Box and Fiddle
Year 22 No 03
November 1998
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
First of all, a big thank you to Ken Hopkins from Belfast for providing me with some excellent information on Hohner, some of which I have used for this month’s lead article. Although I have been concentrating my efforts initially on Hohner as the most widely used make of accordion I would be delighted to hear from anyone with stories behind the other popular makes, e.g. Ranco, Scandalli, Galanti, Soprani, etc. Many, I understand, have interesting origins but I need the facts so if anyone out there has retained any interesting articles or information from years gone by I look forward to hearing from you.
Two things I would like to mention on the B&F distribution front……………………..
Charlie Todd
The History of the House of Hohner
1857 - 1957
The History of the House of Hohner 1857-1957
This is a story of enterprise and vision and achievement.
It commences in the year 1857 – when young Matthias Hohner, a watchmaker in the small rural community of Trossingen in the Baar Region of South Western Germany, set up the small beginnings of his harmonica factory which was destined to flourish and grow into the largest musical instrument manufacturing business in the world.
But for the true beginnings of our story we must go back further still, to the early 1820’s, when one of the first harmonicas (known then as mundaeo-lines) arrived in Trossingen from Vienna. The early years of the instrument are still shrouded in mystery, but it appears that the actual inventor of the forerunner of the instrument as we know it today was Christian Friedrich Ludwig Buschmann. Soon afterwards, Buschmann also produced the first ‘handaeline’, a forerunner of the modern accordion, which was improved by Demian, a Viennese, in 1829.
At the time, Trossingen was a village of bewildered and frustrated farmers, extracting a hard living from a comparatively infertile earth with their crops liable to frequent damage from winds and storms in the difficult terrain 2,500ft above sea level. It was also the centre of a clock-making industry which for many of the peasants employed part time in it proved considerably more profitable than their agricultural pursuits.
But about this time, clock-making too was in the throes of a depression, and the first of the clock-makers to appreciate the possibilities of using the skill of his workpeople in the manufacture of harmonicas was Christian Messner, who set up his workshop in 1827. For quite a number of years, Messner enjoyed a virtual monopoly, and the family did everything in their power to keep their production methods a strictly guarded secret. But gradually more makers entered the field, the next of the well-known ones being Christian Weiss, who opened his workshop in 1855.
Then in 1857, Matthias Hohner, already regarded as the best clock-maker in the business, decided to give up the manufacture of clocks and concentrate entirely on harmonicas. Although he only started in a small way with one or two relations and some of his former workmen, unlike the other manufacturers he did not attempt to operate a ‘closed shop’ principle, and his business developed rapidly.
Up to this time, harmonicas were generally made on the same lines as had been developed by Messner. They were made entirely by hand and each instrument was made from start to finish by the same craftsman. The construction was in two parts, the body with its cells, and the reed plate. The wooden bodies were firstly roughly cut by knife, and then smoothed and filed, and the air channels were cut laboriously by hand. The first reed plates were made of tin, and then a little later they were made of lead produced in moulds, the reed slots being cut by hand with a chisel. Metal reeds were produced by flattening brass wires to the shape of the reed slots, and brass wire was also used for the rivets. Needless to say, such difficult work with crude tools produced a very primitive instrument.
Matthias Hohner was quick to adopt new methods and new techniques. Already when he opened his factory, the use of protective covers had recently been introduced ; this was a very great step forward, because they improved performance, and the instrument looked better and lasted longer. And because he wished his mouth-organs to stand out above all others for quality, he decided to use his full name on the cover plates as a trade mark.
Hohner also quickly introduced other mass production methods and suitable division of labour in his manufacturing processes ; skilled carpenters handled the woodworking operations, and the reed cells were cut by machine ; the reed plates were produced by rolling instead of hammering ; and brass was adopted for the reed plates instead of moulded lead. The innovation had already been adopted by a firm called Hotz in Knittlinger ; it resulted in an instrument of improved quality, and Hohner was quick to adopt the process also since from the start his guiding principle was to produce an instrument which was the foremost for quality.
Continuing efforts to streamline production methods, while fully maintaining and improving the quality of the instruments produced, were symbolised in 1880 by the introduction of the first steam engine into the factory. A vast expansion of demand had taken place during the mid-1860’s by the development of a good export trade to America. In 1867, the output of harmonicas was 1,433 dozen (17,196) which had risen to 4,400 dozen (52,800) by 1875, and to 6,000 dozen (72,000) by 1879. This total market was hit by the severe industrial depression of the 1890’s but alternative markets were developed in other parts of the world and by the turn of the century, Hohner instruments were enjoying a worldwide market.
Records show that in the year 1875, the total number of people engaged in the harmonica industry at Trossingen was 250. They were spread over the different factories as follows :-
Matthias Hohner, 85 workers
Andreas Koch, 60 workers
Christian Messner & Co, 40 workers
Christian Bilger, 25 workers
Joh Irion, 10 workers
Gebr. Ulrich, Talheim, 8 workers
Despite the growing use machinery, and the erection of new factories, the cottage industry was still flourishing and piece workers were still numbered in hundreds in the year 1888. Hohner’s next step was to carry out a long cherished plan of establishing branches in the various areas where piece workers operated, and he thus established a system of branch factories where the labour was concentrated. Industrial relations between workers and management has always been good and there has never been a strike nor any unsatisfactorily resolved dispute throughout the hundred years during which the industry flourished.
When in September, 1900, Matthias Hohner handed over his business to his five sons, the production figures and the number of workmen employed were already the highest in the industry, and the family name enjoyed an enviable reputation throughout the world. Each son now played his special part towards the further growth of the business. Jacob, the eldest son, carried on his father’s good work of general management meticulously for many years. Matthew and Andreas were responsible for further developing the instruments themselves. Will tackled the cultural side, and proved that industry and music must move together hand-in-hand while Hans, the youngest, devoted himself to the development of the American market, and on the export trade in general. He went to live in New York and became an American citizen.
The second phase in the development of the great Hohner business was mainly concerned with the continuation and rapid expansion of the manufacturing side partly by means of the absorption of competitive manufacturing firms. The first to be taken over were the Knittlingen factories of Hotz and Pohl, in 1906. Gradually other firms were absorbed, amongst the last being Messner and Weiss in 1928, and the Koch concern in 1929. Thus, in three generations the Hohner enterprise had become the largest musical instrument undertaking in the world, employing nearly half of Trossingen’s 8,000 inhabitants.
After inventing the mouth-organ Buschmann had designed a reed instrument with 20 well tempered reeds with valves fixed to a brass table, and with leather bellows with three folds to produce the air required to motivate the reeds. In the following years, Buschmann concentrated on developing reed instruments fitted with foot operated bellows (the harmonium), but meanwhile Demian of Vienna developed the handaeoline, and in 1829 brought out an improved instrument which was called the accordion. This remained in the background for 50 years, and then was reintroduced in Vienna but was sadly neglected until the harmonica industry in Trossingen and Klingenthal took it up.
The diatonic accordion has the same musical principle as the mouth organ, but even in its most simple beginnings it was much more complicated and presented a number of technical manufacturing problems. Long and expensive experiments were carried out in Trossingen before the first diatonic accordions appeared on the market, and even then they had a mixed reception from the public, but as the quality and scope of the instruments were improved by continuous experimentation, so did they meet with an increasing demand from all over the world.
In the 1950’s the Hohner business continued to expand and growth of manufacturing potential was fully matched by development of the technological resources of the firm, resulting not only in great improvements in the production processes, but also in the instruments themselves.
But despite vast expansion of the firm it remained essentially a family business, with the third generation of Matthias Hohner’s family now guiding the destinies of the firm in the same efficient way that had always characterised the management of the business.
The Senior Director was Dr Ernst Hohner, the son of Jacob, who concerned himself mainly with the factory management and with the firm’s various cultural activities. The Sales Director, who was also responsible for the general financial policy of the firm, was DR Karl Hohner, son of Matthew, whose other son Matth, was in charge of the technical development of the harmonica manufacturing resources. This duty was shared with Walter, the youngest son of Andreas – whose eldest son, Matthew was President of M. Hohner Incorporated of America. The General Manager of the American firm was Frank Hohner, the only son of Will. The American branch was actually founded by Hans, who had no children.
