Box and Fiddle
Year 22 No 04
December 1998 / January 1999
Price £1
32 Page Magazine
7 month subscription £10.00
Editor – Charlie Todd, 63 Station Road, Thankerton, Biggar, ML12 6NZ
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
After ten years dedicated service as Box and Fiddle Treasurer, Margaret Smith has decided to call it a day. Over that period individual subscriptions have increased from 28 to 375 and with neither Margaret herself, nor husband George, currently enjoying the best of health she has decided to hang up her Account Book. No doubt we will see some proper recognition of her services at our Gathering on 27th June. The reins are being taken up by our new Treasurer, Alan Gardiner, who can be contacted at Cocklaw Farm, Elsrickle, Biggar, ML12 6RD. Telephone number 01899 220473. Please keep enquiries to a minimum at the moment while he and Emma get their new home sorted out. Clubs may still wish to send cheques to me along with Club Reports etc, to save on postage and I’ll pass them on. Could everyone please note that all cheques should be made payable to NAAFC Box and Fiddle since we seem to get a variety of permutations (including Box and Fiddle NMFC and vice versa) which our new bankers may not be too accommodating about.
On the mention of ‘Gathering’ above you will see that I have dropped the ‘Weekend’ part. Unfortunately due to the poor uptake on the residential part of the Weekend and poor attendance at the Saturday evening dance, it has been decided to restrict our 1999 Gathering to a one day event incorporating the AGM, Presentation Luncheon (with Guest of Honour Bill Black) and Celebrity Accordion and fiddle Club. The venue has changed to the Invercarse Hotel, Perth Road, Dundee and it will be held on Sunday, 27th June, 1999 – a date for your diary.
Charlie Todd
11th Shetland Accordion & Fiddle Festival
15th – 19th October ‘98
Sharp at 7.30pm an estimated 600 dancers led off the opening Boston Two-Step of the Grand Dance at the Clickimin Centre on Saturday……….
Hohner in Great Britain – The Story of the Development of the British Hohner Enterprise
The story of the development of the Hohner business in Great Britain is, in fact, the history first of the harmonica and then of the accordion. Ever since the earliest days of the two instruments the name of Hohner has been closely identified with all that is best, both in the instruments available, and above all in the development of the cultural background which has assured for both the harmonica and the accordion a secure and permanent place in the musical world.
Little is known about the beginnings of the harmonica business in this country, though it is certain that at least in the early 1870’s a considerable demand existed for the comparatively simple instruments which were being imported in steadily increasing numbers from Germany.
In the mid 1870’s Hohner appointed the firm of M. Michaelson to act as their representatives in this country, and with the help of the toy and fancy goods trade, and through the music wholesalers, their ‘Echo’ Harmonica was established almost as a household name by the early ‘nineties. The commencement of the accordion trade came a little later when Hohner’s acquired the ‘Kalbe’ accordion factory at the beginning of the century, and a little later commenced the manufacture of accordions in Trossingen also ; but at the time the trade was mostly in melodeons, notably the ‘Kalbe Imperial’ and the ‘Little Lord Fauntleroy’.
Unfortunately the Great War interrupted this steady development, but soon after the war ended the former business relationship with the firm of Michaelson was resumed and continued until 1929. Then after prolonged negotiations between Hohner’s and George Michaelis, one of the Directors of Michaelson’s, it was decided to commence a London branch of Hohner under the style Hohner Concessionaires Limited and Mr Michaelis became the first Managing Director of the firm, which had it’s headquarters first in Farringdon Road and later at 21 Bedford Street, Strand.
This new firm did not at first make satisfactory progress, and Hohner sent over a keen young man Jan Schweyer, who had been well trained at Trossingen, to assist in developing the business. However, after he had been there for one year his permit was not renewed and he had to leave the country. Incidentally, soon afterwards he was sent to South Africa to assist the Hohner representatives in that country Messrs Max Frank of Johannesburg and Cape Town where he subsequently became a partner and director.
Hohner’s were still far from satisfied with the state of affairs in Great Britain, realizing the great potentialities of the market for all their goods, and they decided to invite the Manager of their Export Branch in Hamburg, Dr. Otto H. Meyer to undertake the reorganization of the British firm. Dr. Meyer, who was born in Bradford, had a German father and an English mother and was a British subject but with the great advantage of full command of both languages and he had been English correspondent in Trossingen from 1921 to 1923.
Dr. Meyer found many problems awaiting him on his arrival in this country. The affairs of the firm were in a considerable muddle and the financial position was a little short of desperate. A total turnover of £20,000 for home trade with a similar Amount for export trade meant a severe loss at the commission earned, and an increase of at least 37% was necessary to meet expenses.
Then it was discovered that the main trade mark ‘Tartan Echo’ had been registered in the name of M. Michaelson and not in the name of Hohner. This resulted in court proceedings which, of course, secured the trade mark for Hohner’s but, understandably, the former long and amicable relationship with Mr G. Michaelis was strained beyond the limit and he was regretfully given six months notice of cancellation of his service agreement which expired at the end of 1931. When he left, his son and daughter and a little later his sister also terminated their employment with the firm.
Of the old staff, the only ones who remained were the bookkeeper and secretary, Henry Bridger, who retired in 1956 as a director after 28 years loyal service, and the office boy Albert Taylor who by 1957 had reached the dizzying heights of chief packer in the Warehouse Department. But meanwhile new blood was being brought in. A country traveler R. Couzens had been engaged in May 1931. Others who joined the team about this time included Ralph Haller who had previously been in Trossingen to learn German and who by 1957 held the post of Export Manager. The dynamic Jimmy Connolly, traveling representative for Scotland and Northern Ireland also joined and in time became a director.
From the start Hohner’s had recognised the necessity of a good repair service but in 1932 very few skilled repairers were available and some self styled ‘experts’ were impossible in their work. The firm applied to Trossingen for assistance and after great difficulties concerning a permit, received permission for Albert Kauth to come to this country to train another man. The Trade Union recommended an instrument repairer C. Toomey who was trained by Kauth and remained with the firm throughout the war years until he died suddenly shortly after the war. Albert Kauth proved to be an excellent tuner and repairer and as the warehouse at Fitzroy Square, 2 minutes walk from the Head Office, also housed the Repair Department, he supervised the stock and helped greatly in the ordering of goods. Incidentally he was interned during the war but released later on the condition that he would do agricultural work. After the war he opened his own music shop, which did well, while still collecting work from Hohner to repair on his own premises.
To be continued. Thanks, once again, to Ken Hopkins for the above.
The Royal Scottish Country Dance Society’s 75th Anniversary (1923 – 1998)
Today the term ‘Scottish Country Dance’ embraces the social, usually progressive, dances of Scotland which have evolved from many traditions and are danced throughout the world with much pleasure by Scots and non-Scots alike.
The figure dances of the countryside, many set to Scottish or Irish tunes, became very popular in the 16th century and were called Country Dances. The constant influence of one European Court upon the other meant that the dancers were always absorbing new ideas of style. The greatest flowering of this form of dance was in the Assembly Rooms of the 18th century. (Edinburgh, during this period of enlightenment, emulated the European capitals and dance assemblies, conducted with utmost decorum, flourished). Other cities and towns soon followed and dancing became an accepted part of social interaction.
Scotland, of course, had other traditions of dance and once north of the border the country dances incorporated features from older strathspeys, reels, rants and jigs, etc. This was now a style of dance with which the whole society of Scotland could feel comfortable. This was the elegance and courtesy of the Country Dance and the energy and precision of step of the old Reels. The Scots, with their ‘auld allies’ the French, valued dancing for its own sake and often showed great skill and vigour.
The Country Dances continued to flourish in Scotland after they had died out in England and now the repertoire also included the new couple dances, quadrilles and polkas. The dancing masters, who traveled extensively throughout Europe, taught the skills of dancing to all levels of society in Scotland. They were often skilled musicians and taught the older country dances, as well as the newer, fashionable dances.
By the beginning of the 20th century the number of Country Dances appearing on programmes had dwindled but they were still popular and appeared regularly. The Great War of 1914-18 changed the world for ever, a generation had lost its men folk, syncopated rhythms of jazz and ragtime were sweeping the country and the Scottish Country Dance had all but disappeared.
