|Musical Notes Page/Note||MP3 Music Clip||Photo (s)|
|PAGE 01 – CHARLOTTE’S WELCOM (HRH The Princess of Cambridge): was composed in recognition of Princess Charlotte, the Princess of Cambridge’s Birth to Prince William and the Duchess of Cambridge (Catherine (Kate) Middleton. Prior this composition, I had written a 2/4 March titled “The Young Windsor” which was written in recognition of Princess Charlotte’s brother George’s birth. This tune was composed in May 2015.|
|PAGE 02 – THE FORTISSIMO PIPERS: is one of those tunes I wrote that seemed to be fitting for a march on or entrance of a group of Pipers into an event. In this case the Pipers who make up the band each year at the Fortissimo Show which takes place in the Summer in the nation’s Capital, Ottawa, Canada on Parliament Hill. The Canadian Forces put on a show each year and the Pipes and Drums are made up of the CEREMONIAL GUARD Pipers as well as various other Pipes and Drums from various Canadian Forces Regiments across the country and other guest Pipes and Drums possibly from other countries. The tune was composed in 2015.|
|PAGE 03 - HRH THE PRINCESS ROYAL’S WELCOME TO TORONTO: is a tune I composed to pipe HRH The Princess Royal, Princess Anne, into the Dinner held at the National Club in Toronto, to celebrate the 110th Anniversary of Military Communication in Canada. The event took place on Tuesday, October 29th, 2013 and the tune was composed a couple of weeks earlier on October 12th, 2013.|
|PAGE 04 – THE MARCH TO ELCHO CASTLE: is a tune composed about Elcho Castle. Elcho Castle is located off the River Tay and about 4 miles from Perth, Scotland in the area of Rhynd, Perth. It was created in 1628 by the Lord of Wemyss. It was more or less a family country estate as the Wemyss family live primarily in their Chief Seat at Wemyss Castle in Fife, Scotland. Lord Elcho also known by the titles The Earl of Wemyss and March.|
In 1859 the current Lord Elcho (Francis Richard Charteris GVCO, the 10th Earl of Wemyss) raised The London Scottish Rifle Volunteers and was the Lt. Colonel of the regiment between 17-19 years and became the Honorary Colonel from 1878 to 1900.
Lord Elcho chose to cloth the regiment in Hodden Grey a homespun cloth known throughout Scotland (the poor man’s tartan and referred to often by Robert Burns in his poetry include his famous A Man’s a Man for A That which is also a pipe tune often used to pipe in the Haggis prior to Burns Ode/Address to the Haggis is rendered).
The Hodden Grey was chosen for two reasons. Lord Elcho said “A soldier is a man hunter. As a deer stalker chooses the least visible of colours, so ought a solider be clad.” The Hodden Grey would also avoid any inter-clan feeling of the various soldiers in the regiment who had a Scottish Lowland and Highland Clan affiliation by using a rather common tartan such as the Hodden Grey cloth. The only two regiments that wear the Hodden Grey are The London Scottish Regiment (today titled A (London Scottish) Company of the London Regiment and the Toronto Scottish Regiment (Queen Elizabeth the Queen Mother’s Own).
