Accordion and Fiddle scene in Scotland and in recent years, had been particularly active as Secretary of the Yarrow A&F Club of which he was one of the founders. The Club was established mainly due to his enthusiasm in January, 1989, when the very first guest artiste was Bill Black and his Band, an association that has continued since the same Bill Black was the guest at the Club last month.
John would never have made claim to being a great accordionist himself, but his influence in encouraging the developing talents of others, particularly younger players, was immeasurable. Young players such as Lynne Bradshaw, Ian Lowthian and David Nisbet pay testimony to that.
After an active working life, John who had been a widower, retired to live in Yarrow with his second wife Margaret. He had long before this time made his mark on the Scottish music scene. A fair player himself, but hampered by a series of strokes which impaired the movement in his left hand, he was a personal friend of the Norwegian classical virtuoso Toralf Tollefson and was invited to write the obituary of the great man when he died last August.
John’s taste in music was not confined to traditional Scottish Country Dance music, but embraced classical, Continental and South American styles, as well as Gershwin, Oscar and Hammerstein and the like.
He will be sadly missed compering the Yarrow Club at the Gordon Arms, where he always had a joke to tell the audience, sometimes told with an Aberdonian accent no doubt picked up from his many conversations with Robbie Shepherd. John will also be sorely missed for his charitable work, whether it be in organizing charity concerts the Yarrow club frequently undertook, or busking in the streets of Selkirk in organized charity fund-raising events.
“The auld bugger is irreplaceable” said Harry Mitchell of the Gordon Arms, at which, one can hear John’s comment, “Ah don’t mind the bugger, but less ae the Auld.” Harry further stated that, “The Club would not have survived in the beginning, without john’s enthusiasm. He knew so many people who were prepared to travel vast distances to appear at the Club and it was always very evident, he was held in high esteem by those people.”
As a tribute to John, the Yarrow Club will henceforth be known as the Yarrow (John Mackie Memorial) A&F Club and a special trophy bearing his name will be annually contested for at the Perth Festival.
A native of West Lothian, John had lived in the same Water Board house, at Crosswood Reservoir on the Lang Whang for over 50 years, having succeeded his father as Reservoir Superintendent. He was well known in the scattered but close-knit community that lives in and around the Whang, a place of hill farms, conifer plantations, winter snows and the call of the curlew.
At the outbreak of the Second World War John served in the Royal Artillery before volunteering for the Commandos. He took part in the notorious Dieppe Raid where he was badly wounded, and thereafter spent the rest of the war as a Commando Instructor, during which time he put the famous war heroine Odette Churchill through her paces. Incidentally, he never went back to France, always saying when asked, that he didn’t like the reception he had received when he had been there.
John was a man of wide interests. A friend of the late Hugh MacDiarmid, John shared the poet’s socialist philosophy and was consistently riled by what he saw as capitalism’s excesses, particularly in recent years. His countless published letters in ‘The Scotsman’ and locally in ‘The Southern Reporter’ confirmed his status as an intellectual. He had an uncanny knack in conversation of making contentious remarks without causing offence and then often sat quietly in the background as others continued the debate he had stimulated. A great aficionado of Robert Burns, John traveled twice to Russia, helping to reinforce the links between the nations forged through Scotland’s national poet.
John Mackie was an extraordinary ordinary man. Unassuming and non-judgmental. He was simply a man most people intuitively liked. He will be sadly missed by his many friends.
News of John’s death was announced on Robbie Shepherd’s Sunday morning BBC Scotland Radio show. There was a large gathering for his funeral service in the main chapel at Mortonhall Crematorium on Wednesday, 28th February, 1996, when, at John’s own request, a tape of Tollefsen’s arrangement of ‘The Carnival of Venice’ was played.
John Mackie is survived by his wife, Margaret, and four step children.
Willie Cassie - Obituary
by Frank Farquharson (Chairman, Fintry A&F Club)
It is with great regret that I have to inform you of the passing of Willie Cassie from Kippen at the age of 79.
Born in Aberdeenshire, his love of anything or anybody connected with that part of Scotland was of great interest to Willie. His passion and knowledge of the music of the North East was an education with the emphasis being on fiddle music.
