Pipe Major Donald Shaw Ramsay
Will You All Sit Down Till We See Where We Stand
By Norman Y. Williams
A couple of days after Easter 1988, and I was on my equivalent of a "Visit tot the Holy Land". The weather was superb, the surroundings idyllic and the big snowy ramp of Schiellion lay over to the left as I headed for Kinloch Rannoch. My goal? - the home of none other than Pipe Major Donald Shaw Ramsay B.E.M.
Now, what had prompted this expedition? I had known of the gentleman for many years, his "Edcath Collections" had always been favourites, in fact, Book 1 was so well thumbed and had become so loose-leaf that a second copy had to be purchased. But it was a "Shepherd's Fancy" interview with the P/M that spurred me on to arrange a visit. The views expressed on the programme regarding the Scottish Dance Music scene were so well informed and so refreshingly forthright, that I felt I just had to meet this man.
My "appointment" made by 'phone was for 1 p.m. and in view of the obvious no-nonsense approach I cruised around well in advance so that I could drop in exactly on time.
The first surprise came as I drove up to the neat little bungalow, a "For Sale" notice at the gate, but more of that latter. The P/M and his wife were sitting out on the lawn enjoying the glorious sunshine and gave me a warm greeting as I stepped unceremoniously over the fence - I had gone round the wrong way - and I immediately at home.
Donald Shaw Ramsay measured up exactly to my pre-conceived image of him, bronzed, well built and full of life, his whole set one of enthusiasm.
Not unexpectedly, preliminaries were kept to a minimum and within 2 or 3 minutes, literally, we were into the story of a remarkable career, so fascinatingly told that four and a half hours slipped past in what seemed a quarter of that time.
Early Days
A farmer's son, Donald Shaw Ramsay was born in 1919, near Torphichen, in the Parish of Muiravonside ("a" as in "ah") which lies between Falkirk and Bathgate. His interest in piping and pipe bands was kindled at a very tender age, thanks to his father, himself a fiddle player, who used to take him along to the annual St john's Gala Day at Bathgate, where all the local schools gathered to march in procession behind the pipe bands.
He started learning the pipes at the age of 8, and in his teens he attended two sessions a week, for band work and pibroch respectively, and such was his progress in the latter that his instructor, P/M Sandy Forrest took him to the Northern Meeting in Inverness where he was runner-up in the Under-21 Pibroch Class, the late Peter MacLeod Jnr being third.
D.S.R.s account of that Inverness trip was highly entertaining. He was in illustrious company right enough, sharing a railway compartment with among others P/M Robert Reid, P/M Willie Logie of the Seaforths - one of the compilers of the early "Seaforth Collection" and last but not least, the big man, P/M of the 2nd Scots Guards, Jimmy Robertson. The latter assumed responsibility for D.S.R.s sleeping arrangements and passed him into the care of a Colour Sergeant at Inverness Castle, whose opening gambit was
"So you're going to be competing at the Northern Meeting?"
D.S.R. "That's right"
"Are you a good player?"
D.S.R. "Well I try"
"Are you going to win?"
D.S.R. "Oh, I don't know"
Oh my, that's the wrong attitude, you're going to win aren't you?"
D.S.R. "I'll do my best"
"No, no, you can't just do your best, you're going to win!"
On the morning of the Meeting a taxi was called to take the party to the park. D.S.R. was put in first into a corner, followed by P/Ms Reid and Robertson. They were sizeable men and as they bent down to put in their pipe cases there was nothing but big "beam ends" sticking out of the doors, and P/M Willie Logie was stranded on the pavement. A native of the Elgin or Nairn areas, he possessed a "pawky turn of phrase" and came out with this classic "Will you all sit down 'till we see how we stand!"
In addition to all this competitive piping and band work, D.S.R. still had to find time to go to school, firstly at Drumbowie near Avonbridge, finishing at Falkirk High, whence he took up an engineering apprenticeship in Bathgate, as a machinist. When still barely nineteen there came a very significant step in his career. He was asked by his mentor P/M Forrest to take over as P/M of a band near Falkirk. A year in this post gave him invaluable experience which was to stand him in good stead for what lay ahead. A sobering revelation being, that "One cannot be a gentleman all the time, if standard and discipline count for anything".
10th Battalion H.L.I.
Then came the War in September, 1939. The Glasgow Regiment, the Highland Light Infantry needed a second line battalion which would normally been hived off the existing 5th, but owing to circumstances a completely new group, the 10th Battalion, was to be set up under a Colonel Morrison. The Colonel, although not a piper himself, was very interested in, and knowledgeable about, the noble instrument - he couldn't stand slovenly playing and considered a good pipe band as a prerequisite of a good battalion.
He had heard of D.S.R.s growing reputation as a competitor and pipe major and had "put out feelers" in his direction. On one occasion, Donald happened to go into Henderson's bagpipe shop in Renfrew Street, Glasgow and the manager Archie MacPhedran (ex H.L.I.) said "Just the very man, hold on!" and then and there rang up Colonel Morrison who "hot-footed" it over and "interviewed" the very surprised young man on the spot. He probed about D.S.R.s pending call-up and asked if he would be prepared, not only to join the new battalion, but to become its P/M and form a pipe band. "Can I lean on you to hold back and quote me when your call-up papers arrive?" D.S.R. agreed, and was duly called to Stirling Castle for a medical and interview and was then posted to the 10th H.L.I. which was forming up at Galashiels. No sooner done, than a letter arrived saying he was too young (19) to become a P/M, must be at least 21, because the rank carried considerable authority. He contacted Colonel Morrison who, assisted by a legal background, did a quick "Jim'll Fix-it", and everything in the garden was lovely, or almost so - a band still had to be formed. From what I had heard so far and from trophies which I had spotted discreetly tucked away, it was obvious that P/M Ramsay was a perfectionist, not interested in second best, had great determination and could be very firm when required. So it came as no surprise to learn that by dint of very hard work, 6 hours practice every day, he succeeded in knocking a competent band into shape, where lesser mortals might have failed.
For the next 3 or 4 years, as part of the 15th Scottish Infantry Division, the 10th Batallion moved around the country, training, on exercises and defense duties etcbut in June, 1944 they crossed into Normandy, and into action which was to culminate in the crossing of the Elbeand the victory in Europe. But, thanks to P/M Donald Shaw Ramsay an earlier crossing is more likely to "strike a chord", if you'll pardon the expression, in piping and Scottish Dance Music circles.
In the early '50's a "Call of the Pipes" selection played by the Ian Powrie band and released on "Beltona" featured two 6/8 marches, "Lord MacPherson of Durmochter" and "A. N. Other". This second tune has been played countless times by numerous bands and thousands must have "tripped around thefloor" to it, but few will have been aware of the drama behind the title. It wasn't just a convenient title to stick on a new tune and holds great poignancy for the composer, D.S.R., and for many others who shared his unforgetable experiences on one particular night in March, 1945.
Crossing the Rhine
Just after midnight on the 23rd, the 10th Battalion who had "lain doggo" under the cover of Hochwald Forest throughout the day, about two miles from the Rhine, embarked in 36 Buffaloes (tracked amphibious personnel carriers) and 30 minutes later set off slowly, in line ahead, towards the river, the noise of the vehicles being drowned out by the terrific barrage, which had been going on continuously since 6 p.m. They reached the river dyke, and at precisely 2 a.m. the Buffaloes of the two leading companies slithered into the water and made off without any signs of enemy fire - the barrage had done its job. Unhappily, however, some of the carriers overtuned trying to mount the far bund. When the luckier buffaloes had disgorged their personnel, the remaining 3 companies tackled the half-mile stretch of water, with the 51st Highland Division on their left and the commandos to the right. As this contingent included the H.Q. Company they were accompanied by something else unique to Scottish Regiments and of which we must all feel justifiably proud – the sound on the bagpipes. Yes, perched precariously and uncomfortably on the top edge of the half inch armour plate at the front of each H.Q. Company carrier, was a piper. One of these doughty souls was, of course, P/M Donald Shaw Ramsay – “You just played anything that came into your head”.