After the War Mrs Ysobel Stewart of Fasnacloich (of a distinguished family from Appin, Argyll) and Miss Jean Milligan (a teacher of Physical Education at Jordanhill Teachers’ Training College) wished to restore the old social dances of Scotland and with them their music. These two committed and energetic ladies researched and collected the dances from friends and family and assisted by Paterson’s Publications published their first book. After placing an advertisement in a Glasgow newspaper, a meeting was held on 26th November, 1923 and the Scottish Country Dance Society was formed. The title ‘Royal’ was conferred upon the Society in 1951 and Her Majesty Queen Elizabeth II graciously became its Patron in 1952.
Since those early days the R.S.C.D.S. has evolved into a worldwide organisation, with approx 25,000 members. It is administered from its Headquarters in Edinburgh through a network of 170 Local Associations and over 500 other affiliated groups.
Mrs Stewart, Miss Milligan and their associates were keen to see the Country Dances restored to their dignified and sociable best and to that end, they encouraged classes and taught a new generation of dancing teachers. They adopted a measure of standardization, but were well aware of the regional variations in many of the popular dances.
Today the aims of the R.S.C.D.S. are to preserve and promote the practice of Scottish Country Dancing by providing education and instruction, by publishing books of dances with music, by commissioning recordings of dance music and by collecting items relevant to the history of dance in Scotland.
The R.S.C.D.S. has always stressed the importance of the social nature of the dance form – giving plenty of opportunities for fun and friendship – but is equally concerned with upholding the standards of correct dancing technique. It is this unique blend of wonderful music, disciplined dancing, intricate floor patterns and sociability that appeals to so many people throughout the world.
Since 1923 many old printed books and manuscript collections have been searched for dances and their tunes. The dance instructions have been interpreted and sometimes adapted for modern use. The success of the genre is that now many new dances are composed in traditional form, new formations are introduced, new forms of progression are devised and new tunes written. The dances published by the R.S.C.D.S. and distributed to members all retain the essential characteristics of the traditional country dance. The R.S.C.D.S. also produce sound recordings and videos to accompany many of the books.
The R.S.C.D.S. has tried to ensure that the tunes associated with the traditional dances are preserved. As new dances are published, music is carefully chosen so that the tunes and the figures of the dances are totally compatible. The skills and enthusiasm of many Scottish musicians have been greatly appreciated in both the arranging and recording of music for dancing.
During 1998 R.S.C.D.S. members the world over have organized many varied functions to celebrate the 75th Anniversary of the founding of the Society. There were 5 dances suggested for inclusion in programmes so that all could feel part of the same party. The Past-Chairman and his wife, Mr and Mrs Bill Clement, traveled extensively taking part in these events as did Mrs Linda Gaul who took office as Chairperson at the recent AGM which took the Society back to its roots in Glasgow.
The Anniversary year has also featured wonderfully nostalgic exhibitions with old photographs, newspaper cuttings, dance programmes, etc but it is the future of dancing in Scotland that must now be the focus for the R.S.C.D.S. Ready, And……..
How Do You Play That Dance?
by John Browne (North Wales ex Edinburgh)
Playing for Country Dances requires a degree of discipline in the choice of tunes, the number of bars and the number of times each tune is played, and the tempo they are played at. So how do you play for a Country Dance? John Browne has a few tips….
I once recall a dance band leader saying that he had never played for a Country Dance but on the occasions when he played at functions and was asked for a given dance – say the Eightsome Reel – he would keep on playing until the dancers cried ‘Stop’!
If the above applies to you then keep reading! (In actual fact, though, keeping an eye on the top couple and finishing the music when everyone in a set has finished dancing may be the only way to play for some of the rowdier functions!) But more of this later.
Taking the first point first – which tunes should you play for a dance? – follows on from last month’s article in the B&F on the choice of original tune. Having chosen a suitable ‘original’ the musician needs to add further tunes to make up a set of tunes for the dance. These alternative tunes should be similar in style to the original so that the set is ‘well-rounded’ and pleasing to the ear. Good understanding of the differences in style between many traditional tunes and many ‘modern’ tunes will obviously help here. A master of putting together interesting dance sets, in my opinion, was the late Andrew Rankine, his sets never failing to please and inspire musician and dancer alike.
Armed with the tunes to be played for a dance the next consideration is how long each tune should be played, or to put it more exactly, haw many bars should be played. The length of most well-known traditional tunes is 32 bars and (thankfully) most popular dances are in phrases of 32 bars. A common length of a country dance is 8 x 32 bars, where each couple in a 4 couple set will dance two turns of 32 bars each, first from the top and then from second place. Once each of the four couples in this example have had their two turns the dance will have been danced 8 x 32 bars. There are many combinations of dance length and number of bars including, for example, 4 x 32 bars, 8 x 24 bars, 4 x 48 bars, 8 x 40 bars and so on.
Sometimes the correct length of music to play for a dance is not clear. The ceilidh dance Strip the Willow (also published in RSCDS Book no 1) is perhaps best played by keeping an eye on the first couple as stated earlier, but more often than not I find that playing four tunes 56 bars each fits the dance exactly (on the second time through each tune miss out the first repeat, or if playing 64 bar pipe jigs miss out the repeat on the third measure). In other words try playing this dance as a 4 x 56 bar jig. Also, check the number of bars if you have been asked to play the dance Dundee Reel (8 x 40 bar Jig) as in some parts of the country (most notably in Dundee I believe) it is sometimes danced 8 x 48 bars! Watch out too for the Moray Rant. If played for as written it would be an 8 x 48 bar strathspey but it is usually danced in 3 couple sets (not 4 as originally written) and therefore danced 3 x 48 bars. This also goes for ‘2 couple’ dances (where only 2 of the 4 couples in the set, dance in any one turn) which may be danced in 3 couple sets (not 4) and therefore played ‘6x’ through (and not ‘8x’ as written). The programme deviser of the dance you are playing for should tell you if these dances are to be played in this way. Each dance starts with a chord but look out for some dances such as Glasgow Highlanders (8 x 32 bar strathspey) and Blooms of Bon Accord (4 x 32 bar Reel), where there are two chords at the start of the dance, the second chord being to allow some of the dancers to change position before the dance actually starts. If you are asked to encore a dance which has two chords (e.g. Blooms…is often repeated as it is a ‘short’ dance) then only one chord should be played for the encore. While we are on the subject of encores watch out if you have been asked to encore the dance Garry Strathspey in the Edinburgh area as this strathspey is often encored as a reel! And, of course, if encoring an ‘8x’ through dance it will only be repeated ‘4x’ (i.e. once and to the bottom).
There are a number of ways that tunes can be played to make up the length of the dance. For an ‘8x’ through dance (e.g. 8 x 32 bars) you could play the original tune twice then three alternative tunes twice each to finish on the last alternative (i.e.1.1.2.2.3.3.4.4.). Dancers generally prefer to hear the original tune played again at the end of the dance so the tunes could be played in the order 1.2.2.3.3.4.4.1. instead. Other possibilities of tune order include 1.2.3.4.2.3.4.1. (commonly used for a 8 x 32 bar strathspey), 1.2.3.1.2.3.2.1. (a pattern often used by bands in the 1950’s and 60’s), 1.1.2.2.3.3.1.1. (still frequently hear these days but gives a ‘heavy’ emphasis on the original tune).
The phrasing can also be important. Most 32 bar tunes are played A.A.B.B. and for most dances this is also the specified phrasing although occasionally A.B.A.B. phrasing is recommended (e.g. as in The Frisky 8 x 32 bar Jig and The Mairrit Man’s Favourite 8 x 32 bar Reel – although not often adhere to in these cases). 40 bar dances may be phrased A.A.B.B.B. (as in Barley Bree 4 x 40 bar Jig), A.B.A.B.B. (e.g. Mairi’s Wedding (8 x 40 bar Reel) or A.B.C.B.C (e.g. Golden Pheasant 8 x 40 bar Jig). Many of the 48 bar dances are published with A.B.A.B.A.B. phrasing (e.g. Hamilton Rant 8 x 48 bar Reel, Waverley 8 x 48 bar Jig, Airdrie Lassies 4 x 48 bar Jig) but more often than not most bandleaders play them in A.A.B.B.A.B. phrasing to make them easier to remember (and play) ‘on the night’.