Having been raised in the country of farming stock his love of animals and all things associated with agriculture were his main interests throughout his life. Willie left Morayshire for Boquhan Farm, Kippen in 1963 with his family to take up the position of Dairyman at what was at that time a model farm away ahead of all others.
When he left that employment he had a change of occupation becoming an employee of the County Council Roads Department where he remained until his retiral in December, 1981.
To prevent time dragging, Willie, to further his love of our music, took up the fiddle and every spare minute was spent practicing. He soon became competent enough to take the stage at the Clubs and any Club within a 50 mile radius was near enough for Willie. He went on to become a Committee member of the Dunblane Club, but it is as a stalwart of the Fintry Club that he will be best remembered. He was happiest ‘among his ain folk’. The above photo shows Willie with the trophy for the most improved player at the MAFIA Club in 1985.
When ill health overtook him and he was unable to drive, it slightly curtailed his travels, but his interest did not wane as surrounded by his radio and tapes he knew what was happening in the music circles.
His passing leaves a vacant chair both in family and music circles and our thoughts go out to his family at this time. They have lost a ‘Boss’ and I personally have lost an irreplaceable friend and pal. We are all the better of having known Willie.
Musical Feast at Blackpool
The hugely successful Festival was held at Pontins Holiday Centre between 14th and 17th March, 1996……………………
The Sound of Music
by Dr Kevin McCann
It’s only 80 years since musicians stood around a big horn to cut the first recordings of fiddle music. Here we are in the 90’s ; digital technology has given us D.A.T. and hard disc recorders and of course ……CD format.
CD is not simply a great commercial format to release music on. New CD recorders present archivists with a convenient and practical format, offering random access at the touch of a remote.
The practices of ‘acoustics’ is as old as the practice of Lutherie (instrument making). Throughout history the science of acoustics has been studies by students of architecture, physics, philosophy and music. From the time of the ancient Greeks, this science has been used to amplify sound and to create natural reverb in performance theatres.
Since the advent of electricity (the same invention that brought us digital technology) this practice has been lost to architects and interior designers. Sure, they are still building great theatres, churches, studios and other performance spaces but the ‘traditional’ environment of the acoustic musician is often overlooked. Many acoustic musicians are unaware of the fact that their surroundings directly affect the performance of their equipment and consequently their own performance.
Carpet is one of the worst acoustical offenders. It can suck the life right out of the fiddle, the player, and the listener too! If you play the fiddle at home, and you find that you get disgusted and frustrated, and your wife and kids are cringing every time you take the fiddle out of its case, then chances are it’s not just your playing, but it’s also the room. Acoustics that cause the fiddle to sound shrill, cutting and lifeless.
A poor room can quickly steal away the sonority and soul the fiddle maker spent so much time developing. You have to really struggle to play the fiddle! Combine that with a roomful of noisy people and you have a battle!
Carpet, foam, suspended ceilings, fibreboard, foam furniture……this stuff is all used extensively in modern homes and buildings. Such materials cause sound to be absorbed and reflected unevenly. The result is a sound from the fiddle that is lacking in low and mid frequencies with louder high frequencies that are rough, shrill and cutting. This type of fiddle tune can trash the human ear in a very short time and extended playing can result in severe ear fatigue. At this point nothing sounds good!
If you want to hear the pure tone from your fiddle, take it outside and play it. Air absorbs component frequencies and harmonies move evenly through it than any other material.
Although you will hear a dry sound with zero reverb time, playing the fiddle outdoors can reveal hidden secrets in its tone that perhaps you haven’t heard before.
We can look to tradition for solutions to these acoustical problems. A walk through any of the classic old homes in Scotland can reveal practical and suitable acoustic designs. It’s also important to consider what is a practical space for the performance of music. A church may have a lovely sound for choirs and orchestras, but for fiddle music something a lot more intimate is required. In smaller rooms with hard plasters in combination with a generous coverage of wood creates a lively space for a fiddle. Plain wooden furniture is a better choice for playing music. A hardwood floor is nice and bright but a softwood floor is just as suitable. Personally I’ve found that a cement floor or flagged floor found in so many kitchens in farmhouses in Scotland and Ireland is best of all.