Six weeks later, i.e. about 10 days after V.E. Day, as the 15th Division unwound in the peace and quiet of the attractive wee town of Lubeck, near the Baltic, D.S.R was to pen the 6/8 in D which was to become so popular with Scottish Dance Bands, “The 10th Battalion H.L.I. Crossing the Rhine”. So next time you are sloping round in an “Eva Three Step” or a “Gay Gordons” to this tune, spare a thought for the part played (literally) by the P/M and his men in the operation behind the title.
The Edinburgh Polis
After de-mob from the Army, D.S.R. joined the Edinburgh City Police and it goes without saying, he also joined the Pipe Band. Within the short space of 2 years he was voted in as P/M taking over from P/M Duncan Cameron, brother of the well known Ian C. Cameron. D.S.R. was summoned to the Chief Constable’s office and offered a seat, a most unusual privilege. The Chief, Sir William Morran, then confided that at functions he was embarrassed sitting next to the C.C. of Glasgow, because the subject of pipe bands inevitably cropped up. The Edinburgh Band had become a bit of a joke, and it was costing a small fortune to send it around the country to competitions with little to show for it “I want results” – “I’m only a junior constable, sir, will I have a free hand” – “Yes”.
Ramsay , You’re Ruining this Band
D.S.R. then set about things in earnest with his characteristic thoroughness. Each player was recorded solo, and also given a taped copy, played by the P/M, of the music to be used in competition. Then it was up to each individual to practice on his own in addition to 2 hours with the band, twice a week. After twelve weeks a report was written on each piper’s performance, and after discussion with the player concerned, was submitted to the Chief constable. D.S.R. felt that six men should go. Once again he was summoned to the Chief’s office – no seat this time! “Ramsay, you’re ruining this band, we’ll soon have no band left!” “Well sir, it’s either no band or no championships”. So the P/M got his way and six men duly left, the farewells being tactfully handled. The ability to do this without any animosity further demonstrated this man’s great strengths and qualities.
New recruits were required to fill the gaps, but this was easier said than done. There was a complete dearth of suitable Police pipers in the Edinburgh area so D.S.R. had to go north and west on a recruiting campaign. In the Lochboisdale area he cam across a first class player, one Donald Morrison, who successfully completed his test papers and application for the police but was turned down ostensibly on height grounds, but in those less enlightened days other factors weighed against him – he had no friends in the area and he was a Roman Catholic. However this rather sad state of affairs had a happy ending, of which more later.
“I’m on the malt ,sir”
The search continued and another young recruit was tracked down, one of Scotland’s finest pipers, George Lumsden, of Kinross. He was invited to apply, but like Donald Morrison was turned down, this time for being under weight! This kind of thing wasn’t going to do, there had to be a way round it, and there was. Curved steel pressouts were obtained from Robb’s Shipyard in Leith and sewn into the turn-ups of Lumsden’s trousers. When the time was ripe i.e. the police surgeon away and his deputy on duty, they waded in and won the day. “I see you have been underweight on several occasions, but you’re okay now, how come?” “I’m on the malt, sir!” The same George Lumsden has just recently retired as P/M of Lothian and borders Police Pipe Band – there’s a moral there somewhere.
When D.S.R was “on the mat” for decimating the band the Chief had said “All right, do it your way” and his way he most certainly did it. By now he was really piling the pressure on, discipline had been tightened up and the band was practicing 5 or 6 nights a week. In less than a year, in fact about 6 months from reaching the full quota of pipers, the P/M took his band to the World Championships in Dundee and led them into first place (1950), a remarkable achievement by any standard and almost unbelievable considering the time scale. This was the Edinburgh City Police Pipe Band’s first major championship win since 1919. Under D.S.R. they were to take the “Worlds” again at Aberdeen in 1954.
Following the 1950 success, the P/M collaborated with an Edinburgh businessman, Hugh MacPherson, to produce the excellent aforementioned book of pipe music, with drum beatings included, “The Edcath Collection Book 1” published in 1953. Why Edcath? – Well, Hugh had been domiciled in St Catherines, Ontario for a while and when he returned he set up a business in Edinburgh’s West End – it’s still there incidentally and the name was concocted from these two locations. This book and its companion, “Edcath Book 2” have proved to be great favourites on the Scottish Dance Band scene and with festival competitors. They include compositions by such players as Jimmy Shand and Alisdair Downie, a pointer to the fact that D.S.R. is in no way insular, and is prepared to accept good music suitable for the pipes from whatever source.
During this period in the mid-‘50’s, the P/M was also taking a great interest in our type of music and the dance bands of the time and he became particularly friendly with two band leaders with widely contrasting styles viz. Bobby MacLeod and Tim Wright. The former was invited several times to play with his band at the Police Pipe Band Ball, which was held annually in Leith, with an attendance of around 1,000. In Bobby MacLeod, D.S.R. had found a true kindred spirit, someone who could really interpret pipe music on the accordion. He doesn’t know which he enjoyed more, the music during the dance or the wee private sessions with Bobby and “Pibroch” MacKenzie before and after the function.
“The Left Handed Pigeon”
The links with Tim Wright were forged, firstly, through an incident where the evening’s takings at the Cavendish Ballroom went “walkies”, and then from spot appearances of police pipers at some of the Highland Balls, to play foursome and eightsome reels etc. During such breaks, Tim’s players would normally have gone for a coffee – “no drams, just a coffee” – but they were so interested in the tunes used by the pipers that they skipped their interval to stay and listen to strathspeys and reels they had never heard. Andrew Bathgate, of the Tim Wright Band, had his own titles for some of the pipers offerings. We’ve all heard of the “Left Handed Fiddler” and “The Pigeon on the Gate” but what about the “Left Handed Pigeon!”.
Reference was made earlier to a certain Donald Morrison of Lochboisdale, who was refused entry to the police ostensibly because of his height. One day in 1954, D.S.R. was called to the Chief’s office and introduced to Chief Constable Morrison of Aberdeen and left to have a chat with him in private. The C.C. told the P/M that he counted a good Police band as a civic necessity and – “To put it bluntly, I want to transfer you to Aberdeen because you’ve done such a grand job here. I can guarantee you promotion”. But D.S.R. felt he couldn’t possibly let go just like that and turned down the offer. It was then put to the other members of the band, with the promise of promotion within 6 months – still no takers. D.S.R. told the Aberdeen Chief “You’ve no idea what goes into this, practicing 6 days a week in your own time, but maybe I can help you, I know a potential young recruit who is one of Scotland’s finest pipers”.
Donald Morrison was contacted, admitted to the force, signed up as P/M and completed 30 years in that capacity! Another satisfactory conclusion, thanks to D.S.R’s diligence and good judgement. Incidentally Donald Morrison passed away recently.
Shot at Point Blank Range
One particular day in March, 1957proved to be a very black one for the Edinburgh P/M. While arresting a young gunman in the city, he was shot at point blank range, the revolver bullet puncturing his intestines in 22 places! Needless to say the recovery from the incident was traumatic and very slow. When eventually allowed back on duty D.S.R. was kicked on the wound by a youth, during a domestic fracas, and passed out. The police surgeon went berserk, and the P/M was put on the sick list for a further 6 months but didn’t make much of it and on the advice of the medical staff, he was retired from the force in 1958 and emigrated to the warmer climate of California to regain his health. He was succeeded by P/M John D. Burgess who, after only a year, handed over to Iain MacLeod in 1959. The winning streak started by D.S.R. continued for the next 17 years under P/M MacLeod the band taking no less than five World Championships during that period.