As for the coming generation there was evidently no shortage of descendants to carry on the traditions established by Matthias Hohner in 1857. Dr Ernst Hohner had two daughters, one of whom was the wife of Dr Karl Scherer, who was in charge of production in the accordion and reed factories, and experimental research. Dr Karl had one daughter, Matthew had two sons and one daughter, Walter had one son and two daughters and Frank had three daughters. Perhaps one of the best-known members of the firm in this country was Konrad Burgbacher, the Export Sales Manager.
Such then is the history of the great Hohner industry which in 1957 turned out something in the region of 20 million harmonicas and 400,000 accordions annually and employed nearly 5,000 workers in their manufacture. The firm also provided employment for many thousands more in the musical distributive trades throughout the world – and pleasure and enjoyment for countless millions of performers and listeners.
More Than Bricks and Mortar
Dancers and dance bands are all very well but where would we be without the dance venues. Some meeting places have an interesting story to tell, none more so than the Tontine Hotel in Peebles but I’ll leave it to Wallace Lockhart to relate the story as it appears in his book ‘Highland Balls and Village Halls’.
“The Tontine Hotel is situated half way down the High Street of Peebles. Set slightly back from the main road, it presents a square, squat exterior. It is very ordinary, the kind of building that may be seen in many parts of the country. Its story, however, is somewhat unusual and here we must move first from dancing to another form of exercise.
The Tweeddale Shooting Club, the oldest such Club in the country, was formed at Peebles in 1790. A few years later some of its members decided to build an hotel and ballroom in the town, and to do it under the ‘Tontine’ principal, one which is quite illegal today. It involved investment in a project by a number of people who, according to the success of the venture, would each receive an annual dividend, and who owned the building jointly. As members of the original group died off, the group of owners got smaller and smaller, and eventually the actual ownership of the property was vested in the last member of the consortium left alive. This method of establishing new enterprises was for many years not uncommon in Scotland, but abuse of the system, or, should it be said, the number of unexplained deaths which followed in the wake of such enterprises, led to the Tontine Principle being outlawed early in the 19th Century.
However the diehards from the Shooting Club completed their hotel and ballroom in 1808 and since then the ballroom has been a regular rendezvous for the Club for their dancing occasions. The ballroom is an impressive room built in the style of Adam, with bay windows and a minstrels’ gallery. Traditionally decorated with white woodwork and in pastel shades, it retains the original fireplace and some furniture of the same age. The first chandeliers have had to be replaced by ones of a later date, but the room, frequently used for dining purposes, warrants in every way its use for official functions by Peebles Town Council. There is evidence to suggest that French prisoners from the Napoleonic wars worked on the building and that a number of French Officers were lodged in the Tontine whilst on parole in 1811 – 1815.
Thanks to Wallace Lockhart and Luath Press Ltd. For allowing me to feature this interesting article. Do any readers have particular memories of a building where they have played or danced? If so please let me know.
“All in a Day’s Work”
Much of our pipe music has been written over the centuries by Army pipers. Kilted Highland infantry were universally referred to as ‘Jocks’ as indeed were all Scottish servicemen recognised as such. However, with the discontinuation of the wearing of kilts on active service and the substitution of standard issue khaki battledress Highlanders became largely indistinguishable in appearance from the ubiquitous British ‘Tommy’. For younger readers this was in itself an abbreviation of ‘Thomas Atkins’ our equivalent of the American G.I. He derived his title from ‘General Issue’, in other words everything he wore and used in his day-to-day Army life – but why ‘Thomas Atkins’?
To find the answer we have to go back over 150 years but the story was recounted in the Ypres Times of April 1929 and goes as follows :-
“The Great Duke of Wellington stood on the path which runs round the ramparts of Walmer Castle on a sunny day in July, 1843. Near him, standing at attention, was a young Staff Officer of the Adjutant-General’s Department. He had just asked a question on a small matter of detail which the War Office thought should, as a courtesy, be referred to the Commander of the Forces. A name, typical of the British private soldier was required, for use on the model sheet of the soldiers’ accounts to show where the men should sign.
The Duke stood gazing out to sea while the young officer waited, searching in a long memory stored with recollections, for a man who typified the character of Britain’s soldiers. He thought back to his first campaign in the Low countries where he had fought his first action with his old regiment, the 33rd Foot.
When the battle was over and won, Wellesley rode back to where little groups of wounded men were lying on the ground. At the place where the right of his line had been, lay the right-hand man of the Grenadier Company. He stood six feet three in his stockinged feet, he had served for twenty years, he could neither read nor write and he was the best man-at-arms in the Regiment.
One of the bandsmen had bound up his head where a saber had slashed it, he had a bayonet wound in his chest and a bullet through his lungs. He had begged the bearers not to move him, but to let him die in peace. Wellesley looked down at the man who must have seen his concern. “It’s all right Sir”, he gasped “it’s all in a day’s work”. They were his last words.
The Old Duke turned to the waiting Staff Officer. “Thomas Atkins” he said.
Freedom of Fife for Jimmy Shand Snr
by Sandy Tulloch
On Tuesday, 22nd September the new Fife Council awarded Jimmy Shand ‘Freedom of the County’ for his outstanding contribution to Scottish music, dance and culture and for his role as an ambassador for Fife. This is the highest honour that the council can bestow and is only given for exceptional contribution to the area.
Jimmy, Anne and family were piped in to the ceremony in the County Buildings, Cupar by Gordon Liddell and Walter Anderson of Burntisland and district Pipe Band. Invited guests had previously been entertained by pupils from Bell Baxter High School.
The introduction and welcome was made by Councillor John W. MacDougall, Convener Fife Council followed by a formal but excellent tribute to Jimmy, saying “He is a legend in his field at home and abroad and is a true ambassador of Fife. It is therefore and honour for us to award Jimmy Shand the very first Freedom of Fife”.
Further tributes were paid by Robbie shepherd and the Earl of Elgin and Kincardine K.T.C.D. Lord Lieutenant of Fife. Dr. John Markland, Chief Executive Fife Council then read the ‘Ticket of Freedom’ followed by the presentation of the ‘Scroll’ by the Convener and the signing ceremony completed.
Jimmy Shand Jnr. Then thanked the Council on his father’s behalf. Jimmy Senior’s voice has not been strong enough lately for such a public occasion.
The formal vote of thanks was given by Sandy Tulloch, and a short personal tribute at the Convener’s request. The new Freeman of Fife and family were then piped through to an excellent buffet lunch with many a glass raised in congratulation.
This very happy day ended with all musical friends playing a fine selection of Shand tunes led by Jimmy Jnr and, highlight of highlights, there was Jimmy himself among us all.
What Tune Do You Play For That Dance?
by John Browne (North Wales ex Edinburgh)
Most country dances have an ‘original’ tune – one that is associated with that particular dance. Sometimes, however, the original tune is not specified or the dancer expects to hear a different tune from the one listed for a particular dance. So which tune should you play? John Browne has some suggestions….
When the Royal Scottish Country Dance society started its work in 1923 it began by collecting dances from a range of sources and publishing them in a series of books. Each dance was printed along with its associated original tune and all RSCDS books (there are currently 39 of them) and leaflets can still be purchased today. A number of branches, dance clubs and individual dance devisers have since published their own collections of dances, some of which contain music, others where recommended music for the dances is suggested, but all too frequently where no music is specified at all.
It is now estimated that there are some 15,000 Scottish country dances in existence – an awful lot of tunes if the dance band leader was to play a different tune for each dance!! Fortunately the dancing contingent do not expect a unique tune for each and every dance but they will, however, expect the ‘correct’ tunes for many of the dances on a typical programme. It should be relatively easy to find the correct tune for an RSCDS dance – just consult the Society publications. The tunes for other dances many take a little more time to obtain and will involve hunting them out from a large range of sources.