The most important use of phrasing is to ensure that the music ‘fits’ the dance and that the dancers do not ‘cut across’ the music. The bars for the reel Nottingham Lace, for example, are 24+48+24 but the middle 48 bars should be played in 24 bar phrases to fir the dance – I personally use A.B.B. phrasing when I play this dance.
This article on playing for dances would not be complete without some mention of tempo – a thorny issue at the best of times! No two dance groups will like the music to be played at the same speed which can range from strict tempo (for RSCDS dances) to up-tempo (for ceilidhs). No further advice can be proffered!!
The one dance I have not yet explained how to play for(for those of you who might otherwise continue to play ubtil the dancers screamed ‘Stop’!) is of course The Eightsome Reel. This is simply a 40 + (8 x 48) + 40 bar Reel, the original tune usually being The De’il Amang the Tailors. Incidentally 24 bar phrasing (A.B.B.) for the ‘middle’ section generally works well. Happy playing….
The Johnstone Family Gallery
CD Reviews
The Gary Blair Ceilidh Band – Missing Time – GBCD001
David Vernon – Playing With Fire – KEL3429
Letters to the Editor
The decision by Kevin Dorian, the Head of Physical Education at St. Joseph’s Academy in Kilmarnock to rename one of the most popular traditional Scottish dances is another shining example of this wonderful world of ‘wierdos’ trying to make everything so ‘politically correst’. Mr Dorian has been teaching pupils the ‘Gay Gordons’ for the school’s Christmas Party, but he has decided to rename the dance the ‘Happy Gordons’ because of the modern meaning of the word ‘Gay’.
Perhaps Mr Dorian is unaware of the fact that the Gay Gordons is a military style dance for couples written at the turn of the century to celebrate the gallantry and the spirit of the Gordon Highlanders Regiment. It is one of the easiest and finest traditional dances and was probably known by every Scottish child, and is always included in any dance programme.
Perhaps the teacher should be educating the children in the true meaning of the word, instead of trying to change the entire sequence and leave the traditional dances with their historic connections as they have been for hundreds of years.
Sadly the problem with so many aspects of our language and culture is that the decisions and directions are being made by so many men who want to be women and women who want to be men!
John McDonald, Kirkcaldy
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
5th Dec 98 – Colin Dewar SDB & feature from Highland A&F Club’s 25th Anniversary
12th Dec 98 – Bruce Lindsay SDB
19th Dec 98 – Allan McIntosh & the Heather SDB
26th Dec 98 – Alasdair MacCuish & the Black Rose Ceilidh Band + Rohallion from the Riverside Club, Glasgow
2nd Jan 99 – John Renton SDB from Inveraray Community Centre
9th Jan 99 – Ron Kerr SDB
16th Jan 99 – Ian Thomson SDB
23rd Jan 99 – Gordon Shand SDB
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (White Swan Hotel) – members only 9th Dec 98 – tbc 6th Jan 99 - tbc
Annan (St Andrew’s Social Club) - 21st Dec 98 – Dance to John Douglas 17th Jan 99 – Jimmy Lindsay SDB
Arbroath (Viewfield Hotel) - 6th Dec 98 – Club Night 28th Dec 98 – George Rennie 3rd Jan 99 – No meeting
Armadale (Masonic Hall) – 10th Dec 98 – Gordon Pattullo 7th Jan 99 – Walter Perrie
Ayr (Gartferry Hotel) – ?
Balloch (St. Kessog’s Hall) – 20th Dec 98 – Jim Johnstone SDB 17th Jan 99 – Iain Lockhart SDB
Banchory (Burnett Arms Hotel) – 28th Dec 98 – Bill black SDB 25th Jan 99 - tbc
Banff & District (Banff Springs Hotel) – 23rd Dec 98 – No meeting 27th Jan 99 – Lynne Gould SDB
Beith & District (Hotel de Croft, Dalry) – 21st Dec 98 – Sandy Legget SDB 18th Jan 98 – William Bradley
Belford (Community Club) – 24th Dec 98 – No meeting 28th Jan 99 – Pentlands Ceilidh Band
Biggar (Municipal Hall) – 13th Dec 98 – Sandy Legget SDB 10th Jan 99 – Kenny Johnstone
Blairgowrie (Moorfield Hotel) - 8th Dec 98 – Gary Donaldson Trio 5th Jan 99 - tbc
Bromley (Trinity United Reform Church) - 8th Dec 98 – Paul Brown & Martin Anthony 12th Jan 99 – Ian MacKenzie
Button Key (Windygates Institute) – 10th Dec 98 – Jim Johnstone SDB 7th Jan 99 - tbc
Campbeltown (Royal or Argyll Hotel) - ?
Campsie (Glazert House Hotel) - 1st Dec 98 – John Morgan 5th Jan 99 – Robert Whitehead SDB
Carlisle (Border Regiment Club, Carlisle Castle) - 3rd Dec 98 – The Bon Accords 7th Jan 99 – Julie Best
Castle Douglas (Ernespie House Hotel) – 15th Dec 98 – Ceilidh 19th Jan 99 – Una Bryson (solo)
Coalburn (Miners’ Welfare) - 17th Dec 98 – Jock Loch & the Blackthorne CB 21st Jan 99 – Roy Hendrie SDB
Crathes (Crathes Hall, Banchory) - 13th Dec 98 – All players welcome 10th Jan 99 - All
Crieff & District (Arduthie Hotel) 3rd Dec 98 – Lomond Ceilidh Band 7th Jan 99 – No meeting
Dalriada (Argyll Arms Hotel, Lochgilphead) 15th Dec 98 – Christmas Party 19th Jan 99 – Ryan McGlynn SDB
Dingwall (National Hotel) – 2nd Dec 98 - Ali MacKenzie & Gary Robertson 6th Jan 99 – Frank Thompson & Friends
Dunblane (Westlands Hotel) – 15th Dec 98 – No meeting 19th Jan 99 – Lindsay Weir SDB
Dunfermline (Headwell Bowling Club) – 8th Dec 98 – Alan Gardiner 12th Jan 99 Lomond Ceilidh Band
Dunoon & Cowal (McColl’s Hotel) 11th Dec 98 – McColl’s Weekend 8th Jan 99 - tbc
East Kilbride (Sweepers, Cambuslang) – 24th Dec 98 – No meeting 28th Jan 99 - tbc
Ellon (Station Hotel) – 15th Dec 98 – No meeting 19th Jan 99 – Frank Thompson SDB
Fintry (Fintry Sports Centre) – 21st Dec 98 – Alan Ross SDB 18th Jan 99 – Andrew Gordon SDB
Forfar (Plough Inn) - 27th Dec 98 – No meeting 24th Jan 99 - tbc
Forres (Brig Motel) – 9th Dec 98 – Bill Brian & Ena Anderson 13th Jan 99 – Graeme Mitchell SDB (21st Birthday)
Fort William (Alexandra Hotel) – ?
Galashiels (Abbotsford Arms Hotel) – 3rd Dec 98 – Colin Dewar 7th Jan 99 – Club Night
Galston (Barr Castle Social Club) – 14th Dec 98 – Burns Brothers 11th Jan 99 - Morag Robertson Trio
Glendale (Black Bull Hotel – Wooler) – 17th Dec 98 – Maurice Duncan 21st Jan 99 – Jim Lindsay (Guildtown)
Glenfarg (Lomond Hotel) - 2nd Dec 98 – Maureen Turnbull Duo 6th Jan 99 – Bruce Lindsay Trio
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 29th Dec 98 – tbc 26th Jan 99 - tbc
Gretna (Halcrow Stadium) - 6th Dec 98 – John Renton SDB 3rd Jan 99 - tbc
Highland (Drumossie Hotel) – 21st Dec 98 – John Renton SDB 18th Jan 99 – Lindsay Weir SDB
Inveraray (Loch Fyne Hotel) - 1st Dec 98 – Fiddlers 3 + 2 5th Jan 99 – John Renton SDB
Islay (White Hart Hotel) - ?