We’ll leave this part of the story for the moment and backtrack briefly to an interesting point (one of many) which emerged during our chat. Any Scottish Dance Band instrumentalists who have played along with the pipes will know that they have to lift the key a semi-tone above the normal eg. A becomes B flat, D becomes E flat and so on. However, this was apparently not always the case. When D.S.R. took over the Edinburgh City Police P.B. the pitch of the MacRae chanters then in use was “flat and uninspiring” and the P/M decided that something fresher must be found. He had become acquainted with a bagpipe maker in Edinburgh by the name of Hugh Robertson, who produced a chanter higher than any competing at the time. D.S.R. asked Hugh to supply 24 chanters set at an even higher pitch, set at an even higher pitch, the reply being “You’re having me on”. Nothing daunted the P/M then produced an old Robertson chanter salvaged some time previously from an Arbroath rubbish bin by a policeman, George Grieve, who has since become Pipe Sergeant with the Edinburgh band. This chanter was duly gauged and checked by Hugh Robertson, who was amazed at the tremendous tone and high pitch. He went ahead and turned out a batch of these chanters and in the first contest of the year the City Police were the talk of the day. The late P/M Tom McAllister Snr of Shotts and Dykehead addressing his sons, was quoted thus – “Boys” he says “I don’t know where he’s getting the tone, that’s beautiful, but don’t tell him, we’ll have to look into this”.
Recounting the story D.S.R. continued “I was getting a lot of attention, people saying “You’re playing well” , whenever you get that “Look Out” . it’s nothing to do with your playing, they’re wanting to know something”.
In addition to holding their tuning better, the higher pitched chanters, up by about half a semi-tome, meant that military bands could now play happily alongside the pipes without having to flatten down, as had been the case with the traditional chanter. This was a real breakthrough and the higher pitched chanter became the “norm” in the pipe band world.
“Wee men pushing barrows”
I asked D.S.R. if problems arose in the early days before the mass changeover, where high pitched chanters were mixed with the more traditional variety in a massed band context. “No problem, it’s like those big Caledonian fiddle orchestras, they get away with it. You have a few players who are in correct pitch, but the majority are tuned either side of centre”.
Having played with a Strathspey and Reel society for a few years, I knew well what he meant. The net result, a broad-band, woolly sound which is nevertheless comforting and pleasing to the listener. As for togetherness, back to D.S.R. “A few of the fiddlers are in time with the conductor, but there are others pressing on in front like “ wee men pushing barrows up a hill” and other “laid back” souls strolling along in the rear. But what amazes me is they all seem to manage to finish together – almost!” In a wicked kind of way I was enjoying this bit immensely but we had to push on, there was so much more to hear.
However, back to California, to San Francisco no less. When the Ramsays first went out, D.S.R. worked in the Trust Department of the Wells Fargo Bank, where after a year he was offered the post of manager of the Department, that says something about the man, but declined and left the firm shortly afterwards to set up a business on his own, a type of “Highland Supplies”.
This was going well until 1964 when his wife, Bessie who worked in the shop, was help up by hoodlums. However, coincidentally just at that time Frank Thomson, the owner of the Invergordon Distillery, was out in California and he made contact with the P/M. “I’m going to produce Scotland’s finest whisky and I also want to produce one of the finest pipe bands the country has ever seen”. So he asked D.S.R. to come back home and set up just such a band. Because of the hold-up the family’s morale was at its lowest and after discussing the matter with their daughter and son-in-law who also lived in California, they returned to Scotland – “a breath of fresh air”.
The help of a number of start players was enlisted, among them John D. Burgess and John McDougall and the late Alex Duthart was persuaded to leave “the Shotts” and go north to form a drum corps. The Invergordon Distillery Pipe Band was on its way. Unfortunately, during my first visit to Kinloch Rannoch, time did not permit me to get more than the scantiest details of the bands progress and history, but it certainly had one or two successes in competitions. During a second spell back in San Francisco , 1970-76, D.S.R. received a call from the headmaster of a big private school in Houston, Texas inviting him to pay a visit to discuss the possibility of starting a school pipe band. When he and Betty got there they found it too hot, and the cockroaches too numerous, but they agreed to spend a short spell there each quarter. When asked how long it would take to assess the number of potentially good pipers, D.S.R. said “six weeks” and promised to give a report on each boys progress at the end of this period , no mean task considering there were 150 of them. Out of this number he narrowed it down to 6 or 7 very good players, one being none other than Mike Cusack, a household name among pibroch enthusiasts, who came over to Scotland and took the Gold Medal at Oban and Inverness, the first American to do so.
A further success was notched up when a juvenile band from the school also came over and came top of their grade at the World Championships. Two or three of his other prodigies achieved the highest standards, one also being a champion golfer who could hole-in-one in D.S.R.s Balmoral (placed on the ground of course), from any desired distance. When the player concerned said he intended to become a professional golfer, the P/M just had to agree that he would certainly make more money that way, than playing the pipes.
In the light of his experiences in America, and of what he had heard and seen of the trans-Atlantic bands competing in this country – both as a spectator and adjudicator – D.S.R. asserts that Scotland can no longer be called “the” piping domain thanks to the sizeable number of competent pipers and drummers who have emigrated and passed on their skills to those in foreign parts. This can only be good or the world of piping and pipe bands and should act as a successful antidote to any complacency which may have been developing here at home.
Earlier on, mention was made of D.S.Rs interest in Scottish Dance Music and dance bands in the early ‘50’s. This interest has remained undiminished and he and his wife tune in to “Take the Floor” and the like on every possible occasion. Those who heard the “Shepherd’s Fancy” interview with the P/M will recall that he listens to all these performances with a very critical ear. He is a stickler for correct interpretation and is absolutely insistent that it should be mandatory to give notes their correct value, as written.
“They’re at it”
“I have been disgusted at the handling of strathspeys and reels by some of the players”. He went on to point out that the shortest musical note in a strathspey or reel is a semi-quaver and it should get its full value and not be played as a demi-semi quaver or sometimes even shorter. “Fiddlers are the world’s worst for this, followed by accordionists. Some of our finest exponents on the violin today are at it, no doubt about it – they’re at it!”.
At this junction he diddled over a strathspey to back up the point, because I had not really been aware of the fact that this misinterpretation was rife in our music. However, it was brought home to me very forcibly two or three weeks later, during a “Take the Floor” programme featuring one of the top league Scottish Dance Bands. In the front line was a highly respected fiddler, a strong player, who proceeded to mutilate one of my favourite strathspey tunes in exactly the manner highlighted by D.S.R.
And apparently pipe bands are not blameless in this respect either – two world championship winners no less, were singled out as being guilty of clipping.
“You also get this cutting in reel time and also in a way in 2/4 march time, but because the latter has 1/32nd notes through it, if a semi quaver is played as a 1/32nd it is not so noticeable because it blends with the written demi-semi quavers.
“Poppy Hachum Ta Tum”
“Balmoral Highlanders” was used to illustrate this.
In answer to an observation from yours truly, that it was often put forward that in pipe music short notes should be very short and vice-versa, he replied “That they must not be so short that they just become grace notes. They are musical notes and must be heard”. Again to simplify explanation, a reel “The Smith of Chilliechassie” (pronounced “Killyhassy”) was diddled over.
Still on the subject of strathspeys and reels, D.S.R. brought up the point that the majority of these written for the fiddle and accordion are two parted. Four measure tunes are more acceptable for pipe band performance, both for competition and recital work.
“It’s better to let a tune settle in, you want to enjoy it. If you have a good cup of coffee, you don’t want to have 2 sips and say, where’s that gone? – you haven’t had time to enjoy it”.