|PAGE 05 – UNNAMMED 2/4 MARCH - to be posted soon|
|PAGE 06 – BILLY BOULET: is a tune composed for one of the pipers who served with the Cameron Highlanders of Ottawa and he joined the Toronto Scottish Regiment during my term as the regiment’s Pipe Major. Billy is an accomplished musician and is school Music Teacher. He also plays other instruments, and is an excellent Jazz and Contemporary Sax player as well, which is another instrument which I myself have played over the years. Billy arranges music as well as having composed some pipe tunes as well. Keeping it in the family his wife is also a very talented Opera Singer. Billy and his wife currently live in the Toronto area. Billy was recently appointed the Drum Major of The Toronto Scottish Regiment (Queen Elizabeth the Queen Mother’s Own) Pipes and Drums. It appears that my having sent Billy on the Canadian Forces Drum Major course a few years back paid off for both the Regiment and Billy.|
|PAGE 07 – THE BRIDEN-MCALLISTER WEDDING MARCH: is a tune I composed to recognize Margaret (Marg) Briden’s marriage to Neil McAllister when they travelled to Scotland in August 2015 to get married. Marg was a piper with the Toronto Scottish Regiment when I was Pipe Major and moved on to be a piper with my former regiment the 48th Highlanders. Marg and Neil live Orillia, Ontario, where Marg works as a Registered Nurse at Soldier’s Memorial Hospital.|
|PAGE 08 – CAPTAIN BELLENDEN SEYMOUR HUTCHESON VC MA: is a tune I composed to recognize one of three Officers of the Toronto Scottish Regiment. Captain Hutcheson was a Medical Officer attached to the 75th Canadian Expeditionary Force. |
Bellenden Seymour Hutcheson VC, MC (16 December 1883 – 9 April 1954) was an American-born Canadian recipient of the Victoria Cross (VC) during the First World War. The VC is the highest award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces. Hutcheson was one of the seven Canadians to be awarded the Victoria Cross for their deeds on one single day, 2 September 1918, for actions across the 30 km long Drocourt-Quéant Line near Arras, France.
He was 34 years old, and a captain in the Canadian Army Medical Corps, Canadian Expeditionary Force, attached to 75th (Mississauga) Battalion, during the First World War. He was awarded the MC in 1918 for attended to and dressing the wounded.
On 2 September 1918 in France, Captain Hutcheson went through the Drocourt-Quéant Support Line with his battalion, remaining on the field until every wounded man had been attended to. He dressed the wounds of a seriously hurt officer under terrific machine-gun and shell fire, and with the help of prisoners and his own men, succeeded in evacuating the officer to safety. Immediately afterwards, he rushed forward in full view of the enemy to attend a wounded sergeant, and having placed him in a shell-hole, dressed his wounds.
The citation reads:
His Majesty the KING has been graciously pleased to approve of the award of the Victoria Gross to:–
Capt. Bellenden Seymour Hutcheson, Can. A. Med. Corps, attd. 75th Bn., 1st Central Ontario R.
For most conspicuous bravery and devotion to duty on September 2nd, when under most intense shell, machine-gun and rifle fire, he went through the Queant-Drocourt Support Line with the battalion. Without hesitation and with utter disregard of personal safety he remained on the field until every wounded man had been attended to. He dressed the wounds of a seriously wounded officer under terrific machine-gun and shell fire, and, with the assistance of prisoners and of his own men, succeeded in evacuating him to safety, despite the fact that the bearer party suffered heavy casualties.
Immediately afterwards he rushed forward, in full view of the enemy, under heavy machine-gun and rifle fire, to tend a wounded sergeant, and, having placed him in a shell-hole, dressed his wounds. Captain Hutcheson performed many similar gallant acts, and, by his coolness and devotion to duty, many lives were saved.