Isle of Skye – (The Royal Hotel, Portree) - 11th Dec 98 – Dance – Hector McFadyen SDB 7th Jan 99 - tbc
Islesteps (The Embassy Hotel) – 1st Dec 98 – Keith Dickson 5th Jan 99 John Douglas
Kelso (Ednam House Hotel) – 16th Dec 98 – Marian Anderson SDB 27th Jan 99 – Roger Dobson SDB
Kintore (Torryburn Hotel) – 2nd Dec 98 – Dave Stewart & Rab Smillie 6th Jan 99 No meeting
Lanark (Masonic Hall) - 19th Dec 98 – Dance to Lothian & Borders Trio 25th Jan 99 - tbc
Langholm (Crown Hotel) – 9th Dec 98 – Roger Dobson 13th Jan 99 – Club Night
Lesmahagow (Masonic Hall) – 10th Dec 98 – Iain Buchanan SDB 14th Jan 99 – John Douglas SDB
Lewis & Harris (Stornoway Legion) - 3rd Dec 98 – tbc 7th Jan 99 - tbc
Livingston (Cairn Hotel) - 15th Dec 98 – No meeting 19th Jan 99 – Iain MacPhail & Friends
Lockerbie (Queen’s Hotel) - 29th Dec 98 – No meeting 26th Jan 99 – Burns Brothers Duo
Mauchline (Sorn Village Hall) 15th Dec 98 – Jean McConnachie SDB 19th Jan 99 – Marie Fielding
Montrose (Park Hotel) – 2nd Dec 98 – Lomond Ceilidh Band 6th Jan 99 No meeting
Muirhead (Belmont Arms, Meigle) - 16th Dec 98 – Local artistes 20th Jan 99 – Local artistes
Newtongrange (Dean Tavern) – 28th Dec 98 – No meeting 25th Jan 99 – Willie McFarlane SDB
North East (Royal British Legion, Keith) – 1st Dec 98 – Jennifer Forrest SDB 5th Jan 99 – The Fochabers Fiddlers
Oban (McTavish’s Kitchen) – 3rd Dec 98 – David Vernon 7th Jan 99 - tbc
Orkney (Ayre Hotel, Kirkwall) – Close season
Peebles (Green Tree Hotel) – 24th Dec 98 – No meeting 28th Jan 99 - tbc
Perth (Salutation Hotel) – 15th Dec 98 – No meeting 19th Jan 99 – Gordon Pattullo
Premier NI (Camlin Function Rooms) - 1st Dec 98 – tbc 5th Jan 99 - tbc
Reading Fiddlers (Piggot School) - ?
Renfrew (Masonic Hall, Broadloan) – 8th Dec 98 – Charlie Kirkpatrick Trio 12th Jan 99 Seamus O’Sullivan
Rothbury (Queen’s Head) - 3rd Dec 98 – Brian Griffin Duo 7th Jan 99 – Eric Goodfellow Jnr SDB
Selkirk (Cricket Club) - 10th Dec 98 – Roger Dobson SDB 14th Jan 99 – Webster Craig
Shetland (Shetland Hotel, Lerwick) - ?
Stirling (Terraces Hotel) - 13th Dec 98 – Bill Black SDB 10th Jan 99 – Sandy Nixon SDB
Sutherland (Rogart Hall) - 5th Dec 98 – Wick Young Fiddlers 23rd Jan 99 – Graeme Mitchell
Thornhill (Masonic Hall) - 9th Dec 98 – William Bradley SDB 13th Jan 99 Club Night
Thurso (Pentland Hotel) – 14th Dec 98 – Bobby Coghill SDB 11th Jan 99 – Thurso & Dounreay S & R Society
Turriff (Royal Oak Hotel) – 3rd Dec 98 – Susan Simpson Quartet 7th Jan 99 – Kathleen & Ian Hadden & Friends
Tynedale (Hexham Ex Service Club) – 1st Dec 98 – Jim Johnstone SDB 5th Jan No meeting
Wick (McKay’s Hotel) – 15th Dec 98 – tbc 19th Jan 99 - tbc
Yarrow (Gordon Arms) - 16th Dec 98 – tbc 13th Jan 99 - tbc
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Annan
3. Armadale
4. Banchory
5. Beith
6. Biggar
7. Blairgowrie
8. Bromley
9. Button Key
10. Carlisle
11. Campsie
12. Castle Douglas
13. Coalburn
14. Crathes
15. Crieff
16. Dalriada
17. Dingwall
18. Dunblane
19. Dunfermline
20. East Kilbride
21. Forres
22. Glendale
23. Glenrothes
24. Gretna
25. Highland
26. Inveraray
27. Isle of Skye
28. Islesteps
29. Kelso
30. Lanark
31. Lesmahagow
32. Livingston
33. Lockerbie
34. Montrose
35. Muirhead
36. Newtongrange
37. Peebles
38. Perth & District
39. Renfrew
40. Rothbury
41. Thornhill
42. Thurso
43. Turriff
CLUB DIRECTORY AS AT OCT 1998
(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 (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
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. Bromley A&F Club
15. Button Key A&F Club (
16. Campbeltown A&F Club (
17. Campsie A&F Club (Nov 95 – present)
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. Dingwall & District A&F Club (May 1979 – per first report)
24. Dunblane & District A&F Club (1971 – present)
25. Dunfermline & District A&F Club (1974 – per first edition)
26. Dunoon & Cowal A&F Club (
27. East Kilbride A&F Club (Sept 1980)
28. Ellon A&F Club (
29. Etterick & Yarrow (Jan 1989 -
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Galashiels A&F Club (joined Sept 1982 - present)
34. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
35. Glendale Accordion Club (Jan 1973)
36. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
37. Glenrothes A&F Club (Mar 93?
38. 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)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Feb 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (June 1983 – present)
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Ladybank A&F Club (joined Apr 98 but formed
47. Lanark A&F Club (joined Sept 96 – present)
48. Langholm A&F Club (Oct 1967 - present)
49. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Mauchline A&F Club (Sept 1983 - present)
54. Montrose A&F Club (joined Sept 1982 - present)
55. Muirhead A&F Club (Dec 1994 -
56. Newtongrange A&F Club (joined Sept 1977 - present)
57. North East A&F Club aka Keith A&FC (Sept 1971 - present)
58. Oban A&F Club (Nov 1975 - present)
59. Orkney A&F Club (Mar 1978 - present)
60. Peebles A&F Club (26 Nov 1981 - present)
61. Perth & District A&F Club (Aug 1970 - present)
62. Premier A&F Club NI (April 1980)
63. Renfrew A&F Club (1984 -
64. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
65. Reading Scottish Fiddlers (cMarch 1997
66. Scottish Accordion Music – Crathes (Nov 1997 -
67. Selkirk A&F Club (
68. Shetland A&F Club (Sept 1978 - present)
69. Stirling A&F Club (Oct 1991 - )
70. Sutherland A&F Club (
71. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
72. Thurso A&F Club (Oct 1981 - present)
73. Turriff A&F Club (March 1982 - present)
74. Tynedale A&F Club (Nov 1980 - present)
75. Vancouver
76. 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?)
77. Acharacle & District A&F Club (cMay 1988)
78. Bonchester Accordion Club (Closed?)
79. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
80. Brigmill A&F Club (Oct 1990) Closed
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. Derwentside A&F Club
91. Dornoch A&F Club (first mention in directory 1986)
92. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
93. Dunbar Cement Works A&F Club (Closed?)
94. Dundee & District A&F Club (1970? – 1995?)
95. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
96. Falkirk A&F Club (Sept 1978 - )
97. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
98. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
99. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
100. Kirriemuir A&F Club (cSept 1981)
101. M.A.F.I.A. (1966 – 1993?)
102. Monklands A&F Club (Nov 1978 – closed cApril 1983)
103. Morecambe A&F Club (joined Sept 1982)
104. Mull A&F Club
105. Newcastleton Accordion Club
106. New Cumnock A&F Club (cMarch 1979)
107. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
108. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
109. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
110. Straiton Accordion Club (c1968 – closed March 1979)
111. Stranraer & District Accordion Club (1974 – per first edition)
112. Torthorwald A&F Club (near Dumfries)
113. Tranent A&F Club
114. Walmer (Bridge of Allan) A&F Club
115. Wellbank A&F Club
Advertising rates
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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
After ten years dedicated service as Box and Fiddle Treasurer, Margaret Smith has decided to call it a day. Over that period individual subscriptions have increased from 28 to 375 and with neither Margaret herself, nor husband George, currently enjoying the best of health she has decided to hang up her Account Book. No doubt we will see some proper recognition of her services at our Gathering on 27th June. The reins are being taken up by our new Treasurer, Alan Gardiner, who can be contacted at Cocklaw Farm, Elsrickle, Biggar, ML12 6RD. Telephone number 01899 220473. Please keep enquiries to a minimum at the moment while he and Emma get their new home sorted out. Clubs may still wish to send cheques to me along with Club Reports etc, to save on postage and I’ll pass them on. Could everyone please note that all cheques should be made payable to NAAFC Box and Fiddle since we seem to get a variety of permutations (including Box and Fiddle NMFC and vice versa) which our new bankers may not be too accommodating about.