D.S.R. then related, how on one occasion he and Bessie were privileged to attend a function in Nova Scotia, a feast of piping and fiddling, which lasted from 7.30 p.m. until daylight – all coats confiscated to ensure attendance to the bitter end. The performers included such fiddle greats as Dan R. MacDonald and Scottie Fitzgerald and the P/M himself was to demonstrate his skills. With a recital of such duration the shortcomings of the two part tunes became obvious and the fiddle players were having to turn out reels and strathspeys by the dozen, spelling one another to keep things going. As their repertoire began to wear thin, our man volunteered “Why do you not adopt something like this?” and played through the aforementioned six part reel “The Smith of Chilliechassie”. Dan R.’s eyes were popping – he just couldn’t believe that it was just one tune from end to end. He wanted a copy there and then. It certainly does seem more logical to have 4 part strathspeys and reels as used in the piping world, rather than repeat a 2 part tune or dive into another piece, and it would be more interesting for both player and listener.
With regard to the use of pipe tunes by the Scottish Dance Bands, D.S.R. recommends that players should select tunes that can be played comfortably to produce the sound close to that dictated by the musical notation. This is especially so in the case of the accordion.
Take the hornpipe “Tam Bain’s Lum” for example. In the 2nd and 4th parts some accordionists use bellows shake to produce the repetitive B,D AND C# groups. In D.S.Rs opinion, and he composed the tune, this does not generate the correct sound – a piper cannot use shake, therefore the accordion player should play the notes as written, using the keys as the control. If he or she cannot master this, then it is better to leave it alone rather than to botch it. Hornpipes such as “Bobby Cuthbertson” and “Jackie Tar”, lend themselves better to the accordion.
On the other hand the fiddle comes out of this one better and in competent hands can cope adequately with tunes like “Tam Bain’s Lum”.
And talking of competent hands, D.S.R. singled out one fiddler for particular mention – Ian Powrie. He,it was, who first recorded the late P/M Willie Denholm’s “Royal Scots Polka” on Beltona in the ‘50’s and prior to putting it down he was in touch with our P/M to get wee wrinkles on the interpretation of the tune and made a good job of it. “Ian sticks to the idiom, more of less. He’s one of the truer exponents of the art”.
It’s only natural.
As some of you know I am very partial to G natural when playing pipe tunes and I just couldn’t let the chance go by without asking what his opinion was on the use of the natural when translating pipe music onto accordion or fiddle. Should one use it consistently or be selective depending on the tune. Although he felt that one or two pipe tunes, especially where high set might benefit from the use of G sharp, nevertheless, by and large, much to my pleasure and relief, he felt that the G natural should be used throughout. Oh, happy day!
If he were to be judging and accordion and fiddle competition where pipe music was being played, would he penalise the competitor who did not use the G natural? “My goodness no, if the competitors had not been alerted to this , I would only comment, because this would not be poor playing, just a matter of blending”.
I could go on and on, the P/M has so much to tell and in such an entertaining fashion, but shortage of space rules out the inclusion of so many items of interest concerning incidents and personalities in his career. For example, he was the first piper to play for the troops over the air on the British Forces Network in Germany. For this he had to play onto a 2 foot disc. Then there were records with the Police Pipe Band, a month of Scottish song and dance, also with the band in Bulawayo, Rhodesia, solo sessions with a classical orchestra, the David Nixon Show and so on. The string of notable happenings is endless.
D.S.R. is also a prolific composer, some of his published tunes are listed below. I understand others are in some Canadian books but I have not tracked them down as yet, and there is the possibility of a book of more of this work being published at some time in the future.
We all know the saying “Behind every successful man there is a ……….woman”. In the case of Mrs Bessie Ramsay , the missing word would certainly have to be devoted. It doesn’t take a clairvoyant to see that this is a very happy partnership indeed. The couple have been wed for 48 years and have one married daughter who lives in Trinidad, California, with her ex-policeman husband, and who unhappily suffers from the “Crest Syndrome Virus”, which is allied to rheumatoid arthritis, and which recurs periodically with severely crippling results. Because of this problem the P/M and his wife have made a number of trips across the Atlantic to visit the young couple, to give moral and physical support. Distance obviously makes this quite a major undertaking so they have decided to go over and stay for two or three years, hence the “For Sale” notice at the bungalow gate. A “granny flat” below their daughter’s house will enable them to be close without being in anyone’s way.
Now, how did Bessie meet her man? Through piping – surprise, surprise. Mention was made earlier of D.S.R.’s taking over as P/M of a mixed band in the Falkirk area when he was only 19. Not only was Bessie a member of that band, but she also travelled to band practices on the same bus as Donald. He admired her for her courage in learning to play the pipes, and after a short time “got to like her very much and suggested that we team up and go out together. When we first met, Bessie was on 6/8s but I wanted her to develop into 2/4s and use more of the sterner basic movements and get accustomed to them, because it can take about 6 months to get used to this. Everyone cannot play “Lord Alexander Kennedy” on their first night”.
However, it was difficult for Bessie to get peace at home for sufficient practice and it was embarrassing not to be able to reach the standard required by D.S.R. so the piping was abandoned. But her interest in the art has never diminished and she still accompanies her husband on all outings where piping is involved. This has been the case throughout their married lives.
One parting shot from the man, “When we were courting I was kind of worried because I thought I’d never be able to keep Bessie going in practice chanters because she was an awful one for chewing the end off the blowpipe!”.
The conversation had been so absorbing that suddenly it was 5.45 p.m. and we had been at it for four and a half hours, with a working tea half way through. I apologised for keeping them so long and took my leave, reluctantly, because there was still so much to hear and it had been such a pleasure in their company.
On the road home, I stopped at the Queen’s View at Loch Tummel and as I watched the sun setting on that brilliant spring evening, I reflected on how privileged I had been to meet this husband and wife team.
At that moment the world was certainly a good place to be. Dynamic, dedicated, a stickler for accuracy, no time for second best and blessed with a great sense of humour and depth of understanding – Pipe Major Donald Shaw Ramsay B.E.M., a remarkable man.
As I walked contentedly back to the car those immortal words once again flashed through my mind – “Will you all sit down till we see how we stand”. I smiled all the way to Pitlochry.
Published Compositions by P/M Donald Shaw Ramsay B.E.M.
2/4 March :-
1) Jimmy Young - a piping student of the composer used to practice 3 pibrochs every night near a road junction between Kirkliston and Winchburgh.
3/4 Retreat Marches :-
1) The Banks of the Avon
2) Schiehallion – composed this tune while recuperation in Rannoch Hotel after shooting incident. Could see the famous “Munro” from his window.
6/8 Marches :-
1) Angus MacKinnon – a piping friend from Lochboisdale in South Uist. Originally called “MacKinnon’s Dilemma”.
2) The Lost Feather Bonnet
3) Mrs Lily Christie – this tune was originally to be dedicated to P/M Jim Christie of Wick Girl’s Pipe Band, but a march had already been composed for him (by Addie Harper Snr) so he requested it to be named after hiswife.
4) P/M John Kerr, Fallin
Strathspeys :-
1) Betty Strathearn – the composer’s wife’s maiden name.
2) Blackston Brig
Reels :-
1) Duke of Hamilton’s Reel
2) Flora, Mrs MacLeod of MacLeod
Jigs :-
1) Bob MacPherson’s Jig – this gentleman, originally from Sutherland, was father of Hugh MacPherson of “Edcath collection” fame.
2) Heatherstalks
3) Johnny Gillies’s Bsrn
4) Mary Horne’s Jig – the composers mother-in-law
5) Snowball
Hornpipe :-
1) Tam Bain’s Lum – Tam liked a drink and a smoke of thick black shag. He got tired of his wife’s nagging so some of his drinking crones stuck a slate on the house chimney so that “she can have all the smoke she wants”. Tune commemorates the occasion.