Having obtained your ‘original’ tune it may still not be the tune the dancers want to hear played for a particular dance. This can be the case even with some RSCDS dances where the alternative tune, for example, may be more commonly associated with the dance (the term alternative arises from the early publications of the Society where two tunes – an original and an alternative – were printed for each dance). A number of early recordings of some dances by bands of the era actually used the alternative tune as the original. Examples include John McNeil’s Reel for the dance ‘Cadgers in the Canongate’ rather than the published original of the same name, and Lady Montgomerie for the Montomeries’ Rant rather than Lord Eglintoune. Dancers today still typically expect these alternative tunes as the originals for these dances (although some may dispute this – the RSCDS recorded music for both of these dances in 1988 using the ‘correct’ originals as in the books).
Dr. Jean Milligan, co-founder of the RSCDS, was to write two books of Scottish country dances, 101 Scottish Country Dances in 1956 and 99 More Scottish Country Dances in 1963. These contained a number of dances which had already been published by the Society as well as a number of newly-sourced dances. Although the original tune was specified for some of the dances for most the musicians were given a choice (e.g. ‘original or any good reel’ or even ‘any good reel’). Perhaps this indicates that the Society did not consider the playing of one given tune for a dance to be particularly important at this time, a view perhaps supported by the Society’s publication (in 1932 and 1954) of collections of alternative tunes for all of the dances in its first 14 books. Looking through the two books of Dr. Milligan in 1998 one realizes just how many (most) of the dances are still danced today and also how many have a tune commonly associated with the dance. One well-known dance from 99 More… is Hooper’s Jig, a dance which never had a specified original tune but which is now always danced to the late Tom Anderson’s tune Peter’s Peerie Boat.
Dance band leaders have – for many years – been quick to record new dances shortly after being published. If the new dance did not have a specified original tune then the band leader would select a set of tunes with an appropriate tune for the original. It appear that on occasions there has been a race to record a new dance with more than one band making a recording – each band using a different original! In due course it is likely that just one of the ‘originals’ will become accepted as the ‘adopted original’ for the dance. With Posties’ Jig, for example, the adopted original became ‘Lassie Come and Dance Wi’ Me’. On other occasions, however, a specified original tune for a dance has been replaced by a different ‘original’ tune from a recording. This happened with The Black Mountain Reel where the originally recommended ‘Trumpet Hornpipe’ was not used by McBain’s Band when they recorded the dance, using instead a new tune especially composed for (and named after) the dance by a member of the band. The dance deviser now lists both tunes as the recommended ‘originals’ for this dance. The selection and recording of new tunes for dances still continues to this day, even for dances where there is already a specified original tune. The Bees of Maggieknockater has been recorded so many times – the most recent being just two years ago – to so many tunes, more often as not without using the specified original tune of ‘Forres Country Dance’, that it will surely become up to the dancers to decide which tune they will wish to dance the dance to.
It is often possible to ‘guess’ the correct tune for a dance as many dances use well-known original tunes of the same name (e.g. Corn Rigs, Roxburgh Castle, De’il Amang the Tailors, etc). However, watch out for the following popular dances as they do nor use the ‘expected’ original tune of the same name : Peggy’s Wedding (Willie’s Ga’en a-Coortin’), Ca’ the Ewes tae the Knowes (Miss Mariane Oliphant, Rossie), and Highland Laddie (Cairney Mount). Interestingly this last tune comes from the song As I Cam’ O’er the Cairney Mount using the air originally known as Highland Lassie, which is not so far removed from the dance title – see last month’s B&F article on tune Titles.
You may find that the tunes you have correctly identified for a particular dance is also the specified tune for another dance, something which can cause a degree of frustration for the bandleader if Muirland Willie and Highland Fair are on the same dance programme, for example, or The Bonnie Lass of bon Accord and the Belle of bon Accord. Although the specified original tune for the dance Belle of…..is in fact the tune Bonnie Lass of…. This is another of these dances where there has been more than one recording of the dance using different tunes for the original. Some dancers will ask for the tune The Silver City played as a strathspey for this dance, others - especially in the London area where the dance is popular – will ask for Helen Black of Inveran in strathspey tempo.
So, turning to our original question of which tune do you play for a particular dance, in practice the musician will often have quite a lot of choice even though many of the dances on a ‘typical’ dance programme will have specified original tunes. It is important that you play the correct originals for the dances with the ‘catchiest’ tunes (e.g. Shiftin’ Bobbins, Cumberland Reel, Glasgow Highlanders, etc) but as such tunes are usually fairly easy to play they should not pose too much of a problem. Nobody likes poor tunes – dancers and musicians alike – and it is normal practice (you’ll be glad to hear) to play more ‘tuneful’ alternatives for dances where poor original tunes have been specified. So, with these points in mind, get out and play for that dance….
Next month ; ‘How do you Play that Dance’?
Steve Roxton
International Accordionist
From a very early age, it was inevitable that Steve Roxton would….
The Gordon Simpson Gallery
A selection of photographs from Gordon’s playing career
CD Reviews
Ceilidh Dance Party – Gordon Pattullo’s Ceilidh Band – GRCD88
75th Anniversary Dances – Craig McCallum SDB
12 Modern Scottish Country Dances in Traditional Form – Book 23 – Gordon Shand SDB
12 Scottish Country Dances – Book 24 – Muriel Johnstone SDB
Book Review
Tunes Composed by William A. Hunter, Shetland
Letters to the Editor
I refer to the anonymous letter under the heading of ‘Dear Auntie, It’s Time We Talked’. in the September issue.
As a fan of the Scottish dance music scene for nearly sixty years, I have obviously been brought up under the names of Shand, Powrie, Blue, MacLeod, Cameron, etc, etc all of whom laid the basic foundation stone for the music as it is today. Yes, some musicians play much faster, but everyone has their own style of playing and it is up to the individual punter to decide which style of playing gives him or her the greatest satisfaction and enjoyment.
I can listen to any type of Scottish music, irrespective of the speed, as long as it is played well and we have certainly had some excellent musicians over the years and up to the present time. Speed of playing is not really a problem, but occasionally the volume control can just do with a minor adjustment, depending on the venue.
The real method of judging is simply to take a look at the foot-tapping audience at the Accordion Clubs, or the dancers at the dance halls. If they are happy and enjoying themselves, then that is really all that matters.
It is unfair and indeed selfish, to criticize musicians just because they don’t play in a particular style to suit a particular person. In such cases the answer is fairly obvious, just switch off, or don’t attend such functions.
The writer in question is certainly entitled to his, or her, opinion, but perhaps a direct contact with the B.B.C. could solve the problem. If one has a strong opinion on any subject, they should not be afraid or embarrassed to express such an opinion and also disclose their identity, which I am sure would be respected.
John McDonald, Kirkcaldy
The letter from your angry and anonymous correspondent defeats itself by being so extreme as to discourage anyone from taking it seriously. It is just not true to say that ‘week in week out we have fiddle players who scratch and squeal and simply cannot play a tune’ and other similar exaggerations.
There have been occasional lapses but generally the standard has been very good and sometimes really excellent during the past few years.
Similarly your correspondent heaps scorn on other people who dare to criticize bands, while he himself claims the right, not only to criticize, but to speak for all young people of Scotland.
I could go on in this way but such destructive criticism is pointless, what is needed is a constructive approach to some of the issues he raises.
The programme is ‘TTF’ and as such is aimed at Scottish dancers. The music should be appropriate to the type of dance, be it ceilidh, round the room or R.S.C.D.S. The kind of music suitable for a riotous ‘knees up’ is not suitable for R.S.C.D.S. where the phrasing and tempo should fit the dance. In the latter case alternative tunes are quite in order if they fit the movements, although there are times when it seems bandleaders pick a set of good tunes and give them the name of any old dance.
In the present financial situation, few dance groups can afford a six piece band and most bands who regularly play for dancing are smaller. To produce a sound which holds the attention of a radio audience, they can be tempted to bring in extra players to enable more interesting musical arrangements to be made. This is often a mistake, because they are not playing as they usually do and the extra players do not always ‘gel’. It is usually easy to distinguish a regular band from one put together for a broadcast. Let’s have real bands.