|PAGE 09 – CAPTAIN DR. LIONEL BOXER CD KCSJ KTJ LCM PHS: is a tune I composed for a friend who is both a Captain with the Royal Australian Engineers Army Reserve and plays the pipes the 5/6 RVR (Royal Victoria Regiment). I first met Lionel several years ago when he was attending his mother lodge Ionic 25 (A.F. & A.M.) on his annual visit back to Toronto Canada to visit his mother. We shared not only membership in the craft, but also played pipes in our respective Reserve Army Pipe Bands and we also were members of the same St. John’s Order (from the original order that was and is again seated on the Island of Malta). Lionel began his piping career while attending the Canadian Military College in Kingston and he served in the Canadian Forces for a number of years being awarded the Canadian Forces Decoration (CD) prior to immigrating to Australia. He also holds a PHD and is a published author.|
|PAGE 10 – THE CEREMONIAL GUARD PIPERS: is a tune I composed in recognition of all the pipers who have served as a piper in the Ceremonial Guard over the years. The Ceremonial Guard is an Ad Hoc Military Unit in the Canadian Armed Forces and used to draw its member primarily from the Governor Generals Foot Guard. The Ceremonial Guard has its own Regimental Band and Pipers. The Pipers audition for a spot and most often are young men and women who are pipers within the various reserve units across Canada. They receive both basic training and training on their instrument over the course of the summer. They have specific duties which including supporting the Regimental Band during the Changing of the Guard on Parliament Hill in Ottawa and as duty piper a Rideau Hall, the Residence and Officer of the Governor General of Canada to support the sentries during the changing of the guards at Rideau Hall. They also perform with the Regimental Band during various parades and events during their time attached to the Ceremonial Guard. Many pipers often return to over the years while other move on and up within the reserve units they were deployed to the Ceremonial Guard from time to time and some pipers have actually met and married their better half. The Ceremonial Guard also participates in the annual Fortissimo Show which began in 1997 (See The Fortissimo Pipers tune for more information) held in the summer on Parliament Hill and other government functions. Some of the pipers who have served with the Ceremonial Guard which was established in 1959 and the first guard was seen on July 2nd, 1959 and was mounted by the Regiment of Canadian Guards are regular force unit.|
|PAGE 11 – CORPORAL GEORGE BOAST CD: is a tune I composed for George for the occasions of his 50th Birthday Celebration in the summer of 2015. George is a piper with my old regiment the 48th Highlanders of Canada Pipes and Drums. We met several years ago when I attended the 48th Highlanders of Canada Pipes and Drums Associations wine and cheese and various other functions. We became friends and even had the opportunity to play together in a band when I was Pipe Major of the Toronto Scottish and from time to time the 48th and Tor Scots would participate in massed pipes and drums events.|
|PAGE 12a – THE JOHN BRIDGE SIDESTEP: is the last tune in book two that I composed. The primary reason for the composition was to be a filler tune for the book to go on a page with another 2 parted 6/8 March – The Sergeant Major’s March. I was wonder what kind of a 2 parted 6/8 tune I could come up with and what would be a good name for it. Well, then I thought about a 6/8 dance style tune in the form of a step type tune. Then I remembered, every time I seem to meet up with John Bridge as walking towards or passing him by he would do a kind of “sidestep”. So the title came to me “The John Bridge Sidestep”. Then I had to compose the tune. It didn’t take long to get the first draft done and a day or so later a listened to it again and made some modification to come up with final draft. |
John Bridge is the lead drummer with 48th Highlanders Pipes and Drums. However, not only is he a terrific side drummer, he has also played bagpipes in his day. His son Tyler Bridge who is a terrific piper was also a piper with the 48th Highlanders Pipes and Drums and is currently the Pipe Major of his father’s former band, the Guelph Pipe Band.
Like George Boast and several other pipers, such as Kevin Pett, I met them when I visited the band room from time to time and never had the privilege of playing with them in the 48th Highlanders Pipes and Drums but did have the opportunity to play with them when the 48th and Tor Scots (of which I was Pipe Major) would perform in various massed band events over the years.