Box and Fiddle
February 1989
Now, what had prompted this expedition? I had known of the gentleman for many years, his "Edcath Collections" had always been favourites, in fact, Book 1 was so well thumbed and had become so loose-leaf that a second copy had to be purchased. But it was a "Shepherd's Fancy" interview with the P/M that spurred me on to arrange a visit. The views expressed on the programme regarding the Scottish Dance Music scene were so well informed and so refreshingly forthright, that I felt I just had to meet this man.
My "appointment" made by 'phone was for 1 p.m. and in view of the obvious no-nonsense approach I cruised around well in advance so that I could drop in exactly on time.
The first surprise came as I drove up to the neat little bungalow, a "For Sale" notice at the gate, but more of that latter. The P/M and his wife were sitting out on the lawn enjoying the glorious sunshine and gave me a warm greeting as I stepped unceremoniously over the fence - I had gone round the wrong way - and I immediately at home.
Donald Shaw Ramsay measured up exactly to my pre-conceived image of him, bronzed, well built and full of life, his whole set one of enthusiasm.
Not unexpectedly, preliminaries were kept to a minimum and within 2 or 3 minutes, literally, we were into the story of a remarkable career, so fascinatingly told that four and a half hours slipped past in what seemed a quarter of that time.
Early Days
A farmer's son, Donald Shaw Ramsay was born in 1919, near Torphichen, in the Parish of Muiravonside ("a" as in "ah") which lies between Falkirk and Bathgate. His interest in piping and pipe bands was kindled at a very tender age, thanks to his father, himself a fiddle player, who used to take him along to the annual St john's Gala Day at Bathgate, where all the local schools gathered to march in procession behind the pipe bands.
He started learning the pipes at the age of 8, and in his teens he attended two sessions a week, for band work and pibroch respectively, and such was his progress in the latter that his instructor, P/M Sandy Forrest took him to the Northern Meeting in Inverness where he was runner-up in the Under-21 Pibroch Class, the late Peter MacLeod Jnr being third.
D.S.R.s account of that Inverness trip was highly entertaining. He was in illustrious company right enough, sharing a railway compartment with among others P/M Robert Reid, P/M Willie Logie of the Seaforths - one of the compilers of the early "Seaforth Collection" and last but not least, the big man, P/M of the 2nd Scots Guards, Jimmy Robertson. The latter assumed responsibility for D.S.R.s sleeping arrangements and passed him into the care of a Colour Sergeant at Inverness Castle, whose opening gambit was
"So you're going to be competing at the Northern Meeting?"
D.S.R. "That's right"
"Are you a good player?"
D.S.R. "Well I try"
"Are you going to win?"
D.S.R. "Oh, I don't know"
Oh my, that's the wrong attitude, you're going to win aren't you?"
D.S.R. "I'll do my best"
"No, no, you can't just do your best, you're going to win!"
On the morning of the Meeting a taxi was called to take the party to the park. D.S.R. was put in first into a corner, followed by P/Ms Reid and Robertson. They were sizeable men and as they bent down to put in their pipe cases there was nothing but big "beam ends" sticking out of the doors, and P/M Willie Logie was stranded on the pavement. A native of the Elgin or Nairn areas, he possessed a "pawky turn of phrase" and came out with this classic "Will you all sit down 'till we see how we stand!"
In addition to all this competitive piping and band work, D.S.R. still had to find time to go to school, firstly at Drumbowie near Avonbridge, finishing at Falkirk High, whence he took up an engineering apprenticeship in Bathgate, as a machinist. When still barely nineteen there came a very significant step in his career. He was asked by his mentor P/M Forrest to take over as P/M of a band near Falkirk. A year in this post gave him invaluable experience which was to stand him in good stead for what lay ahead. A sobering revelation being, that "One cannot be a gentleman all the time, if standard and discipline count for anything".
10th Battalion H.L.I.
Then came the War in September, 1939. The Glasgow Regiment, the Highland Light Infantry needed a second line battalion which would normally been hived off the existing 5th, but owing to circumstances a completely new group, the 10th Battalion, was to be set up under a Colonel Morrison. The Colonel, although not a piper himself, was very interested in, and knowledgeable about, the noble instrument - he couldn't stand slovenly playing and considered a good pipe band as a prerequisite of a good battalion.
He had heard of D.S.R.s growing reputation as a competitor and pipe major and had "put out feelers" in his direction. On one occasion, Donald happened to go into Henderson's bagpipe shop in Renfrew Street, Glasgow and the manager Archie MacPhedran (ex H.L.I.) said "Just the very man, hold on!" and then and there rang up Colonel Morrison who "hot-footed" it over and "interviewed" the very surprised young man on the spot. He probed about D.S.R.s pending call-up and asked if he would be prepared, not only to join the new battalion, but to become its P/M and form a pipe band. "Can I lean on you to hold back and quote me when your call-up papers arrive?" D.S.R. agreed, and was duly called to Stirling Castle for a medical and interview and was then posted to the 10th H.L.I. which was forming up at Galashiels. No sooner done, than a letter arrived saying he was too young (19) to become a P/M, must be at least 21, because the rank carried considerable authority. He contacted Colonel Morrison who, assisted by a legal background, did a quick "Jim'll Fix-it", and everything in the garden was lovely, or almost so - a band still had to be formed. From what I had heard so far and from trophies which I had spotted discreetly tucked away, it was obvious that P/M Ramsay was a perfectionist, not interested in second best, had great determination and could be very firm when required. So it came as no surprise to learn that by dint of very hard work, 6 hours practice every day, he succeeded in knocking a competent band into shape, where lesser mortals might have failed.
For the next 3 or 4 years, as part of the 15th Scottish Infantry Division, the 10th Batallion moved around the country, training, on exercises and defense duties etcbut in June, 1944 they crossed into Normandy, and into action which was to culminate in the crossing of the Elbeand the victory in Europe. But, thanks to P/M Donald Shaw Ramsay an earlier crossing is more likely to "strike a chord", if you'll pardon the expression, in piping and Scottish Dance Music circles.
In the early '50's a "Call of the Pipes" selection played by the Ian Powrie band and released on "Beltona" featured two 6/8 marches, "Lord MacPherson of Durmochter" and "A. N. Other". This second tune has been played countless times by numerous bands and thousands must have "tripped around thefloor" to it, but few will have been aware of the drama behind the title. It wasn't just a convenient title to stick on a new tune and holds great poignancy for the composer, D.S.R., and for many others who shared his unforgetable experiences on one particular night in March, 1945.
Crossing the Rhine
Just after midnight on the 23rd, the 10th Battalion who had "lain doggo" under the cover of Hochwald Forest throughout the day, about two miles from the Rhine, embarked in 36 Buffaloes (tracked amphibious personnel carriers) and 30 minutes later set off slowly, in line ahead, towards the river, the noise of the vehicles being drowned out by the terrific barrage, which had been going on continuously since 6 p.m. They reached the river dyke, and at precisely 2 a.m. the Buffaloes of the two leading companies slithered into the water and made off without any signs of enemy fire - the barrage had done its job. Unhappily, however, some of the carriers overtuned trying to mount the far bund. When the luckier buffaloes had disgorged their personnel, the remaining 3 companies tackled the half-mile stretch of water, with the 51st Highland Division on their left and the commandos to the right. As this contingent included the H.Q. Company they were accompanied by something else unique to Scottish Regiments and of which we must all feel justifiably proud – the sound on the bagpipes. Yes, perched precariously and uncomfortably on the top edge of the half inch armour plate at the front of each H.Q. Company carrier, was a piper. One of these doughty souls was, of course, P/M Donald Shaw Ramsay – “You just played anything that came into your head”.