The points about letting the bandleader hear the sound and balance to be broadcast and about a wider selection of bands being invited to play are both valid. But the plea to bring the programme up-to-date needs to be treated with extreme caution. What we need is good Scottish dance music, well played, but not the kind of trendiness which has ruined the Hogmanay programmes in recent years.
The music is good enough to stand on its own feet.
Roy Hordley, St Helens, Lancs
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
7th Nov 98 – Fraser McGlynn Duo
14th Nov 98 – Ian Thomson SDB
21st Nov 98 – Iain Cathcart SDB
28th Nov 98 – Jim Johnstone SDB. OB from Jordanhill College, Glasgow
5th Dec 98 – Colin Dewar SDB
12th Dec 98 – Bruce Lindsay SDB
19th Dec 98 – Allan McIntosh & the Heather SDB
26th Dec 98 - OB with The Occasionals
CLUB DIARY
Aberdeen (Dee Motel) – 23rd Nov 98 – Lomond Ceilidh Band
Alnwick (White Swan Hotel) – members only 11th Nov 98 - tbc
Annan (St Andrew’s Social Club) - 15th Nov 98 – Sandy Nixon SDB
Arbroath (Viewfield Hotel) - 1st Nov 98 – David Cunningham Jnr
Armadale (Masonic Hall) – 5th Nov 98 – Deirdre Adamson
Ayr (Gartferry Hotel) – ??
Balloch (St. Kessog’s Hall) – 15th Nov 98 – Da Fustra
Banchory (Burnett Arms Hotel) – 30th Nov 98 – Jim Johnstone SDB
Banff & District (Banff Springs Hotel) – 25th Nov 98 – Johnny Duncan Duo
Beith & District (Hotel de Croft, Dalry) – 16th Nov 98 – Roy Hendrie
Belford (Community Club) – 26th Nov 98 - tbc
Biggar (Municipal Hall) – 8th Nov 98 – Marie Fielding
Blairgowrie (Moorfield Hotel) - 10th Nov 98 – Colliston Sound
Bromley (Trinity United Reform Church) - 10th Nov 98 – Hertfordshire A&F Club
Button Key (Windygates Institute) – 12th Nov 98 – Ray Carse
Campbeltown (Royal or Argyll Hotel) - ??
Campsie (Glazert House Hotel) - 3rd Nov 98 – Sandy Legget
Carlisle (Border Regiment Club, Carlisle Castle) - 5th Nov 98 – Jimmy Cassidy
Castle Douglas (Ernespie House Hotel) – 17th Nov 98 – Ian Anderson
Coalburn (Miners’ Welfare) - 19th Nov 98 – Bobby Abbott Trio
Crathes (Crathes Hall, Banchory) - 8th Nov 98 – All Players Welcome
Crieff & District (Arduthie Hotel) 5th Nov 98 – Sandy Nixon SDB
Dalriada (Argyll Arms Hotel, Lochgilphead) 17th Nov 98 – Iain Lockhart SDB
Dingwall (National Hotel) – 4th Nov 98 – Lynn Christie SDB
Dunblane (Westlands Hotel) – 17th Nov 98 – Iain Buchanan SDB
Dunfermline (Headwell Bowling Club) – 10th Nov 98 – Graeme Johnstone
Dunoon & Cowal (McColl’s Hotel) 13th Nov 98 – Cowal Accordion Workshop
East Kilbride (Sweepers, Cambuslang) – 26th Nov 98 – Club Night
Ellon (Station Hotel) – 17th Nov 98 - tbc
Fintry (Fintry Sports Centre) – 23rd Nov 98 – Jimmy Lindsay (3 row)
Forfar (Plough Inn) - 29th Nov 98 – Johnny Duncan
Forres (Brig Motel) – 11th Nov 98 – Dick Black Band
Fort William (Alexandra Hotel) –
Galashiels (Abbotsford Arms Hotel) – 5th Nov 98 – Nicol McLaren SDB
Galston (Barr Castle Social Club) – 9th Nov 98 – Andrew Gordon Trio
Glendale (Black Bull Hotel – Wooler) – 19th Nov 98 – Nicol McLaren SDB
Glenfarg (Lomond Hotel) - 4th Nov 98 – Donnie McGregor
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 24th Nov 98 – David Vernon
Gretna (Halcrow Stadium) - 1st Nov 98 – Judith Linton Trio
Highland (Drumossie Hotel) – 16th Nov 98 – Jim Johnstone SDB (Club’s 25th)
Inveraray (Loch Fyne Hotel) - 3rd Nov 98 – Jennifer Forrest
Islay (White Hart Hotel) -
Isle of Skye – (The Royal Hotel, Portree) - 5th Nov 98 – Tommy Walker
Islesteps (The Embassy Hotel) – 3rd Nov 98 – Oran Mor
Kelso (Ednam House Hotel) – 25th Nov 98 – Kathryn Nichol Trio
Kintore (Torryburn Hotel) – 4th Nov 98 – Johnny Duncan
Lanark (Masonic Hall) - 23rd Nov 98 – Lindsay Weir Trio
Langholm (Crown Hotel) – ??
Lesmahagow (Masonic Hall) – 12th Nov 98 – Jimmy Lindsay Trio (Guildtown)
Lewis & Harris (Stornoway Legion) - 5th Nov 98 - tbc
Livingston (Cairn Hotel) - 17th Nov 98 – Bobby Abbott Band
Lockerbie (Queen’s Hotel) - 24th Nov 98 – Billy Anderson (Albany)
Mauchline (Sorn Village Hall) 17th Nov 98 – Johnny Duncan Duo
Montrose (Park Hotel) – 4th Nov 98 – Steven Carcary Duo
Muirhead (Belmont Arms, Meigle) - 18th Nov 98 – local artistes
Newtongrange (Dean Tavern) – 30th Nov 98 – Colin Dewar SDB
North East (Royal British Legion, Keith) – 3rd Nov 98 – Bill Brian (fiddle)
Oban (McTavish’s Kitchen) – 5th Nov 98 – Neil MacEachern SDB
Orkney (Ayre Hotel, Kirkwall) – Closed for season
Peebles (Green Tree Hotel) – 26th Nov 98 – Ian Lowthian
Perth (Salutation Hotel) – 17th Nov 98 – Tommy Walker Trio
Premier NI (Camlin Function Rooms) - 3rd Nov 98 - tbc
Reading Fiddlers (Piggot School) - ??
Renfrew (Masonic Hall, Broadloan) – 10th Nov 98 – Gary Blair
Rothbury (Queen’s Head) - 5th Nov 98 – Gary Donaldson Trio
Selkirk (Cricket Club) - 12th Nov 98 – Tom Anderson
Shetland (Shetland Hotel, Lerwick) - ?
Stirling (Terraces Hotel) - 8th Nov 98 – Angie Smith
Sutherland (Rogart Hall) - 14th Nov 98 – Lynn Gould
Thornhill (Masonic Hall) - 11th Nov 98 – Cailins SDB
Thurso (Pentland Hotel) – 2nd Nov 98 – Paul Anderson
Turriff (Royal Oak Hotel) – 5th Nov 98 – Bobby Coghill SDB
Tynedale (Hexham Ex Service Club) – 3rd Nov 98 – Ian Holmes Trio
Wick (McKay’s Hotel) – 17th Nov 98 – Bill Black SDB
Yarrow (Gordon Arms) - 18th Nov 98 – Sandy Legget
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Alnwick
3. Annan
4. Arbroath
5. Balloch
6. Banchory
7. Banff
8. Beith
9. Biggar
10. Blairgowrie
11. Button Key
12. Campsie
13. Castle Douglas
14. Coalburn
15. Crieff & District
16. Dingwall & District
17. Dunblane
18. Dunoon & Cowal
19. Fintry
20. Forfar
21. Galston
22. Glenrothes
23. Gretna
24. Highland
25. Inveraray
26. Kelso
27. Kintore
28. Lanark
29. Lesmahagow
30. Livingston
31. Lockerbie
32. Montrose
33. Muirhead
34. Newtongrange
35. Oban
36. Perth & District
37. Rothbury
38. Selkirk
39. Stirling
40. Sutherland
41. Thurso
42. Turriff
43. Tynedale
44. Wick
45. Yarrow
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
Full Page - £120
Half Page - £60
Quarter Page - £30
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
First of all, a big thank you to Ken Hopkins from Belfast for providing me with some excellent information on Hohner, some of which I have used for this month’s lead article. Although I have been concentrating my efforts initially on Hohner as the most widely used make of accordion I would be delighted to hear from anyone with stories behind the other popular makes, e.g. Ranco, Scandalli, Galanti, Soprani, etc. Many, I understand, have interesting origins but I need the facts so if anyone out there has retained any interesting articles or information from years gone by I look forward to hearing from you.