|PAGE 12b THE SERGEANT MAJOR’S MARCH: is at tune I composed at the requests of a retired CSM (Company Sergeant Major) MWO (Ret’d) Mark VcVety of the 48th Highlanders of Canada. Mark is the current President of the 48th Highlanders Association (OCA-Old Comrades Association) and I am the current Treasurer. Mark knew that I had composed a number of pipe tunes but he said the ones he had heard of were for Commanding Officers for the most part and said it was about time they had a march for Sergeant Majors. I said, well I will see what I can do. The tune needed in my mind to be one of a march style tune and it had to be in a tempo and sound of how a Company Sergeant Major might be seen marching along the parade square towards a likely unsuspecting recruit or a junior NCO who would get a tearing down for some usually minor infractions, or at least most Sergeant Major’s that I know would sometimes simply make up something to get some attention for their subordinates. It’s in their DNA. Anyway, I think this tune tends to address the style of tune and march I wanted to come up with. I kept it to two parts rather that making it a 4 part tune. So hopefully some of the much loved (I say this in gest) might have the opportunity to be piped into to an event with this tune someday. I know they won’t care if it’s this or any other tune, as long as someone pipes them into to something and they get some recognition.|
|PAGE 13 – KENNY ALLEN: is a piper who I first me when he joined the 25 Toronto Service Battalion Pipes and Drums when I was the Pipe Major of the band. He told me he wanted to join the band because of the reputation that I had as a Pipe Major. Well, the humble me, said thank you, but I think you have the wrong guy. He said, no he had only heard good things about me from time getting the Scarborough Pipes and Drums back on their feet and into competition after they had broken up in 1979. I didn’t know that I had such a reputation or how the reputation got out there. Anyway, we became friends at that time and continue as friends. In fact, I officiated on of Ken’s daughters weddings in 2014. Ken went on to pipe with the Toronto Scottish, the Argyll and Sutherland Highlanders, The Metro Toronto Police Grade 3 Pipe Band, Penetangore Pipe Band in competition and is currently a piper with the Lorne Scots Pipes and Drums in the Brampton area. I composed this tune to commemorate when we first met and became friends back in the 1980’s and our 35 plus years of friendship.|
|PAGE 14 – LIEUTENANT COLONEL SAMUEL G. BECKETT: was the first commanding officer of the newly raise 75th (Mississauga) Battalion CEF (Canadian Expeditionary Force) in WWI. Lieutenant Colonel Samuel Gustavus Beckett of the 75th Battalion was killed in action during a March 1917 trench raid near Vimy Ridge. Born on 2 December 1869 in Toronto, Beckett was a partner in an architect firm with fellow Colonel W. C. V. Chadwick, commander of the 124th Battalion. A student of military history and expert on the cavalry tactics of American Confederate General Stonewall Jackson, Beckett had been involved in the Canadian militia since 1893. At the outbreak of the war, he was commanding officer of the 9th Mississauga Horse.|
After recruiting his battalion in less than three weeks, Beckett and the 75th embarked for England and proceeded to France in August 1916. As part of the 11th Infantry Brigade in the 4th Canadian Division, the 75th Battalion fought at the battle of the Somme. In October 1916, Beckett sent a captured German helmet to Ontario Premier William Howard Hearst and Toronto Mayor Tommy Church as a souvenir of his unit’s achievements.
On the night of 1 March 1917, a German sniper killed Beckett while he led his troops back from the enemy lines after a failed attack. Before this disastrous trench raid, the 75th commander had objected to the plan due concerns about German preparations and his troops’ lack of experience with gas warfare.
I composed this tune in recognition of his service and the first commanding officer of the 75th (Mississauga) Battalion CEF which later became the Toronto Scottish Regiment following WWI. The Toronto Scottish Regiment today has two armories, one in west end Toronto (Etobicoke) where the A Company and the regimental Head Quarters are located along with the Pipes and Drums. That armory is named Captain Bellenden Seymour Hutcheson VC after the Army Medical Officer Attached to the 75th (Mississauga) Battalion CEF during WWI who received the Victoria Cross for his actions in the field as a Medical Officer. The other armory is located in north Mississauga and is name Lt Colonel Samuel G. Beckett Armory after the first commanding officer. The other Toronto Scottish Company – The 75th Mississauga Company is located in this armory.
|PAGE 15 – LIEUTENANT COLONEL C.C. HARBOTTLE CMG DSO: Colin Clark Harbottle assumed command of the 75th Battalion on 16 April 1917. He proved himself a dedicated leader through the last year and a half of the war and won the Distinguished Service Order for his “fine example of personal gallantry and determination.” Ten years, earlier Harbottle had been a disgraced fugitive from justice and convicted criminal.|
Born in Hamilton on 31 July 1875, Harbottle was a prominent figure in Toronto social circles; a noted athlete, rifleman and member of the 48th Highlander Regiment. In his position as secretary of the Toronto Club, Harbottle allegedly embezzled over $14,000 dollars in 1905.