Six weeks later, i.e. about 10 days after V.E. Day, as the 15th Division unwound in the peace and quiet of the attractive wee town of Lubeck, near the Baltic, D.S.R was to pen the 6/8 in D which was to become so popular with Scottish Dance Bands, “The 10th Battalion H.L.I. Crossing the Rhine”. So next time you are sloping round in an “Eva Three Step” or a “Gay Gordons” to this tune, spare a thought for the part played (literally) by the P/M and his men in the operation behind the title.
The Edinburgh Polis
After de-mob from the Army, D.S.R. joined the Edinburgh City Police and it goes without saying, he also joined the Pipe Band. Within the short space of 2 years he was voted in as P/M taking over from P/M Duncan Cameron, brother of the well known Ian C. Cameron. D.S.R. was summoned to the Chief Constable’s office and offered a seat, a most unusual privilege. The Chief, Sir William Morran, then confided that at functions he was embarrassed sitting next to the C.C. of Glasgow, because the subject of pipe bands inevitably cropped up. The Edinburgh Band had become a bit of a joke, and it was costing a small fortune to send it around the country to competitions with little to show for it “I want results” – “I’m only a junior constable, sir, will I have a free hand” – “Yes”.
Ramsay , You’re Ruining this Band
D.S.R. then set about things in earnest with his characteristic thoroughness. Each player was recorded solo, and also given a taped copy, played by the P/M, of the music to be used in competition. Then it was up to each individual to practice on his own in addition to 2 hours with the band, twice a week. After twelve weeks a report was written on each piper’s performance, and after discussion with the player concerned, was submitted to the Chief constable. D.S.R. felt that six men should go. Once again he was summoned to the Chief’s office – no seat this time! “Ramsay, you’re ruining this band, we’ll soon have no band left!” “Well sir, it’s either no band or no championships”. So the P/M got his way and six men duly left, the farewells being tactfully handled. The ability to do this without any animosity further demonstrated this man’s great strengths and qualities.
New recruits were required to fill the gaps, but this was easier said than done. There was a complete dearth of suitable Police pipers in the Edinburgh area so D.S.R. had to go north and west on a recruiting campaign. In the Lochboisdale area he cam across a first class player, one Donald Morrison, who successfully completed his test papers and application for the police but was turned down ostensibly on height grounds, but in those less enlightened days other factors weighed against him – he had no friends in the area and he was a Roman Catholic. However this rather sad state of affairs had a happy ending, of which more later.
“I’m on the malt ,sir”
The search continued and another young recruit was tracked down, one of Scotland’s finest pipers, George Lumsden, of Kinross. He was invited to apply, but like Donald Morrison was turned down, this time for being under weight! This kind of thing wasn’t going to do, there had to be a way round it, and there was. Curved steel pressouts were obtained from Robb’s Shipyard in Leith and sewn into the turn-ups of Lumsden’s trousers. When the time was ripe i.e. the police surgeon away and his deputy on duty, they waded in and won the day. “I see you have been underweight on several occasions, but you’re okay now, how come?” “I’m on the malt, sir!” The same George Lumsden has just recently retired as P/M of Lothian and borders Police Pipe Band – there’s a moral there somewhere.
When D.S.R was “on the mat” for decimating the band the Chief had said “All right, do it your way” and his way he most certainly did it. By now he was really piling the pressure on, discipline had been tightened up and the band was practicing 5 or 6 nights a week. In less than a year, in fact about 6 months from reaching the full quota of pipers, the P/M took his band to the World Championships in Dundee and led them into first place (1950), a remarkable achievement by any standard and almost unbelievable considering the time scale. This was the Edinburgh City Police Pipe Band’s first major championship win since 1919. Under D.S.R. they were to take the “Worlds” again at Aberdeen in 1954.
Following the 1950 success, the P/M collaborated with an Edinburgh businessman, Hugh MacPherson, to produce the excellent aforementioned book of pipe music, with drum beatings included, “The Edcath Collection Book 1” published in 1953. Why Edcath? – Well, Hugh had been domiciled in St Catherines, Ontario for a while and when he returned he set up a business in Edinburgh’s West End – it’s still there incidentally and the name was concocted from these two locations. This book and its companion, “Edcath Book 2” have proved to be great favourites on the Scottish Dance Band scene and with festival competitors. They include compositions by such players as Jimmy Shand and Alisdair Downie, a pointer to the fact that D.S.R. is in no way insular, and is prepared to accept good music suitable for the pipes from whatever source.
During this period in the mid-‘50’s, the P/M was also taking a great interest in our type of music and the dance bands of the time and he became particularly friendly with two band leaders with widely contrasting styles viz. Bobby MacLeod and Tim Wright. The former was invited several times to play with his band at the Police Pipe Band Ball, which was held annually in Leith, with an attendance of around 1,000. In Bobby MacLeod, D.S.R. had found a true kindred spirit, someone who could really interpret pipe music on the accordion. He doesn’t know which he enjoyed more, the music during the dance or the wee private sessions with Bobby and “Pibroch” MacKenzie before and after the function.
“The Left Handed Pigeon”
The links with Tim Wright were forged, firstly, through an incident where the evening’s takings at the Cavendish Ballroom went “walkies”, and then from spot appearances of police pipers at some of the Highland Balls, to play foursome and eightsome reels etc. During such breaks, Tim’s players would normally have gone for a coffee – “no drams, just a coffee” – but they were so interested in the tunes used by the pipers that they skipped their interval to stay and listen to strathspeys and reels they had never heard. Andrew Bathgate, of the Tim Wright Band, had his own titles for some of the pipers offerings. We’ve all heard of the “Left Handed Fiddler” and “The Pigeon on the Gate” but what about the “Left Handed Pigeon!”.
Reference was made earlier to a certain Donald Morrison of Lochboisdale, who was refused entry to the police ostensibly because of his height. One day in 1954, D.S.R. was called to the Chief’s office and introduced to Chief Constable Morrison of Aberdeen and left to have a chat with him in private. The C.C. told the P/M that he counted a good Police band as a civic necessity and – “To put it bluntly, I want to transfer you to Aberdeen because you’ve done such a grand job here. I can guarantee you promotion”. But D.S.R. felt he couldn’t possibly let go just like that and turned down the offer. It was then put to the other members of the band, with the promise of promotion within 6 months – still no takers. D.S.R. told the Aberdeen Chief “You’ve no idea what goes into this, practicing 6 days a week in your own time, but maybe I can help you, I know a potential young recruit who is one of Scotland’s finest pipers”.
Donald Morrison was contacted, admitted to the force, signed up as P/M and completed 30 years in that capacity! Another satisfactory conclusion, thanks to D.S.R’s diligence and good judgement. Incidentally Donald Morrison passed away recently.
Shot at Point Blank Range
One particular day in March, 1957proved to be a very black one for the Edinburgh P/M. While arresting a young gunman in the city, he was shot at point blank range, the revolver bullet puncturing his intestines in 22 places! Needless to say the recovery from the incident was traumatic and very slow. When eventually allowed back on duty D.S.R. was kicked on the wound by a youth, during a domestic fracas, and passed out. The police surgeon went berserk, and the P/M was put on the sick list for a further 6 months but didn’t make much of it and on the advice of the medical staff, he was retired from the force in 1958 and emigrated to the warmer climate of California to regain his health. He was succeeded by P/M John D. Burgess who, after only a year, handed over to Iain MacLeod in 1959. The winning streak started by D.S.R. continued for the next 17 years under P/M MacLeod the band taking no less than five World Championships during that period.