I still remember with affection and enjoyment the fiddle music heard in the kitchen of John Junner of Aberdeen played by the late Bill Hardie and Sean McGuire, the grand sound of a dozen fiddles played in the upper storey of an old distillery with a wooden floor at New Meldrum, near Banchory, and dozens of fiddle sessions in kitchens in Ireland where the cement floor provided dancing room for the dancers and the fiddler sitting in a corner knocking music out of his fiddle to beat the band. It’s hard to beat a good kitchen for good sound.
CLUB DIARY
Aberdeen (Dee Motel) – 30th Apr 96 – James Coutts SDB 28th May 96 – AGM & Players Night
Alnwick (Golden Fleece) – members only
Annan (St Andrew’s Social Club) - 21st Apr 96 – Nicol McLaren SDB 19th May 96 – Bon Accords
Arbroath (Viewfield Hotel) - 7th Apr 96 – Tayside Youth Players 5th May 96 – Dennis Morrison SDB
Armadale (Masonic Hall) – 4th Apr 96 – Sandy Leggat SDB 2nd May 96 – Black Rose Ceilidh Band
Ayr (Gartferry Hotel) – 7th Apr 96 – Fraser McGlynn Duo 5th May 96 – Peter Wood SDB
Balloch (St. Kessog’s Hall) –
Banchory (Burnett Arms Hotel) –
Banff & District (Banff Springs Hotel) – 24th Apr 96 – Strathmore Sound 22nd May 96 – Nicol McLaren SDB
Beith & District (Hotel de Croft, Dalry) – 15th Apr 96 – Fiona Cuthbertson
Belford (Community Club) – 25th Apr 96 – David Cunningham Jnr
Biggar (Municipal Hall) – 14th Apr 96 – Ian Powrie
Blairgowrie (Moorfield Hotel) - 9th Apr 96 – Lynne Christie SDB 14th May 96 – Paul Anderson
Bromley (Trinity United Reform Church) - 16th Apr 96 – John Stevens Trio 14th May 96 Club Night
Button Key (Windygates Institute) – 11th Apr 96 – Hebbie Gray
Campsie (Glazert House Hotel) - 2nd Apr 96 – Ian Muir Trio 7th May 96 – Iain MacPhail SDB
Carlisle (Border Regiment Club, Carlisle Castle) - 4th Apr 96 – John Morgan
Castle Douglas (Urr Valley Hotel) – 16th Apr 96 – George Stirrat SDB
Coalburn (Miners’ Welfare) - 18th Apr 96 – David Ross Duo 16th May 96 – Charlie Kirkpatrick Trio
Crieff & District (Arduthie Hotel) 4th Apr 96 – Billy Anderson and Albany
Dalriada (Argyll Arms Hotel, Lochgilphead) 16th Apr 96 – Gordon Pattullo 21st May 96 – Neil Sinclair Band
Dingwall (National Hotel) – 3rd Apr 96 – Alister McCulloch (fiddle) 1st May 96 – Alex & Archie McAllister
Dunblane (Westlands Hotel) – 16th Apr 96 – Craig McCallum SDB 21st May 96 Max Houliston
Dundee (Dexters) –
Dunfermline (Headwell Bowling Club) – 9th Apr 96 – Brian Griffin
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (Sweepers, Cambuslang) – 25th Apr 96 – Club night
Ellon (Ladbroke Hotel) – 10th Apr 96 – Dermot O’Brien 21st May 96 – Colin Dewar SDB
Fintry (Fintry Sports Centre) – 22nd Apr 96 – Black Rose Ceilidh Band 27th May 96 – Gordon Pattullo
Forfar (Plough Inn) - 28th Apr 96 – Gordon Shand SDB 26th May 96 – Glencraig SDB
Forres (Brig Motel) – 10th Apr 96 – John Renton SDB 8th May 96 – Black Rose Ceilidh Band
Fort William (Alexandra Hotel) –
Galashiels (Abbotsford Arms Hotel) – 4th Apr 96 – Ian Holmes