In December 1907, the Toronto police issued an arrest warrant for the fugitive militia captain. Harbottle, who had not taken any of the money with him, evaded capture for several months, with sightings reported in Chicago, New Orleans, Texas, Los Angeles and Cuba. An Ontario detective finally found him living in “extreme distress” in Havana, and returned him to Toronto in April 1908.
He was promptly taken into custody and agreed to plead guilty. In passing a four-year sentence to the Kingston penitentiary, the reluctant judge stated, “you have been a soldier, and you have got to take what I am going to give you like a soldier.” The relatively light punishment owed to the fact Harbottle had not fled the country with the money and had been well liked by many in Toronto. Even the crown attorney “could not say a word against him.”
Harbottle resigned his commission in the 48th Highlanders and began his prison term. On his release in 1910, he moved to British Columbia and rebuilt his life as a rancher. In August 1915, he enlisted with Lorne Ross’s 67th Battalion at the rank of major.
Shortly after the battle of Vimy Ridge, Harbottle was appointed to command the 75th Battalion, relieving Major C. B. Worsnop who had succeeded the late Lieutenant Colonel Sam Beckett. Back among Toronto troops, Harbottle redeemed his reputation through his fearless leadership. Harbottle’s mother, “heart-broken” a decade before, witnessed thousands celebrate her son on his return home at the head of the 75th in 1919.
Regaining the respect of his hometown, Harbottle was appointed commanding officer of the Toronto Scottish Regiment which he had made recommendation to the Ottawa to establish another Scottish Regiment in the Toronto area following WWII. He became the Toronto Scottish Regiment’s first commanding officer. He died of a heart attack while hunting on 19 October 1933. He received a large public funeral fitting “to the memory of a brave and distinguished soldier.”
I composed this tune to recognize Lt. Col. Harbottle as the first commanding officer of the Toronto Scottish Regiment and the man who petitioned Ottawa to establish as second Scottish regiment in the Toronto area. Though he was a bit of a scoundrel, the true story and reason behind the theft and embezzlement from the Toronto Club is not known. The fact that he served his time and somehow managed to get his life back on track after release from prison and his efforts in commanding the 75th (Mississauga) Battalion during WWI were also a reason to compose this tune. Some men (and women) can turn their life around after tragedy or misguided conduct.
|PAGE 16 – LIEUTENANT COLONEL WILLIAM (Bill) STARK CD: was one of the commanding officers I served under when I was a piper with the 48th Highlanders of Canada. In fact, he is one of the three living commanding officers I served under during my time with the regiment. I have composed a tune for each of them and someday I may compose a tune for other Commanding Officers that I have served under in the 48th Highlanders and the 25 Toronto Service Battalion and Toronto Scottish regiments as a piper and Pipe Major. Another reason to recognize Lt. Col. Stark is the fact that following his term as commanding officer of the regiment, Bill became a piper and also the Pipe Major of the Mariposa Pipes and Drums in Orillia Ontario where he resides. Bill also is a piper with the Toronto Fire Services Pipes and Drums and has taken the Mariposa Pipe Band oversea for celebration of various WWI and WII commemorative services in Holland and other parts of Europe.|
|PAGE 17 – MASTER CORPORAL KEVIN PETT CD: is a piper with the 48th Highlanders of Canada Pipes and Drums. Kevin’s father was a Sergeant with the 48th Highlanders when I first met his father after I had enlisted with the regiment as a piper. I knew Kevin’s father and did not realize he was Stan Pett’s son. Stan was one of the few members of the Canadian Forces that I met that had served with the famous American-Canadian Devil’s Brigade unit of WWII. I met Kevin as I did George Boast another Piper with the 48th Highlanders and John Bridge the lead drummer of the 48th. It was when I visited the band room with the 48th Highlanders Pipes and Drums Association. I also got to know him when I was Pipe Major of the Toronto Scottish when the 48th and Tor