We’ll leave this part of the story for the moment and backtrack briefly to an interesting point (one of many) which emerged during our chat. Any Scottish Dance Band instrumentalists who have played along with the pipes will know that they have to lift the key a semi-tone above the normal eg. A becomes B flat, D becomes E flat and so on. However, this was apparently not always the case. When D.S.R. took over the Edinburgh City Police P.B. the pitch of the MacRae chanters then in use was “flat and uninspiring” and the P/M decided that something fresher must be found. He had become acquainted with a bagpipe maker in Edinburgh by the name of Hugh Robertson, who produced a chanter higher than any competing at the time. D.S.R. asked Hugh to supply 24 chanters set at an even higher pitch, set at an even higher pitch, the reply being “You’re having me on”. Nothing daunted the P/M then produced an old Robertson chanter salvaged some time previously from an Arbroath rubbish bin by a policeman, George Grieve, who has since become Pipe Sergeant with the Edinburgh band. This chanter was duly gauged and checked by Hugh Robertson, who was amazed at the tremendous tone and high pitch. He went ahead and turned out a batch of these chanters and in the first contest of the year the City Police were the talk of the day. The late P/M Tom McAllister Snr of Shotts and Dykehead addressing his sons, was quoted thus – “Boys” he says “I don’t know where he’s getting the tone, that’s beautiful, but don’t tell him, we’ll have to look into this”.
Recounting the story D.S.R. continued “I was getting a lot of attention, people saying “You’re playing well” , whenever you get that “Look Out” . it’s nothing to do with your playing, they’re wanting to know something”.
In addition to holding their tuning better, the higher pitched chanters, up by about half a semi-tome, meant that military bands could now play happily alongside the pipes without having to flatten down, as had been the case with the traditional chanter. This was a real breakthrough and the higher pitched chanter became the “norm” in the pipe band world.
“Wee men pushing barrows”
I asked D.S.R. if problems arose in the early days before the mass changeover, where high pitched chanters were mixed with the more traditional variety in a massed band context. “No problem, it’s like those big Caledonian fiddle orchestras, they get away with it. You have a few players who are in correct pitch, but the majority are tuned either side of centre”.
Having played with a Strathspey and Reel society for a few years, I knew well what he meant. The net result, a broad-band, woolly sound which is nevertheless comforting and pleasing to the listener. As for togetherness, back to D.S.R. “A few of the fiddlers are in time with the conductor, but there are others pressing on in front like “ wee men pushing barrows up a hill” and other “laid back” souls strolling along in the rear. But what amazes me is they all seem to manage to finish together – almost!” In a wicked kind of way I was enjoying this bit immensely but we had to push on, there was so much more to hear.
However, back to California, to San Francisco no less. When the Ramsays first went out, D.S.R. worked in the Trust Department of the Wells Fargo Bank, where after a year he was offered the post of manager of the Department, that says something about the man, but declined and left the firm shortly afterwards to set up a business on his own, a type of “Highland Supplies”.
This was going well until 1964 when his wife, Bessie who worked in the shop, was help up by hoodlums. However, coincidentally just at that time Frank Thomson, the owner of the Invergordon Distillery, was out in California and he made contact with the P/M. “I’m going to produce Scotland’s finest whisky and I also want to produce one of the finest pipe bands the country has ever seen”. So he asked D.S.R. to come back home and set up just such a band. Because of the hold-up the family’s morale was at its lowest and after discussing the matter with their daughter and son-in-law who also lived in California, they returned to Scotland – “a breath of fresh air”.
The help of a number of start players was enlisted, among them John D. Burgess and John McDougall and the late Alex Duthart was persuaded to leave “the Shotts” and go north to form a drum corps. The Invergordon Distillery Pipe Band was on its way. Unfortunately, during my first visit to Kinloch Rannoch, time did not permit me to get more than the scantiest details of the bands progress and history, but it certainly had one or two successes in competitions. During a second spell back in San Francisco , 1970-76, D.S.R. received a call from the headmaster of a big private school in Houston, Texas inviting him to pay a visit to discuss the possibility of starting a school pipe band. When he and Betty got there they found it too hot, and the cockroaches too numerous, but they agreed to spend a short spell there each quarter. When asked how long it would take to assess the number of potentially good pipers, D.S.R. said “six weeks” and promised to give a report on each boys progress at the end of this period , no mean task considering there were 150 of them. Out of this number he narrowed it down to 6 or 7 very good players, one being none other than Mike Cusack, a household name among pibroch enthusiasts, who came over to Scotland and took the Gold Medal at Oban and Inverness, the first American to do so.
A further success was notched up when a juvenile band from the school also came over and came top of their grade at the World Championships. Two or three of his other prodigies achieved the highest standards, one also being a champion golfer who could hole-in-one in D.S.R.s Balmoral (placed on the ground of course), from any desired distance. When the player concerned said he intended to become a professional golfer, the P/M just had to agree that he would certainly make more money that way, than playing the pipes.
In the light of his experiences in America, and of what he had heard and seen of the trans-Atlantic bands competing in this country – both as a spectator and adjudicator – D.S.R. asserts that Scotland can no longer be called “the” piping domain thanks to the sizeable number of competent pipers and drummers who have emigrated and passed on their skills to those in foreign parts. This can only be good or the world of piping and pipe bands and should act as a successful antidote to any complacency which may have been developing here at home.
Earlier on, mention was made of D.S.Rs interest in Scottish Dance Music and dance bands in the early ‘50’s. This interest has remained undiminished and he and his wife tune in to “Take the Floor” and the like on every possible occasion. Those who heard the “Shepherd’s Fancy” interview with the P/M will recall that he listens to all these performances with a very critical ear. He is a stickler for correct interpretation and is absolutely insistent that it should be mandatory to give notes their correct value, as written.
“They’re at it”
“I have been disgusted at the handling of strathspeys and reels by some of the players”. He went on to point out that the shortest musical note in a strathspey or reel is a semi-quaver and it should get its full value and not be played as a demi-semi quaver or sometimes even shorter. “Fiddlers are the world’s worst for this, followed by accordionists. Some of our finest exponents on the violin today are at it, no doubt about it – they’re at it!”.
At this junction he diddled over a strathspey to back up the point, because I had not really been aware of the fact that this misinterpretation was rife in our music. However, it was brought home to me very forcibly two or three weeks later, during a “Take the Floor” programme featuring one of the top league Scottish Dance Bands. In the front line was a highly respected fiddler, a strong player, who proceeded to mutilate one of my favourite strathspey tunes in exactly the manner highlighted by D.S.R.
And apparently pipe bands are not blameless in this respect either – two world championship winners no less, were singled out as being guilty of clipping.
“You also get this cutting in reel time and also in a way in 2/4 march time, but because the latter has 1/32nd notes through it, if a semi quaver is played as a 1/32nd it is not so noticeable because it blends with the written demi-semi quavers.
“Poppy Hachum Ta Tum”
“Balmoral Highlanders” was used to illustrate this.
In answer to an observation from yours truly, that it was often put forward that in pipe music short notes should be very short and vice-versa, he replied “That they must not be so short that they just become grace notes. They are musical notes and must be heard”. Again to simplify explanation, a reel “The Smith of Chilliechassie” (pronounced “Killyhassy”) was diddled over.
Still on the subject of strathspeys and reels, D.S.R. brought up the point that the majority of these written for the fiddle and accordion are two parted. Four measure tunes are more acceptable for pipe band performance, both for competition and recital work.
“It’s better to let a tune settle in, you want to enjoy it. If you have a good cup of coffee, you don’t want to have 2 sips and say, where’s that gone? – you haven’t had time to enjoy it”.