Two things I would like to mention on the B&F distribution front……………………..
Charlie Todd
The History of the House of Hohner
1857 - 1957
The History of the House of Hohner 1857-1957
This is a story of enterprise and vision and achievement.
It commences in the year 1857 – when young Matthias Hohner, a watchmaker in the small rural community of Trossingen in the Baar Region of South Western Germany, set up the small beginnings of his harmonica factory which was destined to flourish and grow into the largest musical instrument manufacturing business in the world.
But for the true beginnings of our story we must go back further still, to the early 1820’s, when one of the first harmonicas (known then as mundaeo-lines) arrived in Trossingen from Vienna. The early years of the instrument are still shrouded in mystery, but it appears that the actual inventor of the forerunner of the instrument as we know it today was Christian Friedrich Ludwig Buschmann. Soon afterwards, Buschmann also produced the first ‘handaeline’, a forerunner of the modern accordion, which was improved by Demian, a Viennese, in 1829.
At the time, Trossingen was a village of bewildered and frustrated farmers, extracting a hard living from a comparatively infertile earth with their crops liable to frequent damage from winds and storms in the difficult terrain 2,500ft above sea level. It was also the centre of a clock-making industry which for many of the peasants employed part time in it proved considerably more profitable than their agricultural pursuits.
But about this time, clock-making too was in the throes of a depression, and the first of the clock-makers to appreciate the possibilities of using the skill of his workpeople in the manufacture of harmonicas was Christian Messner, who set up his workshop in 1827. For quite a number of years, Messner enjoyed a virtual monopoly, and the family did everything in their power to keep their production methods a strictly guarded secret. But gradually more makers entered the field, the next of the well-known ones being Christian Weiss, who opened his workshop in 1855.
Then in 1857, Matthias Hohner, already regarded as the best clock-maker in the business, decided to give up the manufacture of clocks and concentrate entirely on harmonicas. Although he only started in a small way with one or two relations and some of his former workmen, unlike the other manufacturers he did not attempt to operate a ‘closed shop’ principle, and his business developed rapidly.
Up to this time, harmonicas were generally made on the same lines as had been developed by Messner. They were made entirely by hand and each instrument was made from start to finish by the same craftsman. The construction was in two parts, the body with its cells, and the reed plate. The wooden bodies were firstly roughly cut by knife, and then smoothed and filed, and the air channels were cut laboriously by hand. The first reed plates were made of tin, and then a little later they were made of lead produced in moulds, the reed slots being cut by hand with a chisel. Metal reeds were produced by flattening brass wires to the shape of the reed slots, and brass wire was also used for the rivets. Needless to say, such difficult work with crude tools produced a very primitive instrument.
Matthias Hohner was quick to adopt new methods and new techniques. Already when he opened his factory, the use of protective covers had recently been introduced ; this was a very great step forward, because they improved performance, and the instrument looked better and lasted longer. And because he wished his mouth-organs to stand out above all others for quality, he decided to use his full name on the cover plates as a trade mark.
Hohner also quickly introduced other mass production methods and suitable division of labour in his manufacturing processes ; skilled carpenters handled the woodworking operations, and the reed cells were cut by machine ; the reed plates were produced by rolling instead of hammering ; and brass was adopted for the reed plates instead of moulded lead. The innovation had already been adopted by a firm called Hotz in Knittlinger ; it resulted in an instrument of improved quality, and Hohner was quick to adopt the process also since from the start his guiding principle was to produce an instrument which was the foremost for quality.
Continuing efforts to streamline production methods, while fully maintaining and improving the quality of the instruments produced, were symbolised in 1880 by the introduction of the first steam engine into the factory. A vast expansion of demand had taken place during the mid-1860’s by the development of a good export trade to America. In 1867, the output of harmonicas was 1,433 dozen (17,196) which had risen to 4,400 dozen (52,800) by 1875, and to 6,000 dozen (72,000) by 1879. This total market was hit by the severe industrial depression of the 1890’s but alternative markets were developed in other parts of the world and by the turn of the century, Hohner instruments were enjoying a worldwide market.
Records show that in the year 1875, the total number of people engaged in the harmonica industry at Trossingen was 250. They were spread over the different factories as follows :-
Matthias Hohner, 85 workers
Andreas Koch, 60 workers
Christian Messner & Co, 40 workers
Christian Bilger, 25 workers
Joh Irion, 10 workers
Gebr. Ulrich, Talheim, 8 workers
Despite the growing use machinery, and the erection of new factories, the cottage industry was still flourishing and piece workers were still numbered in hundreds in the year 1888. Hohner’s next step was to carry out a long cherished plan of establishing branches in the various areas where piece workers operated, and he thus established a system of branch factories where the labour was concentrated. Industrial relations between workers and management has always been good and there has never been a strike nor any unsatisfactorily resolved dispute throughout the hundred years during which the industry flourished.
When in September, 1900, Matthias Hohner handed over his business to his five sons, the production figures and the number of workmen employed were already the highest in the industry, and the family name enjoyed an enviable reputation throughout the world. Each son now played his special part towards the further growth of the business. Jacob, the eldest son, carried on his father’s good work of general management meticulously for many years. Matthew and Andreas were responsible for further developing the instruments themselves. Will tackled the cultural side, and proved that industry and music must move together hand-in-hand while Hans, the youngest, devoted himself to the development of the American market, and on the export trade in general. He went to live in New York and became an American citizen.
The second phase in the development of the great Hohner business was mainly concerned with the continuation and rapid expansion of the manufacturing side partly by means of the absorption of competitive manufacturing firms. The first to be taken over were the Knittlingen factories of Hotz and Pohl, in 1906. Gradually other firms were absorbed, amongst the last being Messner and Weiss in 1928, and the Koch concern in 1929. Thus, in three generations the Hohner enterprise had become the largest musical instrument undertaking in the world, employing nearly half of Trossingen’s 8,000 inhabitants.
After inventing the mouth-organ Buschmann had designed a reed instrument with 20 well tempered reeds with valves fixed to a brass table, and with leather bellows with three folds to produce the air required to motivate the reeds. In the following years, Buschmann concentrated on developing reed instruments fitted with foot operated bellows (the harmonium), but meanwhile Demian of Vienna developed the handaeoline, and in 1829 brought out an improved instrument which was called the accordion. This remained in the background for 50 years, and then was reintroduced in Vienna but was sadly neglected until the harmonica industry in Trossingen and Klingenthal took it up.
The diatonic accordion has the same musical principle as the mouth organ, but even in its most simple beginnings it was much more complicated and presented a number of technical manufacturing problems. Long and expensive experiments were carried out in Trossingen before the first diatonic accordions appeared on the market, and even then they had a mixed reception from the public, but as the quality and scope of the instruments were improved by continuous experimentation, so did they meet with an increasing demand from all over the world.
In the 1950’s the Hohner business continued to expand and growth of manufacturing potential was fully matched by development of the technological resources of the firm, resulting not only in great improvements in the production processes, but also in the instruments themselves.
But despite vast expansion of the firm it remained essentially a family business, with the third generation of Matthias Hohner’s family now guiding the destinies of the firm in the same efficient way that had always characterised the management of the business.
The Senior Director was Dr Ernst Hohner, the son of Jacob, who concerned himself mainly with the factory management and with the firm’s various cultural activities. The Sales Director, who was also responsible for the general financial policy of the firm, was DR Karl Hohner, son of Matthew, whose other son Matth, was in charge of the technical development of the harmonica manufacturing resources. This duty was shared with Walter, the youngest son of Andreas – whose eldest son, Matthew was President of M. Hohner Incorporated of America. The General Manager of the American firm was Frank Hohner, the only son of Will. The American branch was actually founded by Hans, who had no children.