Scots would often play as a combined massed pipes and drums at various events. I remember asking him if he was related to Sgt. Stan Pett and he told me that was his father. I spoke to him about my recollection of some of the times I spent with his father in the field and the mess and at the old 48th OCA clubs. I also remember, after I present George Boast with a copy of the tune I composed for his fiftieth birthday, George mentioned thanked me again in the band room when I was there visiting one night. Kevin said it’s too bad he didn’t have a tune. The next day I composed this tune and went down to the band the next band practice and presented him with a framed copy. Sometimes I simply need a bit of a challenge to be me in the mood to compose a tune. Kevin is great fellow to know and to be friends with. I am glad that I made his acquaintance having known his father, another great individual.|
|PAGE 18 – THE 48th HIGHLANDERS OF HOLLAND PIPES AND DRUMS: is a tune I composed to celebrate the 25th Anniversary of the establishment of the Pipes and Drums. I recall when they were established in the 100th Anniversary of the 48th Highlanders of Canada when former Pipe Major Ross Stewart travelled to Holland to help get the pipers started and the band evolved from there. Ross used to travel frequently to Holland to teach the pipers I the band over the years. I had met members of the band from Holland when they visited Toronto and enjoyed their company. Actually I had a Dutch piper named Jan Jansen who was also a member of the 48th Highlanders of Holland Pipes and Drums in one of the band I was Pipe Major of, the Scarborough Pipe Band. It composed the tune in the spring of 2014 and sent a copy to the band indicating that I composed it in honour of their 25th anniversary years that was coming up. When they visited Toronto in May 2015 for the 125th Anniversary Celebrations of the 48th Highlanders of Canada, they played to tune for the first time in Canada. They played it several times of the week they were here, at the Regiment’s 125th Anniversary Dinner (I found out through Pipe Major Sandy Dewar at the evening BBQ when we were talking. He mentioned they played it at the dinner.). They also played it during the Saturday afternoon 48th Highlanders 125th Anniversary Tattoo and in various other places they visited. I saw the YouTube clip of the 48th 125th Tattoo as well as when they played in in Burlington, Ontario. In the clip in Burlington, they mention it was written by a Canadian Piper and it has become their official band march. I did present their Pipe Major with a framed copy of the music for their band room. I know when their Pipe Major introduced me to the band during their visit they all showed their appreciation.|
|PAGE 19 – BRIGADIER-GENERAL JULIAN CHAPMAN’S FAREWLL TO THE CANADIAN FORCES: is a tune I composed at the time Brigadier-General Chapman was retiring from the Canadian Forces. Julian was commanding officer of the Toronto Scottish Regiment before becoming Commanding Officer of the Brigade and subsequently becoming a Brigadier-General within the 4th Canadian Division. As part of his civilian life, the company Julian Chapman worked with were consultants with my wife Maggie’s company I Am Gold a Gold Mining Company and it was not until the President of I Am Gold was organizing special box seats at the Toronto Maple Leaf Canadian Forces Appreciation Game did Julian ask my wife if she was related to the Pipe Major of the Toronto Scottish and she indicated to him I was her husband. Such a small world really. So I had a nice tune underway which to which I gave this title when I found out he was retiring around the time I finished the tune.|
|PAGE 20 – DRUM MAJOR MWO CHRIS RESSOR CD: is a tune I composed along with another tune Pipe Major MWO Iain Lang CD which complement each other in style or format of the two pieces of music. Chris Ressor is the Drum Major of the 48th Highlanders of Canada Pipes and Drums. He is an accomplished percussionist, soldier and Drum Major. I have known Chris for a number of years and have worked with him on various parades, tattoos and other events during my term as Pipe Major of the Toronto Scottish Regiment Pipes and Drums. Though Chris was not in the 48th Pipes and Drums when I was a member of the band, we have struck up a friendship over the years.|