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel – Wooler) –
Glenfarg (Lomond Hotel) -
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 30th Apr 96 – Bill Stewart Band 28th May 96 - tba
Gretna (Halcrow Stadium) - 17th Apr 96 – Colin Dewar Trio 15th May 96 Deirdre Adamson
Highland (Drumossie Hotel) – 15th Apr 96 – Ian Muir Sound 20th May 96 – Craig McCallum SDB
Inveraray (Loch Fyne Hotel) - 2nd Apr 96 – Iain Cathcart SDB
Islay (White Hart Hotel) -
Isle of Skye -
Islesteps (Waterhole, Lochfoot) – 2nd Apr 96 – Bert Shorthouse Trio
Kelso (Ednam House Hotel) – 9th Apr 96 – Donal Ring Ceili Band 24th Apr 96 Bruce Lindsay Trio 29th May 96 – Black Rose Ceilidh Band
Kinlochshiel (Islander Function Room) -
Kintore (Torryburn Hotel) – 3rd Apr 96 – Dick Black Band 1st Apr 96 – Brian Morrison Band
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 11th Apr 96 – Jim Johnstone SDB 9th May 96 – Fiona Cuthbertson SDB
Livingston (Deans Community Centre) 16th Apr 96 – Deirdre Adamson 21st May 96 – West Telferton Caledonian SDB
Lockerbie (Queen’s Hotel) - 30th Apr 96 – John Fairbairn Trio
Mauchline (Sorn Village Hall)
Montrose (Park Hotel) – 3rd Apr 96 – Steven Carcary Duo 1st May 96 – John Duncan
Muirhead (Belmont Arms, Meigle) -
Newtongrange (Dean Tavern) – 14th Apr 96 – Annual Competitions
North East (Royal British Legion, Keith) – 2nd Apr 96 – Dochie McCallum & Friends 7th May 96 – James Coutts SDB
Oban (McTavish’s Kitchen) – 4th Apr 96 – Alistair Hunter Trio
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 25th Apr 96 – Willie McFarlane Band
Perth (Salutation Hotel) – 16th Apr 96 – Sandy Leggat SDB 21st May 96 – Ian Holmes SDB
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 9th Apr 96 – Andrew Gordon SDB
Rothbury (Queen’s Head) - 4th Apr 96 – Elizabeth Flanagan
Shetland (venue?) -
Stirling (Terraces Hotel) - 14th Apr 96 – Graeme Mitchell SDB 12th May 96 tba
Thornhill (Dumfries-shire) -
Thurso (Pentland Hotel) – 1st Apr 96 – Maurice Duncan Trio 6th May 96 tba
Turriff (Royal Oak Hotel) – 4th Apr 96 – Alister Salter & Ian Thow
Tynedale (Hexham Ex Service Club) –
Wick (McKay’s Hotel) – 16th Apr 96 – Hebbie Gray 21st May 96 – Black Rose Ceilidh Band
Yarrow (Gordon Arms) - 17th Apr 96 – Gordon Pattullo 15th May 96 – Fraser McGlynn Duo
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Arbroath
3. Armadale
4. Banchory
5. Banff
6. Beith
7. Belford
8. Biggar
9. Button Key
10. Campsie
11. Carlisle
12. Castle Douglas
13. Coalburn
14. Dingwall
15. Dunfermline
16. Dunoon & Cowal
17. East Kilbride
18. Fintry
19. Forfar
20. Forres
21. Glendale
22. Glenrothes
23. Gretna
24. Highland
25. Inveraray
26. Islesteps
27. Kelso
28. Livingston
29. Lockerbie
30. Montrose
31. Newtongrange
32. North East
33. Oban
34. Peebles
35. Renfrew
36. Rothbury
37. Stirling
38. Turriff
39. Tynedale
40. Wick
41. Yarrow
CLUB DIRECTORY AS AT SEPT 1995
(Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Sept 1976 – present)