As for the coming generation there was evidently no shortage of descendants to carry on the traditions established by Matthias Hohner in 1857. Dr Ernst Hohner had two daughters, one of whom was the wife of Dr Karl Scherer, who was in charge of production in the accordion and reed factories, and experimental research. Dr Karl had one daughter, Matthew had two sons and one daughter, Walter had one son and two daughters and Frank had three daughters. Perhaps one of the best-known members of the firm in this country was Konrad Burgbacher, the Export Sales Manager.
Such then is the history of the great Hohner industry which in 1957 turned out something in the region of 20 million harmonicas and 400,000 accordions annually and employed nearly 5,000 workers in their manufacture. The firm also provided employment for many thousands more in the musical distributive trades throughout the world – and pleasure and enjoyment for countless millions of performers and listeners.
More Than Bricks and Mortar
Dancers and dance bands are all very well but where would we be without the dance venues. Some meeting places have an interesting story to tell, none more so than the Tontine Hotel in Peebles but I’ll leave it to Wallace Lockhart to relate the story as it appears in his book ‘Highland Balls and Village Halls’.
“The Tontine Hotel is situated half way down the High Street of Peebles. Set slightly back from the main road, it presents a square, squat exterior. It is very ordinary, the kind of building that may be seen in many parts of the country. Its story, however, is somewhat unusual and here we must move first from dancing to another form of exercise.
The Tweeddale Shooting Club, the oldest such Club in the country, was formed at Peebles in 1790. A few years later some of its members decided to build an hotel and ballroom in the town, and to do it under the ‘Tontine’ principal, one which is quite illegal today. It involved investment in a project by a number of people who, according to the success of the venture, would each receive an annual dividend, and who owned the building jointly. As members of the original group died off, the group of owners got smaller and smaller, and eventually the actual ownership of the property was vested in the last member of the consortium left alive. This method of establishing new enterprises was for many years not uncommon in Scotland, but abuse of the system, or, should it be said, the number of unexplained deaths which followed in the wake of such enterprises, led to the Tontine Principle being outlawed early in the 19th Century.
However the diehards from the Shooting Club completed their hotel and ballroom in 1808 and since then the ballroom has been a regular rendezvous for the Club for their dancing occasions. The ballroom is an impressive room built in the style of Adam, with bay windows and a minstrels’ gallery. Traditionally decorated with white woodwork and in pastel shades, it retains the original fireplace and some furniture of the same age. The first chandeliers have had to be replaced by ones of a later date, but the room, frequently used for dining purposes, warrants in every way its use for official functions by Peebles Town Council. There is evidence to suggest that French prisoners from the Napoleonic wars worked on the building and that a number of French Officers were lodged in the Tontine whilst on parole in 1811 – 1815.
Thanks to Wallace Lockhart and Luath Press Ltd. For allowing me to feature this interesting article. Do any readers have particular memories of a building where they have played or danced? If so please let me know.
“All in a Day’s Work”
Much of our pipe music has been written over the centuries by Army pipers. Kilted Highland infantry were universally referred to as ‘Jocks’ as indeed were all Scottish servicemen recognised as such. However, with the discontinuation of the wearing of kilts on active service and the substitution of standard issue khaki battledress Highlanders became largely indistinguishable in appearance from the ubiquitous British ‘Tommy’. For younger readers this was in itself an abbreviation of ‘Thomas Atkins’ our equivalent of the American G.I. He derived his title from ‘General Issue’, in other words everything he wore and used in his day-to-day Army life – but why ‘Thomas Atkins’?
To find the answer we have to go back over 150 years but the story was recounted in the Ypres Times of April 1929 and goes as follows :-
“The Great Duke of Wellington stood on the path which runs round the ramparts of Walmer Castle on a sunny day in July, 1843. Near him, standing at attention, was a young Staff Officer of the Adjutant-General’s Department. He had just asked a question on a small matter of detail which the War Office thought should, as a courtesy, be referred to the Commander of the Forces. A name, typical of the British private soldier was required, for use on the model sheet of the soldiers’ accounts to show where the men should sign.
The Duke stood gazing out to sea while the young officer waited, searching in a long memory stored with recollections, for a man who typified the character of Britain’s soldiers. He thought back to his first campaign in the Low countries where he had fought his first action with his old regiment, the 33rd Foot.
When the battle was over and won, Wellesley rode back to where little groups of wounded men were lying on the ground. At the place where the right of his line had been, lay the right-hand man of the Grenadier Company. He stood six feet three in his stockinged feet, he had served for twenty years, he could neither read nor write and he was the best man-at-arms in the Regiment.
One of the bandsmen had bound up his head where a saber had slashed it, he had a bayonet wound in his chest and a bullet through his lungs. He had begged the bearers not to move him, but to let him die in peace. Wellesley looked down at the man who must have seen his concern. “It’s all right Sir”, he gasped “it’s all in a day’s work”. They were his last words.
The Old Duke turned to the waiting Staff Officer. “Thomas Atkins” he said.
Freedom of Fife for Jimmy Shand Snr
by Sandy Tulloch
On Tuesday, 22nd September the new Fife Council awarded Jimmy Shand ‘Freedom of the County’ for his outstanding contribution to Scottish music, dance and culture and for his role as an ambassador for Fife. This is the highest honour that the council can bestow and is only given for exceptional contribution to the area.
Jimmy, Anne and family were piped in to the ceremony in the County Buildings, Cupar by Gordon Liddell and Walter Anderson of Burntisland and district Pipe Band. Invited guests had previously been entertained by pupils from Bell Baxter High School.
The introduction and welcome was made by Councillor John W. MacDougall, Convener Fife Council followed by a formal but excellent tribute to Jimmy, saying “He is a legend in his field at home and abroad and is a true ambassador of Fife. It is therefore and honour for us to award Jimmy Shand the very first Freedom of Fife”.
Further tributes were paid by Robbie shepherd and the Earl of Elgin and Kincardine K.T.C.D. Lord Lieutenant of Fife. Dr. John Markland, Chief Executive Fife Council then read the ‘Ticket of Freedom’ followed by the presentation of the ‘Scroll’ by the Convener and the signing ceremony completed.
Jimmy Shand Jnr. Then thanked the Council on his father’s behalf. Jimmy Senior’s voice has not been strong enough lately for such a public occasion.
The formal vote of thanks was given by Sandy Tulloch, and a short personal tribute at the Convener’s request. The new Freeman of Fife and family were then piped through to an excellent buffet lunch with many a glass raised in congratulation.
This very happy day ended with all musical friends playing a fine selection of Shand tunes led by Jimmy Jnr and, highlight of highlights, there was Jimmy himself among us all.
What Tune Do You Play For That Dance?
by John Browne (North Wales ex Edinburgh)
Most country dances have an ‘original’ tune – one that is associated with that particular dance. Sometimes, however, the original tune is not specified or the dancer expects to hear a different tune from the one listed for a particular dance. So which tune should you play? John Browne has some suggestions….
When the Royal Scottish Country Dance society started its work in 1923 it began by collecting dances from a range of sources and publishing them in a series of books. Each dance was printed along with its associated original tune and all RSCDS books (there are currently 39 of them) and leaflets can still be purchased today. A number of branches, dance clubs and individual dance devisers have since published their own collections of dances, some of which contain music, others where recommended music for the dances is suggested, but all too frequently where no music is specified at all.
It is now estimated that there are some 15,000 Scottish country dances in existence – an awful lot of tunes if the dance band leader was to play a different tune for each dance!! Fortunately the dancing contingent do not expect a unique tune for each and every dance but they will, however, expect the ‘correct’ tunes for many of the dances on a typical programme. It should be relatively easy to find the correct tune for an RSCDS dance – just consult the Society publications. The tunes for other dances many take a little more time to obtain and will involve hunting them out from a large range of sources.