On the mention of ‘Gathering’ above you will see that I have dropped the ‘Weekend’ part. Unfortunately due to the poor uptake on the residential part of the Weekend and poor attendance at the Saturday evening dance, it has been decided to restrict our 1999 Gathering to a one day event incorporating the AGM, Presentation Luncheon (with Guest of Honour Bill Black) and Celebrity Accordion and fiddle Club. The venue has changed to the Invercarse Hotel, Perth Road, Dundee and it will be held on Sunday, 27th June, 1999 – a date for your diary.
Charlie Todd
11th Shetland Accordion & Fiddle Festival
15th – 19th October ‘98
Sharp at 7.30pm an estimated 600 dancers led off the opening Boston Two-Step of the Grand Dance at the Clickimin Centre on Saturday……….
Hohner in Great Britain – The Story of the Development of the British Hohner Enterprise
The story of the development of the Hohner business in Great Britain is, in fact, the history first of the harmonica and then of the accordion. Ever since the earliest days of the two instruments the name of Hohner has been closely identified with all that is best, both in the instruments available, and above all in the development of the cultural background which has assured for both the harmonica and the accordion a secure and permanent place in the musical world.
Little is known about the beginnings of the harmonica business in this country, though it is certain that at least in the early 1870’s a considerable demand existed for the comparatively simple instruments which were being imported in steadily increasing numbers from Germany.
In the mid 1870’s Hohner appointed the firm of M. Michaelson to act as their representatives in this country, and with the help of the toy and fancy goods trade, and through the music wholesalers, their ‘Echo’ Harmonica was established almost as a household name by the early ‘nineties. The commencement of the accordion trade came a little later when Hohner’s acquired the ‘Kalbe’ accordion factory at the beginning of the century, and a little later commenced the manufacture of accordions in Trossingen also ; but at the time the trade was mostly in melodeons, notably the ‘Kalbe Imperial’ and the ‘Little Lord Fauntleroy’.
Unfortunately the Great War interrupted this steady development, but soon after the war ended the former business relationship with the firm of Michaelson was resumed and continued until 1929. Then after prolonged negotiations between Hohner’s and George Michaelis, one of the Directors of Michaelson’s, it was decided to commence a London branch of Hohner under the style Hohner Concessionaires Limited and Mr Michaelis became the first Managing Director of the firm, which had it’s headquarters first in Farringdon Road and later at 21 Bedford Street, Strand.
This new firm did not at first make satisfactory progress, and Hohner sent over a keen young man Jan Schweyer, who had been well trained at Trossingen, to assist in developing the business. However, after he had been there for one year his permit was not renewed and he had to leave the country. Incidentally, soon afterwards he was sent to South Africa to assist the Hohner representatives in that country Messrs Max Frank of Johannesburg and Cape Town where he subsequently became a partner and director.
Hohner’s were still far from satisfied with the state of affairs in Great Britain, realizing the great potentialities of the market for all their goods, and they decided to invite the Manager of their Export Branch in Hamburg, Dr. Otto H. Meyer to undertake the reorganization of the British firm. Dr. Meyer, who was born in Bradford, had a German father and an English mother and was a British subject but with the great advantage of full command of both languages and he had been English correspondent in Trossingen from 1921 to 1923.
Dr. Meyer found many problems awaiting him on his arrival in this country. The affairs of the firm were in a considerable muddle and the financial position was a little short of desperate. A total turnover of £20,000 for home trade with a similar Amount for export trade meant a severe loss at the commission earned, and an increase of at least 37% was necessary to meet expenses.
Then it was discovered that the main trade mark ‘Tartan Echo’ had been registered in the name of M. Michaelson and not in the name of Hohner. This resulted in court proceedings which, of course, secured the trade mark for Hohner’s but, understandably, the former long and amicable relationship with Mr G. Michaelis was strained beyond the limit and he was regretfully given six months notice of cancellation of his service agreement which expired at the end of 1931. When he left, his son and daughter and a little later his sister also terminated their employment with the firm.
Of the old staff, the only ones who remained were the bookkeeper and secretary, Henry Bridger, who retired in 1956 as a director after 28 years loyal service, and the office boy Albert Taylor who by 1957 had reached the dizzying heights of chief packer in the Warehouse Department. But meanwhile new blood was being brought in. A country traveler R. Couzens had been engaged in May 1931. Others who joined the team about this time included Ralph Haller who had previously been in Trossingen to learn German and who by 1957 held the post of Export Manager. The dynamic Jimmy Connolly, traveling representative for Scotland and Northern Ireland also joined and in time became a director.
From the start Hohner’s had recognised the necessity of a good repair service but in 1932 very few skilled repairers were available and some self styled ‘experts’ were impossible in their work. The firm applied to Trossingen for assistance and after great difficulties concerning a permit, received permission for Albert Kauth to come to this country to train another man. The Trade Union recommended an instrument repairer C. Toomey who was trained by Kauth and remained with the firm throughout the war years until he died suddenly shortly after the war. Albert Kauth proved to be an excellent tuner and repairer and as the warehouse at Fitzroy Square, 2 minutes walk from the Head Office, also housed the Repair Department, he supervised the stock and helped greatly in the ordering of goods. Incidentally he was interned during the war but released later on the condition that he would do agricultural work. After the war he opened his own music shop, which did well, while still collecting work from Hohner to repair on his own premises.
To be continued. Thanks, once again, to Ken Hopkins for the above.
The Royal Scottish Country Dance Society’s 75th Anniversary (1923 – 1998)
Today the term ‘Scottish Country Dance’ embraces the social, usually progressive, dances of Scotland which have evolved from many traditions and are danced throughout the world with much pleasure by Scots and non-Scots alike.
The figure dances of the countryside, many set to Scottish or Irish tunes, became very popular in the 16th century and were called Country Dances. The constant influence of one European Court upon the other meant that the dancers were always absorbing new ideas of style. The greatest flowering of this form of dance was in the Assembly Rooms of the 18th century. (Edinburgh, during this period of enlightenment, emulated the European capitals and dance assemblies, conducted with utmost decorum, flourished). Other cities and towns soon followed and dancing became an accepted part of social interaction.
Scotland, of course, had other traditions of dance and once north of the border the country dances incorporated features from older strathspeys, reels, rants and jigs, etc. This was now a style of dance with which the whole society of Scotland could feel comfortable. This was the elegance and courtesy of the Country Dance and the energy and precision of step of the old Reels. The Scots, with their ‘auld allies’ the French, valued dancing for its own sake and often showed great skill and vigour.
The Country Dances continued to flourish in Scotland after they had died out in England and now the repertoire also included the new couple dances, quadrilles and polkas. The dancing masters, who traveled extensively throughout Europe, taught the skills of dancing to all levels of society in Scotland. They were often skilled musicians and taught the older country dances, as well as the newer, fashionable dances.
By the beginning of the 20th century the number of Country Dances appearing on programmes had dwindled but they were still popular and appeared regularly. The Great War of 1914-18 changed the world for ever, a generation had lost its men folk, syncopated rhythms of jazz and ragtime were sweeping the country and the Scottish Country Dance had all but disappeared.