D.S.R. then related, how on one occasion he and Bessie were privileged to attend a function in Nova Scotia, a feast of piping and fiddling, which lasted from 7.30 p.m. until daylight – all coats confiscated to ensure attendance to the bitter end. The performers included such fiddle greats as Dan R. MacDonald and Scottie Fitzgerald and the P/M himself was to demonstrate his skills. With a recital of such duration the shortcomings of the two part tunes became obvious and the fiddle players were having to turn out reels and strathspeys by the dozen, spelling one another to keep things going. As their repertoire began to wear thin, our man volunteered “Why do you not adopt something like this?” and played through the aforementioned six part reel “The Smith of Chilliechassie”. Dan R.’s eyes were popping – he just couldn’t believe that it was just one tune from end to end. He wanted a copy there and then. It certainly does seem more logical to have 4 part strathspeys and reels as used in the piping world, rather than repeat a 2 part tune or dive into another piece, and it would be more interesting for both player and listener.
With regard to the use of pipe tunes by the Scottish Dance Bands, D.S.R. recommends that players should select tunes that can be played comfortably to produce the sound close to that dictated by the musical notation. This is especially so in the case of the accordion.
Take the hornpipe “Tam Bain’s Lum” for example. In the 2nd and 4th parts some accordionists use bellows shake to produce the repetitive B,D AND C# groups. In D.S.Rs opinion, and he composed the tune, this does not generate the correct sound – a piper cannot use shake, therefore the accordion player should play the notes as written, using the keys as the control. If he or she cannot master this, then it is better to leave it alone rather than to botch it. Hornpipes such as “Bobby Cuthbertson” and “Jackie Tar”, lend themselves better to the accordion.
On the other hand the fiddle comes out of this one better and in competent hands can cope adequately with tunes like “Tam Bain’s Lum”.
And talking of competent hands, D.S.R. singled out one fiddler for particular mention – Ian Powrie. He,it was, who first recorded the late P/M Willie Denholm’s “Royal Scots Polka” on Beltona in the ‘50’s and prior to putting it down he was in touch with our P/M to get wee wrinkles on the interpretation of the tune and made a good job of it. “Ian sticks to the idiom, more of less. He’s one of the truer exponents of the art”.
It’s only natural.
As some of you know I am very partial to G natural when playing pipe tunes and I just couldn’t let the chance go by without asking what his opinion was on the use of the natural when translating pipe music onto accordion or fiddle. Should one use it consistently or be selective depending on the tune. Although he felt that one or two pipe tunes, especially where high set might benefit from the use of G sharp, nevertheless, by and large, much to my pleasure and relief, he felt that the G natural should be used throughout. Oh, happy day!
If he were to be judging and accordion and fiddle competition where pipe music was being played, would he penalise the competitor who did not use the G natural? “My goodness no, if the competitors had not been alerted to this , I would only comment, because this would not be poor playing, just a matter of blending”.
I could go on and on, the P/M has so much to tell and in such an entertaining fashion, but shortage of space rules out the inclusion of so many items of interest concerning incidents and personalities in his career. For example, he was the first piper to play for the troops over the air on the British Forces Network in Germany. For this he had to play onto a 2 foot disc. Then there were records with the Police Pipe Band, a month of Scottish song and dance, also with the band in Bulawayo, Rhodesia, solo sessions with a classical orchestra, the David Nixon Show and so on. The string of notable happenings is endless.
D.S.R. is also a prolific composer, some of his published tunes are listed below. I understand others are in some Canadian books but I have not tracked them down as yet, and there is the possibility of a book of more of this work being published at some time in the future.
We all know the saying “Behind every successful man there is a ……….woman”. In the case of Mrs Bessie Ramsay , the missing word would certainly have to be devoted. It doesn’t take a clairvoyant to see that this is a very happy partnership indeed. The couple have been wed for 48 years and have one married daughter who lives in Trinidad, California, with her ex-policeman husband, and who unhappily suffers from the “Crest Syndrome Virus”, which is allied to rheumatoid arthritis, and which recurs periodically with severely crippling results. Because of this problem the P/M and his wife have made a number of trips across the Atlantic to visit the young couple, to give moral and physical support. Distance obviously makes this quite a major undertaking so they have decided to go over and stay for two or three years, hence the “For Sale” notice at the bungalow gate. A “granny flat” below their daughter’s house will enable them to be close without being in anyone’s way.
Now, how did Bessie meet her man? Through piping – surprise, surprise. Mention was made earlier of D.S.R.’s taking over as P/M of a mixed band in the Falkirk area when he was only 19. Not only was Bessie a member of that band, but she also travelled to band practices on the same bus as Donald. He admired her for her courage in learning to play the pipes, and after a short time “got to like her very much and suggested that we team up and go out together. When we first met, Bessie was on 6/8s but I wanted her to develop into 2/4s and use more of the sterner basic movements and get accustomed to them, because it can take about 6 months to get used to this. Everyone cannot play “Lord Alexander Kennedy” on their first night”.
However, it was difficult for Bessie to get peace at home for sufficient practice and it was embarrassing not to be able to reach the standard required by D.S.R. so the piping was abandoned. But her interest in the art has never diminished and she still accompanies her husband on all outings where piping is involved. This has been the case throughout their married lives.
One parting shot from the man, “When we were courting I was kind of worried because I thought I’d never be able to keep Bessie going in practice chanters because she was an awful one for chewing the end off the blowpipe!”.
The conversation had been so absorbing that suddenly it was 5.45 p.m. and we had been at it for four and a half hours, with a working tea half way through. I apologised for keeping them so long and took my leave, reluctantly, because there was still so much to hear and it had been such a pleasure in their company.
On the road home, I stopped at the Queen’s View at Loch Tummel and as I watched the sun setting on that brilliant spring evening, I reflected on how privileged I had been to meet this husband and wife team.
At that moment the world was certainly a good place to be. Dynamic, dedicated, a stickler for accuracy, no time for second best and blessed with a great sense of humour and depth of understanding – Pipe Major Donald Shaw Ramsay B.E.M., a remarkable man.
As I walked contentedly back to the car those immortal words once again flashed through my mind – “Will you all sit down till we see how we stand”. I smiled all the way to Pitlochry.
Published Compositions by P/M Donald Shaw Ramsay B.E.M.
2/4 March :-
1) Jimmy Young - a piping student of the composer used to practice 3 pibrochs every night near a road junction between Kirkliston and Winchburgh.
3/4 Retreat Marches :-
1) The Banks of the Avon
2) Schiehallion – composed this tune while recuperation in Rannoch Hotel after shooting incident. Could see the famous “Munro” from his window.
6/8 Marches :-
1) Angus MacKinnon – a piping friend from Lochboisdale in South Uist. Originally called “MacKinnon’s Dilemma”.
2) The Lost Feather Bonnet
3) Mrs Lily Christie – this tune was originally to be dedicated to P/M Jim Christie of Wick Girl’s Pipe Band, but a march had already been composed for him (by Addie Harper Snr) so he requested it to be named after hiswife.
4) P/M John Kerr, Fallin
Strathspeys :-
1) Betty Strathearn – the composer’s wife’s maiden name.
2) Blackston Brig
Reels :-
1) Duke of Hamilton’s Reel
2) Flora, Mrs MacLeod of MacLeod
Jigs :-
1) Bob MacPherson’s Jig – this gentleman, originally from Sutherland, was father of Hugh MacPherson of “Edcath collection” fame.
2) Heatherstalks
3) Johnny Gillies’s Bsrn
4) Mary Horne’s Jig – the composers mother-in-law
5) Snowball
Hornpipe :-
1) Tam Bain’s Lum – Tam liked a drink and a smoke of thick black shag. He got tired of his wife’s nagging so some of his drinking crones stuck a slate on the house chimney so that “she can have all the smoke she wants”. Tune commemorates the occasion.
Box and Fiddle
February 1989