3. Annan A&F Club (joined Assoc in 1996 but started?
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
6. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
7. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
8. Banchory A&F Club (1978 – present)
9. Banff & District A&F Club (Oct 1973 – present)
10. Beith & District A&F Club (Sept 1972 – per first edition – present)
11. Belford A&F Club (joined Sept 1982)
12. Biggar A&F Club (Oct 1974 – present)
13. Blairgowrie A&F Club (
14. Brigmill A&F Club (Oct 1990) Closed
15. Bromley A&F Club
16. Button Key A&F Club (
17. Campbeltown A&F Club (
18. Carlisle A&F Club (joined Sept 1993 -
19. Castle Douglas A&F Club (c Sept 1980 – present)
20. Coalburn A&F Club (
21. Crieff A&F Club (cSept 1981)
22. Dalriada A&F Club (Feb 1981)
23. Derwentside A&F Club
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dundee & District A&F Club (1970? -
27. Dunfermline & District A&F Club (1974 – per first edition)
28. Dunoon & Cowal A&F Club (
29. East Kilbride A&F Club (Sept 1980)
30. Ellon A&F Club (
31. Etterick & Yarrow (Jan 1989 -
32. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
33. Forfar A&F Club (
34. Forres A&F Club (Jan 1978)
35. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
36. Galashiels A&F Club (joined Sept 1982 - present)
37. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
38. Glendale Accordion Club (Jan 1973)
39. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
40. Glenrothes A&F Club (Mar 93?
41. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
42. Highland A&F Club (Inverness) (Nov 1973 – present)
43. Inveraray A&F Club (Oct 1991 - present)
44. Islay A&F Club (23 Apr 93 -
45. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
46. Isle of Skye A&F Club (
47. Kelso A&F Club (May 1976 – present)
48. Kintore A&F Club (
49. Langholm A&F Club (Oct 1967 - present)
50. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
51. Lewis & Harris A&F Club (Aug 1994 -
52. Livingston A&F Club (Sept 1973 – present)
53. Lockerbie A&F Club (Nov 1973 - present)
54. M.A.F.I.A. (1966 – 1993?)
55. Mauchline A&F Club (first mention 1986? - present)
56. Montrose A&F Club (joined Sept 1982 - present)
57. Muirhead A&F Club (Dec 1994 -
58. Mull A&F Club
59. Newtongrange A&F Club (joined Sept 1977 - present)
60. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
61. North East A&F Club aka Keith A&FC (Sept 1971 - present)
62. Oban A&F Club (Nov 1975 - present)
63. Orkney A&F Club (Mar 1978 - present)
64. Peebles A&F Club (26 Nov 1981 - present)
65. Perth & District A&F Club (Aug 1970 - present)
66. Premier A&F Club NI (April 1980)
67. Renfrew A&F Club (
68. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
69. Shetland A&F Club (Sept 1978 - present)
70. Stirling A&F Club (Oct 1991 - )
71. Sutherland A&F Club (
72. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
73. Thurso A&F Club (Oct 1981 - present)
74. Tranent A&F Club
75. Turriff A&F Club (March 1982 - present)
76. Tynedale A&F Club (Nov 1980 - present)
77. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
78. Acharacle & District A&F Club (cMay 1988)
79. Bonchester Accordion Club (Closed?)
80. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
81. Buchan A&F Club
82. Callander A&F Club (
83. Campbeltown & District A&F Club (c Dec 1980)
84. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
85. Club Accord
86. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
87. Coupar Angus A&F Club (cSept 1978 - ?)
88. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
89. Denny & Dunipace A&F Club (Feb 1981)
90. Dornoch A&F Club (first mention in directory 1986)
91. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
92. Dunbar Cement Works A&F Club (Closed?)
93. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
94. Falkirk A&F Club (Sept 1978 - )
95. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
96. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
97. Kirriemuir A&F Club (cSept 1981)
98. Monklands A&F Club (Nov 1978 – closed cApril 1983)
99. Morecambe A&F Club (joined Sept 1982)
100. Newcastleton Accordion Club
101. New Cumnock A&F Club (cMarch 1979)
102. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
103. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
104. Straiton Accordion Club (c1968 – closed March 1979)
105. Stranraer & District Accordion Club (1974 – per first edition)
106. Torthorwald A&F Club (near Dumfries)
107. Walmer (Bridge of Allan) A&F Club
108. Wellbank A&F Club
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