Having obtained your ‘original’ tune it may still not be the tune the dancers want to hear played for a particular dance. This can be the case even with some RSCDS dances where the alternative tune, for example, may be more commonly associated with the dance (the term alternative arises from the early publications of the Society where two tunes – an original and an alternative – were printed for each dance). A number of early recordings of some dances by bands of the era actually used the alternative tune as the original. Examples include John McNeil’s Reel for the dance ‘Cadgers in the Canongate’ rather than the published original of the same name, and Lady Montgomerie for the Montomeries’ Rant rather than Lord Eglintoune. Dancers today still typically expect these alternative tunes as the originals for these dances (although some may dispute this – the RSCDS recorded music for both of these dances in 1988 using the ‘correct’ originals as in the books).
Dr. Jean Milligan, co-founder of the RSCDS, was to write two books of Scottish country dances, 101 Scottish Country Dances in 1956 and 99 More Scottish Country Dances in 1963. These contained a number of dances which had already been published by the Society as well as a number of newly-sourced dances. Although the original tune was specified for some of the dances for most the musicians were given a choice (e.g. ‘original or any good reel’ or even ‘any good reel’). Perhaps this indicates that the Society did not consider the playing of one given tune for a dance to be particularly important at this time, a view perhaps supported by the Society’s publication (in 1932 and 1954) of collections of alternative tunes for all of the dances in its first 14 books. Looking through the two books of Dr. Milligan in 1998 one realizes just how many (most) of the dances are still danced today and also how many have a tune commonly associated with the dance. One well-known dance from 99 More… is Hooper’s Jig, a dance which never had a specified original tune but which is now always danced to the late Tom Anderson’s tune Peter’s Peerie Boat.
Dance band leaders have – for many years – been quick to record new dances shortly after being published. If the new dance did not have a specified original tune then the band leader would select a set of tunes with an appropriate tune for the original. It appear that on occasions there has been a race to record a new dance with more than one band making a recording – each band using a different original! In due course it is likely that just one of the ‘originals’ will become accepted as the ‘adopted original’ for the dance. With Posties’ Jig, for example, the adopted original became ‘Lassie Come and Dance Wi’ Me’. On other occasions, however, a specified original tune for a dance has been replaced by a different ‘original’ tune from a recording. This happened with The Black Mountain Reel where the originally recommended ‘Trumpet Hornpipe’ was not used by McBain’s Band when they recorded the dance, using instead a new tune especially composed for (and named after) the dance by a member of the band. The dance deviser now lists both tunes as the recommended ‘originals’ for this dance. The selection and recording of new tunes for dances still continues to this day, even for dances where there is already a specified original tune. The Bees of Maggieknockater has been recorded so many times – the most recent being just two years ago – to so many tunes, more often as not without using the specified original tune of ‘Forres Country Dance’, that it will surely become up to the dancers to decide which tune they will wish to dance the dance to.
It is often possible to ‘guess’ the correct tune for a dance as many dances use well-known original tunes of the same name (e.g. Corn Rigs, Roxburgh Castle, De’il Amang the Tailors, etc). However, watch out for the following popular dances as they do nor use the ‘expected’ original tune of the same name : Peggy’s Wedding (Willie’s Ga’en a-Coortin’), Ca’ the Ewes tae the Knowes (Miss Mariane Oliphant, Rossie), and Highland Laddie (Cairney Mount). Interestingly this last tune comes from the song As I Cam’ O’er the Cairney Mount using the air originally known as Highland Lassie, which is not so far removed from the dance title – see last month’s B&F article on tune Titles.
You may find that the tunes you have correctly identified for a particular dance is also the specified tune for another dance, something which can cause a degree of frustration for the bandleader if Muirland Willie and Highland Fair are on the same dance programme, for example, or The Bonnie Lass of bon Accord and the Belle of bon Accord. Although the specified original tune for the dance Belle of…..is in fact the tune Bonnie Lass of…. This is another of these dances where there has been more than one recording of the dance using different tunes for the original. Some dancers will ask for the tune The Silver City played as a strathspey for this dance, others - especially in the London area where the dance is popular – will ask for Helen Black of Inveran in strathspey tempo.
So, turning to our original question of which tune do you play for a particular dance, in practice the musician will often have quite a lot of choice even though many of the dances on a ‘typical’ dance programme will have specified original tunes. It is important that you play the correct originals for the dances with the ‘catchiest’ tunes (e.g. Shiftin’ Bobbins, Cumberland Reel, Glasgow Highlanders, etc) but as such tunes are usually fairly easy to play they should not pose too much of a problem. Nobody likes poor tunes – dancers and musicians alike – and it is normal practice (you’ll be glad to hear) to play more ‘tuneful’ alternatives for dances where poor original tunes have been specified. So, with these points in mind, get out and play for that dance….
Next month ; ‘How do you Play that Dance’?
Steve Roxton
International Accordionist
From a very early age, it was inevitable that Steve Roxton would….
The Gordon Simpson Gallery
A selection of photographs from Gordon’s playing career
CD Reviews
Ceilidh Dance Party – Gordon Pattullo’s Ceilidh Band – GRCD88
75th Anniversary Dances – Craig McCallum SDB
12 Modern Scottish Country Dances in Traditional Form – Book 23 – Gordon Shand SDB
12 Scottish Country Dances – Book 24 – Muriel Johnstone SDB
Book Review
Tunes Composed by William A. Hunter, Shetland
Letters to the Editor
I refer to the anonymous letter under the heading of ‘Dear Auntie, It’s Time We Talked’. in the September issue.
As a fan of the Scottish dance music scene for nearly sixty years, I have obviously been brought up under the names of Shand, Powrie, Blue, MacLeod, Cameron, etc, etc all of whom laid the basic foundation stone for the music as it is today. Yes, some musicians play much faster, but everyone has their own style of playing and it is up to the individual punter to decide which style of playing gives him or her the greatest satisfaction and enjoyment.
I can listen to any type of Scottish music, irrespective of the speed, as long as it is played well and we have certainly had some excellent musicians over the years and up to the present time. Speed of playing is not really a problem, but occasionally the volume control can just do with a minor adjustment, depending on the venue.
The real method of judging is simply to take a look at the foot-tapping audience at the Accordion Clubs, or the dancers at the dance halls. If they are happy and enjoying themselves, then that is really all that matters.
It is unfair and indeed selfish, to criticize musicians just because they don’t play in a particular style to suit a particular person. In such cases the answer is fairly obvious, just switch off, or don’t attend such functions.
The writer in question is certainly entitled to his, or her, opinion, but perhaps a direct contact with the B.B.C. could solve the problem. If one has a strong opinion on any subject, they should not be afraid or embarrassed to express such an opinion and also disclose their identity, which I am sure would be respected.
John McDonald, Kirkcaldy
The letter from your angry and anonymous correspondent defeats itself by being so extreme as to discourage anyone from taking it seriously. It is just not true to say that ‘week in week out we have fiddle players who scratch and squeal and simply cannot play a tune’ and other similar exaggerations.
There have been occasional lapses but generally the standard has been very good and sometimes really excellent during the past few years.
Similarly your correspondent heaps scorn on other people who dare to criticize bands, while he himself claims the right, not only to criticize, but to speak for all young people of Scotland.
I could go on in this way but such destructive criticism is pointless, what is needed is a constructive approach to some of the issues he raises.
The programme is ‘TTF’ and as such is aimed at Scottish dancers. The music should be appropriate to the type of dance, be it ceilidh, round the room or R.S.C.D.S. The kind of music suitable for a riotous ‘knees up’ is not suitable for R.S.C.D.S. where the phrasing and tempo should fit the dance. In the latter case alternative tunes are quite in order if they fit the movements, although there are times when it seems bandleaders pick a set of good tunes and give them the name of any old dance.
In the present financial situation, few dance groups can afford a six piece band and most bands who regularly play for dancing are smaller. To produce a sound which holds the attention of a radio audience, they can be tempted to bring in extra players to enable more interesting musical arrangements to be made. This is often a mistake, because they are not playing as they usually do and the extra players do not always ‘gel’. It is usually easy to distinguish a regular band from one put together for a broadcast. Let’s have real bands.