After the War Mrs Ysobel Stewart of Fasnacloich (of a distinguished family from Appin, Argyll) and Miss Jean Milligan (a teacher of Physical Education at Jordanhill Teachers’ Training College) wished to restore the old social dances of Scotland and with them their music. These two committed and energetic ladies researched and collected the dances from friends and family and assisted by Paterson’s Publications published their first book. After placing an advertisement in a Glasgow newspaper, a meeting was held on 26th November, 1923 and the Scottish Country Dance Society was formed. The title ‘Royal’ was conferred upon the Society in 1951 and Her Majesty Queen Elizabeth II graciously became its Patron in 1952.
Since those early days the R.S.C.D.S. has evolved into a worldwide organisation, with approx 25,000 members. It is administered from its Headquarters in Edinburgh through a network of 170 Local Associations and over 500 other affiliated groups.
Mrs Stewart, Miss Milligan and their associates were keen to see the Country Dances restored to their dignified and sociable best and to that end, they encouraged classes and taught a new generation of dancing teachers. They adopted a measure of standardization, but were well aware of the regional variations in many of the popular dances.
Today the aims of the R.S.C.D.S. are to preserve and promote the practice of Scottish Country Dancing by providing education and instruction, by publishing books of dances with music, by commissioning recordings of dance music and by collecting items relevant to the history of dance in Scotland.
The R.S.C.D.S. has always stressed the importance of the social nature of the dance form – giving plenty of opportunities for fun and friendship – but is equally concerned with upholding the standards of correct dancing technique. It is this unique blend of wonderful music, disciplined dancing, intricate floor patterns and sociability that appeals to so many people throughout the world.
Since 1923 many old printed books and manuscript collections have been searched for dances and their tunes. The dance instructions have been interpreted and sometimes adapted for modern use. The success of the genre is that now many new dances are composed in traditional form, new formations are introduced, new forms of progression are devised and new tunes written. The dances published by the R.S.C.D.S. and distributed to members all retain the essential characteristics of the traditional country dance. The R.S.C.D.S. also produce sound recordings and videos to accompany many of the books.
The R.S.C.D.S. has tried to ensure that the tunes associated with the traditional dances are preserved. As new dances are published, music is carefully chosen so that the tunes and the figures of the dances are totally compatible. The skills and enthusiasm of many Scottish musicians have been greatly appreciated in both the arranging and recording of music for dancing.
During 1998 R.S.C.D.S. members the world over have organized many varied functions to celebrate the 75th Anniversary of the founding of the Society. There were 5 dances suggested for inclusion in programmes so that all could feel part of the same party. The Past-Chairman and his wife, Mr and Mrs Bill Clement, traveled extensively taking part in these events as did Mrs Linda Gaul who took office as Chairperson at the recent AGM which took the Society back to its roots in Glasgow.
The Anniversary year has also featured wonderfully nostalgic exhibitions with old photographs, newspaper cuttings, dance programmes, etc but it is the future of dancing in Scotland that must now be the focus for the R.S.C.D.S. Ready, And……..
How Do You Play That Dance?
by John Browne (North Wales ex Edinburgh)
Playing for Country Dances requires a degree of discipline in the choice of tunes, the number of bars and the number of times each tune is played, and the tempo they are played at. So how do you play for a Country Dance? John Browne has a few tips….
I once recall a dance band leader saying that he had never played for a Country Dance but on the occasions when he played at functions and was asked for a given dance – say the Eightsome Reel – he would keep on playing until the dancers cried ‘Stop’!
If the above applies to you then keep reading! (In actual fact, though, keeping an eye on the top couple and finishing the music when everyone in a set has finished dancing may be the only way to play for some of the rowdier functions!) But more of this later.
Taking the first point first – which tunes should you play for a dance? – follows on from last month’s article in the B&F on the choice of original tune. Having chosen a suitable ‘original’ the musician needs to add further tunes to make up a set of tunes for the dance. These alternative tunes should be similar in style to the original so that the set is ‘well-rounded’ and pleasing to the ear. Good understanding of the differences in style between many traditional tunes and many ‘modern’ tunes will obviously help here. A master of putting together interesting dance sets, in my opinion, was the late Andrew Rankine, his sets never failing to please and inspire musician and dancer alike.
Armed with the tunes to be played for a dance the next consideration is how long each tune should be played, or to put it more exactly, haw many bars should be played. The length of most well-known traditional tunes is 32 bars and (thankfully) most popular dances are in phrases of 32 bars. A common length of a country dance is 8 x 32 bars, where each couple in a 4 couple set will dance two turns of 32 bars each, first from the top and then from second place. Once each of the four couples in this example have had their two turns the dance will have been danced 8 x 32 bars. There are many combinations of dance length and number of bars including, for example, 4 x 32 bars, 8 x 24 bars, 4 x 48 bars, 8 x 40 bars and so on.
Sometimes the correct length of music to play for a dance is not clear. The ceilidh dance Strip the Willow (also published in RSCDS Book no 1) is perhaps best played by keeping an eye on the first couple as stated earlier, but more often than not I find that playing four tunes 56 bars each fits the dance exactly (on the second time through each tune miss out the first repeat, or if playing 64 bar pipe jigs miss out the repeat on the third measure). In other words try playing this dance as a 4 x 56 bar jig. Also, check the number of bars if you have been asked to play the dance Dundee Reel (8 x 40 bar Jig) as in some parts of the country (most notably in Dundee I believe) it is sometimes danced 8 x 48 bars! Watch out too for the Moray Rant. If played for as written it would be an 8 x 48 bar strathspey but it is usually danced in 3 couple sets (not 4 as originally written) and therefore danced 3 x 48 bars. This also goes for ‘2 couple’ dances (where only 2 of the 4 couples in the set, dance in any one turn) which may be danced in 3 couple sets (not 4) and therefore played ‘6x’ through (and not ‘8x’ as written). The programme deviser of the dance you are playing for should tell you if these dances are to be played in this way. Each dance starts with a chord but look out for some dances such as Glasgow Highlanders (8 x 32 bar strathspey) and Blooms of Bon Accord (4 x 32 bar Reel), where there are two chords at the start of the dance, the second chord being to allow some of the dancers to change position before the dance actually starts. If you are asked to encore a dance which has two chords (e.g. Blooms…is often repeated as it is a ‘short’ dance) then only one chord should be played for the encore. While we are on the subject of encores watch out if you have been asked to encore the dance Garry Strathspey in the Edinburgh area as this strathspey is often encored as a reel! And, of course, if encoring an ‘8x’ through dance it will only be repeated ‘4x’ (i.e. once and to the bottom).
There are a number of ways that tunes can be played to make up the length of the dance. For an ‘8x’ through dance (e.g. 8 x 32 bars) you could play the original tune twice then three alternative tunes twice each to finish on the last alternative (i.e.1.1.2.2.3.3.4.4.). Dancers generally prefer to hear the original tune played again at the end of the dance so the tunes could be played in the order 1.2.2.3.3.4.4.1. instead. Other possibilities of tune order include 1.2.3.4.2.3.4.1. (commonly used for a 8 x 32 bar strathspey), 1.2.3.1.2.3.2.1. (a pattern often used by bands in the 1950’s and 60’s), 1.1.2.2.3.3.1.1. (still frequently hear these days but gives a ‘heavy’ emphasis on the original tune).
The phrasing can also be important. Most 32 bar tunes are played A.A.B.B. and for most dances this is also the specified phrasing although occasionally A.B.A.B. phrasing is recommended (e.g. as in The Frisky 8 x 32 bar Jig and The Mairrit Man’s Favourite 8 x 32 bar Reel – although not often adhere to in these cases). 40 bar dances may be phrased A.A.B.B.B. (as in Barley Bree 4 x 40 bar Jig), A.B.A.B.B. (e.g. Mairi’s Wedding (8 x 40 bar Reel) or A.B.C.B.C (e.g. Golden Pheasant 8 x 40 bar Jig). Many of the 48 bar dances are published with A.B.A.B.A.B. phrasing (e.g. Hamilton Rant 8 x 48 bar Reel, Waverley 8 x 48 bar Jig, Airdrie Lassies 4 x 48 bar Jig) but more often than not most bandleaders play them in A.A.B.B.A.B. phrasing to make them easier to remember (and play) ‘on the night’.