|PAGE 21a – THE GOVERNOR GENERAL’S MARCH: is a tune I composed along with another tune The Lieutenant Governor’s March which complement each other in style or format of the two pieces of music. I actually compose the Lt. Governor’s March first and felt it would be appropriate to compose another similar piece of work for the Governor General. The tune is composed in honour of the current Governor General of Canada – His Excellency the Right Honorable David Lloyd Johnston C.C., C.M.M., C.O.M., C.D., A.B., LL.B., D.D. I have had the privilege of piping for the Governor General on a number of occasions over the years including our current Governor General. There is already an official march used to Pipe the Governor General into an event, which is a 3/4 Retreat titled MY LAND, which was a good choice recommended by Pipe Major Archie Cairns. This tune is not intended to replace the official tune MY LAND, but could be used in conjunction with it as an entry or exit tune from a function. I truly admire the current Governor General in how he has carried out his duties and his genuine and sincere acts made during his tenure as our Governor General.|
|PAGE 21b – THE LIEUTENANT GOVERNOR’S MARCH: is a tune I composed along with another tune The Governor March which complement each other in style or format of the two pieces of music. I actually compose the Lt. Governor’s March first and felt it would be appropriate to compose another similar piece of work for the Governor General. The tune is composed in honour of the current Lt. Governor of Ontario –The Honorable Elizabeth Dowdeswell OC OOnt. I have had the privilege of piping for many of the Lt. Governors of Ontario over the years and had the honor of being the piper for Lt. Governor’s Pauline McGibbon and Lt. Governor John Black Aird when I was Pipe Major of the 25 Toronto Service Battalion Pipes and Drums (now the 32 Toronto Service Battalion Pipes and Drums). I composed this tune last April and used it to pipe in The Honourable Elizabeth Dowdeswell into the 50th Anniversary Dinner of the Royal Heraldry Society of Canada held at Trinity College – University of Toronto on April 16, 2016. I had actually composed the tune 4 days prior on April 14th. I chose to simply title the tune The Lieutenant Governor’s March rather naming it after any one particular Lt. Governor. I did compose a tune for Lt. Governor David Onley a couple of years prior to having composed this tune. I had the honour of piping a number of times for Lt. Governor Onley during his term of office. However, on April 16th, 2016, that was the first time I met The Honourable Elizabeth Dowdeswell our current Lt. Governor and the first opportunity to pipe her into an event. I presented her with a copy of the music on the occasion and will be presenting a framed copy of the tune late December 2016 or early in January 2017. I did receive a thank you letter from Her Honor following the April 16th function thanking me for the tune and she indeed loved the music and hopes to hear it played often. Though I do not know Her Honor and have only had the opportunity to meet her only once so far during her term of officer, I found her to be a well spoke and genuine individual.|
|PAGE 22 – PIPE MAJOR MWO IAIN W. LANG CD: is a tune I composed along with another tune Drum Major MWO Chris Ressor CD which complement each other in style or format of the two pieces of music. Iain Lang is the Pipe Major of the 48th Highlanders of Canada Pipes and Drums. He is an accomplished piper, soldier and Pipe Major. I first met Iain’s father Jim Lang when he was a piper with the 48th Highlanders of Canada Pipes and Drums at the time I enlisted with the regiment as a piper. We became friends. I recall several times Jim asked me to tune his son Iain’s pipes at various highland games prior to Iain stepping onto the boards to compete in the solo competitions when both father and son were playing with the Peel Regional Police Pipe Band. Iain enlisted with the 48th Highlanders as a Piper and his father returned to the band for a period of time to play with his son in the band. Even though Iain was not in the 48th Pipes and Drums when I was with them, we did work together on a number of committees within the 32 Canadian Brigade as well as on various parades, tattoos, shows and other events when I was Pipe Major of the Toronto Scottish Regiment Pipes and Drums. We have been friends for a number of years.|