The points about letting the bandleader hear the sound and balance to be broadcast and about a wider selection of bands being invited to play are both valid. But the plea to bring the programme up-to-date needs to be treated with extreme caution. What we need is good Scottish dance music, well played, but not the kind of trendiness which has ruined the Hogmanay programmes in recent years.
The music is good enough to stand on its own feet.
Roy Hordley, St Helens, Lancs
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
7th Nov 98 – Fraser McGlynn Duo
14th Nov 98 – Ian Thomson SDB
21st Nov 98 – Iain Cathcart SDB
28th Nov 98 – Jim Johnstone SDB. OB from Jordanhill College, Glasgow
5th Dec 98 – Colin Dewar SDB
12th Dec 98 – Bruce Lindsay SDB
19th Dec 98 – Allan McIntosh & the Heather SDB
26th Dec 98 - OB with The Occasionals
CLUB DIARY
Aberdeen (Dee Motel) – 23rd Nov 98 – Lomond Ceilidh Band
Alnwick (White Swan Hotel) – members only 11th Nov 98 - tbc
Annan (St Andrew’s Social Club) - 15th Nov 98 – Sandy Nixon SDB
Arbroath (Viewfield Hotel) - 1st Nov 98 – David Cunningham Jnr
Armadale (Masonic Hall) – 5th Nov 98 – Deirdre Adamson
Ayr (Gartferry Hotel) – ??
Balloch (St. Kessog’s Hall) – 15th Nov 98 – Da Fustra
Banchory (Burnett Arms Hotel) – 30th Nov 98 – Jim Johnstone SDB
Banff & District (Banff Springs Hotel) – 25th Nov 98 – Johnny Duncan Duo
Beith & District (Hotel de Croft, Dalry) – 16th Nov 98 – Roy Hendrie
Belford (Community Club) – 26th Nov 98 - tbc
Biggar (Municipal Hall) – 8th Nov 98 – Marie Fielding
Blairgowrie (Moorfield Hotel) - 10th Nov 98 – Colliston Sound
Bromley (Trinity United Reform Church) - 10th Nov 98 – Hertfordshire A&F Club
Button Key (Windygates Institute) – 12th Nov 98 – Ray Carse
Campbeltown (Royal or Argyll Hotel) - ??
Campsie (Glazert House Hotel) - 3rd Nov 98 – Sandy Legget
Carlisle (Border Regiment Club, Carlisle Castle) - 5th Nov 98 – Jimmy Cassidy
Castle Douglas (Ernespie House Hotel) – 17th Nov 98 – Ian Anderson
Coalburn (Miners’ Welfare) - 19th Nov 98 – Bobby Abbott Trio
Crathes (Crathes Hall, Banchory) - 8th Nov 98 – All Players Welcome
Crieff & District (Arduthie Hotel) 5th Nov 98 – Sandy Nixon SDB
Dalriada (Argyll Arms Hotel, Lochgilphead) 17th Nov 98 – Iain Lockhart SDB
Dingwall (National Hotel) – 4th Nov 98 – Lynn Christie SDB
Dunblane (Westlands Hotel) – 17th Nov 98 – Iain Buchanan SDB
Dunfermline (Headwell Bowling Club) – 10th Nov 98 – Graeme Johnstone
Dunoon & Cowal (McColl’s Hotel) 13th Nov 98 – Cowal Accordion Workshop
East Kilbride (Sweepers, Cambuslang) – 26th Nov 98 – Club Night
Ellon (Station Hotel) – 17th Nov 98 - tbc
Fintry (Fintry Sports Centre) – 23rd Nov 98 – Jimmy Lindsay (3 row)
Forfar (Plough Inn) - 29th Nov 98 – Johnny Duncan
Forres (Brig Motel) – 11th Nov 98 – Dick Black Band
Fort William (Alexandra Hotel) –
Galashiels (Abbotsford Arms Hotel) – 5th Nov 98 – Nicol McLaren SDB
Galston (Barr Castle Social Club) – 9th Nov 98 – Andrew Gordon Trio
Glendale (Black Bull Hotel – Wooler) – 19th Nov 98 – Nicol McLaren SDB
Glenfarg (Lomond Hotel) - 4th Nov 98 – Donnie McGregor
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 24th Nov 98 – David Vernon
Gretna (Halcrow Stadium) - 1st Nov 98 – Judith Linton Trio
Highland (Drumossie Hotel) – 16th Nov 98 – Jim Johnstone SDB (Club’s 25th)
Inveraray (Loch Fyne Hotel) - 3rd Nov 98 – Jennifer Forrest
Islay (White Hart Hotel) -
Isle of Skye – (The Royal Hotel, Portree) - 5th Nov 98 – Tommy Walker
Islesteps (The Embassy Hotel) – 3rd Nov 98 – Oran Mor
Kelso (Ednam House Hotel) – 25th Nov 98 – Kathryn Nichol Trio
Kintore (Torryburn Hotel) – 4th Nov 98 – Johnny Duncan
Lanark (Masonic Hall) - 23rd Nov 98 – Lindsay Weir Trio
Langholm (Crown Hotel) – ??
Lesmahagow (Masonic Hall) – 12th Nov 98 – Jimmy Lindsay Trio (Guildtown)
Lewis & Harris (Stornoway Legion) - 5th Nov 98 - tbc
Livingston (Cairn Hotel) - 17th Nov 98 – Bobby Abbott Band
Lockerbie (Queen’s Hotel) - 24th Nov 98 – Billy Anderson (Albany)
Mauchline (Sorn Village Hall) 17th Nov 98 – Johnny Duncan Duo
Montrose (Park Hotel) – 4th Nov 98 – Steven Carcary Duo
Muirhead (Belmont Arms, Meigle) - 18th Nov 98 – local artistes
Newtongrange (Dean Tavern) – 30th Nov 98 – Colin Dewar SDB
North East (Royal British Legion, Keith) – 3rd Nov 98 – Bill Brian (fiddle)
Oban (McTavish’s Kitchen) – 5th Nov 98 – Neil MacEachern SDB
Orkney (Ayre Hotel, Kirkwall) – Closed for season
Peebles (Green Tree Hotel) – 26th Nov 98 – Ian Lowthian
Perth (Salutation Hotel) – 17th Nov 98 – Tommy Walker Trio
Premier NI (Camlin Function Rooms) - 3rd Nov 98 - tbc
Reading Fiddlers (Piggot School) - ??
Renfrew (Masonic Hall, Broadloan) – 10th Nov 98 – Gary Blair
Rothbury (Queen’s Head) - 5th Nov 98 – Gary Donaldson Trio
Selkirk (Cricket Club) - 12th Nov 98 – Tom Anderson
Shetland (Shetland Hotel, Lerwick) - ?
Stirling (Terraces Hotel) - 8th Nov 98 – Angie Smith
Sutherland (Rogart Hall) - 14th Nov 98 – Lynn Gould
Thornhill (Masonic Hall) - 11th Nov 98 – Cailins SDB
Thurso (Pentland Hotel) – 2nd Nov 98 – Paul Anderson
Turriff (Royal Oak Hotel) – 5th Nov 98 – Bobby Coghill SDB
Tynedale (Hexham Ex Service Club) – 3rd Nov 98 – Ian Holmes Trio
Wick (McKay’s Hotel) – 17th Nov 98 – Bill Black SDB
Yarrow (Gordon Arms) - 18th Nov 98 – Sandy Legget
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Alnwick
3. Annan
4. Arbroath
5. Balloch
6. Banchory
7. Banff
8. Beith
9. Biggar
10. Blairgowrie
11. Button Key
12. Campsie
13. Castle Douglas
14. Coalburn
15. Crieff & District
16. Dingwall & District
17. Dunblane
18. Dunoon & Cowal
19. Fintry
20. Forfar
21. Galston
22. Glenrothes
23. Gretna
24. Highland
25. Inveraray
26. Kelso
27. Kintore
28. Lanark
29. Lesmahagow
30. Livingston
31. Lockerbie
32. Montrose
33. Muirhead
34. Newtongrange
35. Oban
36. Perth & District
37. Rothbury
38. Selkirk
39. Stirling
40. Sutherland
41. Thurso
42. Turriff
43. Tynedale
44. Wick
45. Yarrow
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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