The most important use of phrasing is to ensure that the music ‘fits’ the dance and that the dancers do not ‘cut across’ the music. The bars for the reel Nottingham Lace, for example, are 24+48+24 but the middle 48 bars should be played in 24 bar phrases to fir the dance – I personally use A.B.B. phrasing when I play this dance.
This article on playing for dances would not be complete without some mention of tempo – a thorny issue at the best of times! No two dance groups will like the music to be played at the same speed which can range from strict tempo (for RSCDS dances) to up-tempo (for ceilidhs). No further advice can be proffered!!
The one dance I have not yet explained how to play for(for those of you who might otherwise continue to play ubtil the dancers screamed ‘Stop’!) is of course The Eightsome Reel. This is simply a 40 + (8 x 48) + 40 bar Reel, the original tune usually being The De’il Amang the Tailors. Incidentally 24 bar phrasing (A.B.B.) for the ‘middle’ section generally works well. Happy playing….
The Johnstone Family Gallery
CD Reviews
The Gary Blair Ceilidh Band – Missing Time – GBCD001
David Vernon – Playing With Fire – KEL3429
Letters to the Editor
The decision by Kevin Dorian, the Head of Physical Education at St. Joseph’s Academy in Kilmarnock to rename one of the most popular traditional Scottish dances is another shining example of this wonderful world of ‘wierdos’ trying to make everything so ‘politically correst’. Mr Dorian has been teaching pupils the ‘Gay Gordons’ for the school’s Christmas Party, but he has decided to rename the dance the ‘Happy Gordons’ because of the modern meaning of the word ‘Gay’.
Perhaps Mr Dorian is unaware of the fact that the Gay Gordons is a military style dance for couples written at the turn of the century to celebrate the gallantry and the spirit of the Gordon Highlanders Regiment. It is one of the easiest and finest traditional dances and was probably known by every Scottish child, and is always included in any dance programme.
Perhaps the teacher should be educating the children in the true meaning of the word, instead of trying to change the entire sequence and leave the traditional dances with their historic connections as they have been for hundreds of years.
Sadly the problem with so many aspects of our language and culture is that the decisions and directions are being made by so many men who want to be women and women who want to be men!
John McDonald, Kirkcaldy
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
5th Dec 98 – Colin Dewar SDB & feature from Highland A&F Club’s 25th Anniversary
12th Dec 98 – Bruce Lindsay SDB
19th Dec 98 – Allan McIntosh & the Heather SDB
26th Dec 98 – Alasdair MacCuish & the Black Rose Ceilidh Band + Rohallion from the Riverside Club, Glasgow
2nd Jan 99 – John Renton SDB from Inveraray Community Centre
9th Jan 99 – Ron Kerr SDB
16th Jan 99 – Ian Thomson SDB
23rd Jan 99 – Gordon Shand SDB
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (White Swan Hotel) – members only 9th Dec 98 – tbc 6th Jan 99 - tbc
Annan (St Andrew’s Social Club) - 21st Dec 98 – Dance to John Douglas 17th Jan 99 – Jimmy Lindsay SDB
Arbroath (Viewfield Hotel) - 6th Dec 98 – Club Night 28th Dec 98 – George Rennie 3rd Jan 99 – No meeting
Armadale (Masonic Hall) – 10th Dec 98 – Gordon Pattullo 7th Jan 99 – Walter Perrie
Ayr (Gartferry Hotel) – ?
Balloch (St. Kessog’s Hall) – 20th Dec 98 – Jim Johnstone SDB 17th Jan 99 – Iain Lockhart SDB
Banchory (Burnett Arms Hotel) – 28th Dec 98 – Bill black SDB 25th Jan 99 - tbc
Banff & District (Banff Springs Hotel) – 23rd Dec 98 – No meeting 27th Jan 99 – Lynne Gould SDB
Beith & District (Hotel de Croft, Dalry) – 21st Dec 98 – Sandy Legget SDB 18th Jan 98 – William Bradley
Belford (Community Club) – 24th Dec 98 – No meeting 28th Jan 99 – Pentlands Ceilidh Band
Biggar (Municipal Hall) – 13th Dec 98 – Sandy Legget SDB 10th Jan 99 – Kenny Johnstone
Blairgowrie (Moorfield Hotel) - 8th Dec 98 – Gary Donaldson Trio 5th Jan 99 - tbc
Bromley (Trinity United Reform Church) - 8th Dec 98 – Paul Brown & Martin Anthony 12th Jan 99 – Ian MacKenzie
Button Key (Windygates Institute) – 10th Dec 98 – Jim Johnstone SDB 7th Jan 99 - tbc
Campbeltown (Royal or Argyll Hotel) - ?
Campsie (Glazert House Hotel) - 1st Dec 98 – John Morgan 5th Jan 99 – Robert Whitehead SDB
Carlisle (Border Regiment Club, Carlisle Castle) - 3rd Dec 98 – The Bon Accords 7th Jan 99 – Julie Best
Castle Douglas (Ernespie House Hotel) – 15th Dec 98 – Ceilidh 19th Jan 99 – Una Bryson (solo)
Coalburn (Miners’ Welfare) - 17th Dec 98 – Jock Loch & the Blackthorne CB 21st Jan 99 – Roy Hendrie SDB
Crathes (Crathes Hall, Banchory) - 13th Dec 98 – All players welcome 10th Jan 99 - All
Crieff & District (Arduthie Hotel) 3rd Dec 98 – Lomond Ceilidh Band 7th Jan 99 – No meeting
Dalriada (Argyll Arms Hotel, Lochgilphead) 15th Dec 98 – Christmas Party 19th Jan 99 – Ryan McGlynn SDB
Dingwall (National Hotel) – 2nd Dec 98 - Ali MacKenzie & Gary Robertson 6th Jan 99 – Frank Thompson & Friends
Dunblane (Westlands Hotel) – 15th Dec 98 – No meeting 19th Jan 99 – Lindsay Weir SDB
Dunfermline (Headwell Bowling Club) – 8th Dec 98 – Alan Gardiner 12th Jan 99 Lomond Ceilidh Band
Dunoon & Cowal (McColl’s Hotel) 11th Dec 98 – McColl’s Weekend 8th Jan 99 - tbc
East Kilbride (Sweepers, Cambuslang) – 24th Dec 98 – No meeting 28th Jan 99 - tbc
Ellon (Station Hotel) – 15th Dec 98 – No meeting 19th Jan 99 – Frank Thompson SDB
Fintry (Fintry Sports Centre) – 21st Dec 98 – Alan Ross SDB 18th Jan 99 – Andrew Gordon SDB
Forfar (Plough Inn) - 27th Dec 98 – No meeting 24th Jan 99 - tbc
Forres (Brig Motel) – 9th Dec 98 – Bill Brian & Ena Anderson 13th Jan 99 – Graeme Mitchell SDB (21st Birthday)
Fort William (Alexandra Hotel) – ?
Galashiels (Abbotsford Arms Hotel) – 3rd Dec 98 – Colin Dewar 7th Jan 99 – Club Night
Galston (Barr Castle Social Club) – 14th Dec 98 – Burns Brothers 11th Jan 99 - Morag Robertson Trio
Glendale (Black Bull Hotel – Wooler) – 17th Dec 98 – Maurice Duncan 21st Jan 99 – Jim Lindsay (Guildtown)
Glenfarg (Lomond Hotel) - 2nd Dec 98 – Maureen Turnbull Duo 6th Jan 99 – Bruce Lindsay Trio
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 29th Dec 98 – tbc 26th Jan 99 - tbc
Gretna (Halcrow Stadium) - 6th Dec 98 – John Renton SDB 3rd Jan 99 - tbc
Highland (Drumossie Hotel) – 21st Dec 98 – John Renton SDB 18th Jan 99 – Lindsay Weir SDB
Inveraray (Loch Fyne Hotel) - 1st Dec 98 – Fiddlers 3 + 2 5th Jan 99 – John Renton SDB
Islay (White Hart Hotel) - ?
Isle of Skye – (The Royal Hotel, Portree) - 11th Dec 98 – Dance – Hector McFadyen SDB 7th Jan 99 - tbc
Islesteps (The Embassy Hotel) – 1st Dec 98 – Keith Dickson 5th Jan 99 John Douglas
Kelso (Ednam House Hotel) – 16th Dec 98 – Marian Anderson SDB 27th Jan 99 – Roger Dobson SDB
Kintore (Torryburn Hotel) – 2nd Dec 98 – Dave Stewart & Rab Smillie 6th Jan 99 No meeting
Lanark (Masonic Hall) - 19th Dec 98 – Dance to Lothian & Borders Trio 25th Jan 99 - tbc
Langholm (Crown Hotel) – 9th Dec 98 – Roger Dobson 13th Jan 99 – Club Night
Lesmahagow (Masonic Hall) – 10th Dec 98 – Iain Buchanan SDB 14th Jan 99 – John Douglas SDB
Lewis & Harris (Stornoway Legion) - 3rd Dec 98 – tbc 7th Jan 99 - tbc
Livingston (Cairn Hotel) - 15th Dec 98 – No meeting 19th Jan 99 – Iain MacPhail & Friends
Lockerbie (Queen’s Hotel) - 29th Dec 98 – No meeting 26th Jan 99 – Burns Brothers Duo
Mauchline (Sorn Village Hall) 15th Dec 98 – Jean McConnachie SDB 19th Jan 99 – Marie Fielding
Montrose (Park Hotel) – 2nd Dec 98 – Lomond Ceilidh Band 6th Jan 99 No meeting
Muirhead (Belmont Arms, Meigle) - 16th Dec 98 – Local artistes 20th Jan 99 – Local artistes
Newtongrange (Dean Tavern) – 28th Dec 98 – No meeting 25th Jan 99 – Willie McFarlane SDB
North East (Royal British Legion, Keith) – 1st Dec 98 – Jennifer Forrest SDB 5th Jan 99 – The Fochabers Fiddlers
Oban (McTavish’s Kitchen) – 3rd Dec 98 – David Vernon 7th Jan 99 - tbc
Orkney (Ayre Hotel, Kirkwall) – Close season
Peebles (Green Tree Hotel) – 24th Dec 98 – No meeting 28th Jan 99 - tbc
Perth (Salutation Hotel) – 15th Dec 98 – No meeting 19th Jan 99 – Gordon Pattullo
Premier NI (Camlin Function Rooms) - 1st Dec 98 – tbc 5th Jan 99 - tbc
Reading Fiddlers (Piggot School) - ?
Renfrew (Masonic Hall, Broadloan) – 8th Dec 98 – Charlie Kirkpatrick Trio 12th Jan 99 Seamus O’Sullivan
Rothbury (Queen’s Head) - 3rd Dec 98 – Brian Griffin Duo 7th Jan 99 – Eric Goodfellow Jnr SDB
Selkirk (Cricket Club) - 10th Dec 98 – Roger Dobson SDB 14th Jan 99 – Webster Craig
Shetland (Shetland Hotel, Lerwick) - ?
Stirling (Terraces Hotel) - 13th Dec 98 – Bill Black SDB 10th Jan 99 – Sandy Nixon SDB
Sutherland (Rogart Hall) - 5th Dec 98 – Wick Young Fiddlers 23rd Jan 99 – Graeme Mitchell
Thornhill (Masonic Hall) - 9th Dec 98 – William Bradley SDB 13th Jan 99 Club Night
Thurso (Pentland Hotel) – 14th Dec 98 – Bobby Coghill SDB 11th Jan 99 – Thurso & Dounreay S & R Society
Turriff (Royal Oak Hotel) – 3rd Dec 98 – Susan Simpson Quartet 7th Jan 99 – Kathleen & Ian Hadden & Friends
Tynedale (Hexham Ex Service Club) – 1st Dec 98 – Jim Johnstone SDB 5th Jan No meeting
Wick (McKay’s Hotel) – 15th Dec 98 – tbc 19th Jan 99 - tbc
Yarrow (Gordon Arms) - 16th Dec 98 – tbc 13th Jan 99 - tbc
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Annan
3. Armadale
4. Banchory
5. Beith
6. Biggar
7. Blairgowrie
8. Bromley
9. Button Key
10. Carlisle
11. Campsie
12. Castle Douglas
13. Coalburn
14. Crathes
15. Crieff
16. Dalriada
17. Dingwall
18. Dunblane
19. Dunfermline
20. East Kilbride
21. Forres
22. Glendale
23. Glenrothes
24. Gretna
25. Highland
26. Inveraray
27. Isle of Skye
28. Islesteps
29. Kelso
30. Lanark
31. Lesmahagow
32. Livingston
33. Lockerbie
34. Montrose
35. Muirhead
36. Newtongrange
37. Peebles
38. Perth & District
39. Renfrew
40. Rothbury
41. Thornhill
42. Thurso
43. Turriff
CLUB DIRECTORY AS AT OCT 1998
(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 (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
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. Bromley A&F Club
15. Button Key A&F Club (
16. Campbeltown A&F Club (
17. Campsie A&F Club (Nov 95 – present)
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. Dingwall & District A&F Club (May 1979 – per first report)
24. Dunblane & District A&F Club (1971 – present)
25. Dunfermline & District A&F Club (1974 – per first edition)
26. Dunoon & Cowal A&F Club (
27. East Kilbride A&F Club (Sept 1980)
28. Ellon A&F Club (
29. Etterick & Yarrow (Jan 1989 -
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Galashiels A&F Club (joined Sept 1982 - present)
34. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
35. Glendale Accordion Club (Jan 1973)
36. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
37. Glenrothes A&F Club (Mar 93?
38. 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)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Feb 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (June 1983 – present)
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Ladybank A&F Club (joined Apr 98 but formed
47. Lanark A&F Club (joined Sept 96 – present)
48. Langholm A&F Club (Oct 1967 - present)
49. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Mauchline A&F Club (Sept 1983 - present)
54. Montrose A&F Club (joined Sept 1982 - present)
55. Muirhead A&F Club (Dec 1994 -
56. Newtongrange A&F Club (joined Sept 1977 - present)
57. North East A&F Club aka Keith A&FC (Sept 1971 - present)
58. Oban A&F Club (Nov 1975 - present)
59. Orkney A&F Club (Mar 1978 - present)
60. Peebles A&F Club (26 Nov 1981 - present)
61. Perth & District A&F Club (Aug 1970 - present)
62. Premier A&F Club NI (April 1980)
63. Renfrew A&F Club (1984 -
64. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
65. Reading Scottish Fiddlers (cMarch 1997
66. Scottish Accordion Music – Crathes (Nov 1997 -
67. Selkirk A&F Club (
68. Shetland A&F Club (Sept 1978 - present)
69. Stirling A&F Club (Oct 1991 - )
70. Sutherland A&F Club (
71. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
72. Thurso A&F Club (Oct 1981 - present)
73. Turriff A&F Club (March 1982 - present)
74. Tynedale A&F Club (Nov 1980 - present)
75. Vancouver
76. 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?)
77. Acharacle & District A&F Club (cMay 1988)
78. Bonchester Accordion Club (Closed?)
79. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
80. Brigmill A&F Club (Oct 1990) Closed
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. Derwentside A&F Club
91. Dornoch A&F Club (first mention in directory 1986)
92. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
93. Dunbar Cement Works A&F Club (Closed?)
94. Dundee & District A&F Club (1970? – 1995?)
95. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
96. Falkirk A&F Club (Sept 1978 - )
97. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
98. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
99. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
100. Kirriemuir A&F Club (cSept 1981)
101. M.A.F.I.A. (1966 – 1993?)
102. Monklands A&F Club (Nov 1978 – closed cApril 1983)
103. Morecambe A&F Club (joined Sept 1982)
104. Mull A&F Club
105. Newcastleton Accordion Club
106. New Cumnock A&F Club (cMarch 1979)
107. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
108. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
109. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
110. Straiton Accordion Club (c1968 – closed March 1979)
111. Stranraer & District Accordion Club (1974 – per first edition)
112. Torthorwald A&F Club (near Dumfries)
113. Tranent A&F Club
114. Walmer (Bridge of Allan) A&F Club
115. Wellbank A&F Club
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