|PAGE 23 – THE RYAN RUSSELL MEMORIAL PIPE BAND: is a tune I composed in recognition of a new pipe band in the Greater Toronto Area which is sponsored by The Metro Toronto Police Pipes and Drums. The band is primarily made up of you boys and girls. I was indeed impressed with the sound and playing of the member of the band when I first heard them a couple of years ago and the improvement they have made since. The tune is compliment another similar tune for I composed for another group of young pipers and drummer titled “The Saint Andrews College Pipes and Drums” which are over 100 years old and they are affiliated with my old regiment The 48th Highlanders of Canada. Their instructor Jim McGillivray is an accomplish piper as is Stuart Lowe who is the pipe instructor for the Ryan Russell Memorial Pipe Band. I recall Stuart starting lessons with John MacDonald, the then Pipe Major of the Metropolitan Toronto Police Pipe Band. I play with the Metro Police Pipe Band and Stuart Lowe joined the band during that period of time. I knew his father Elwood Lowe, a piper and police officer. His father would play in the Kilwinning Lodge No. 565 Pipes and Drums of which I was Pipe Major for some 20 odd years. The band in named after Ryan Russell a police constable killed in the line of duty on January 12, 2011.|
|PAGE 24 – THE TORONTO FIRE SERVICES PIPES AND DRUMS: is a tune I composed in recognition of the Toronto Fire Services Pipes and Drums, of whom I knew a former pipe major the late Pipe Major John Semple and several other members of the band. I found the band to be a well-rounded band that provide service to both the Toronto Fire Services as well as the community.|
|PAGE 25 and 26 – THEY TOO SHALL NEVER GROW OLD: is a tune I composed a couple of years ago and because it had such a melancholy sound and the end of each part reminded me of the words heard at remembrance service We Shall Remember Them. So, I was searching for a title and penned words to the tune, which resulted in a title “They Too Shall Never Grow Old”. The tune is about those who have served and fought in the past and those they who died shall never grow old. The second section is similar but is about those who have in recent conflicts served, fought and died and the title “They Too Shall Never Grow Old” is referencing the more recent sacrifices and those into who may pay the supreme sacrifice in the future. It can be played as a 3/4 Retreat on its own or the words can be sung, so both versions are included: without words (page 25) and with the words (page 26).|
|PAGE 27 – TAKING ME HOME WHERE I BELONG: is a 9/8 Retreat March which I composed based on a phrase of music which came into my head. It took me some time to come up with a title, then the tone of the music made me thing about returning somewhere, home. I was thinking also about the Canadian Soldiers who have paid the supreme sacrifice in recently conflicts and have been repatriated back home for their final resting place as they leave the conflict region where they died with a ramp ceremony and their final journey along The Highway of Heroes on the 401 corridor before heading to their final resting place. So in part this is a title that reflects on those who paid their supreme sacrifice and we as the Canadian People through our Government are taking them home where they belong, but in the context of their possible last wishes to be taken home.|
|PAGE 28 – PIPE MAJOR CWO ALEXANDER (Sandy) L. DEWAR MMM CD: is a 12/8 march which I composed in recognition of Sandy Dewar a long time serving member of the 48th Highlanders of Canada Pipes and Drums who retired after some 47 plus years with the band and 27 years a Pipe Major. Sandy’s father Archie Dewar was one of my piping instructors and was Pipe Major of the 48th Highlanders of Canada when I enlisted and joined the band. The Dewar family have been members of the pipes and drums for many years and today, Sandy’s three son’s Iain, Colin and James are pipers with the band and I know Iain’s son is also an up and coming piper who will be destined to carry on the Dewar Family traditions within the band. Sandy’s uncles and cousins have all played in the band over the years and one of his cousin’s daughters is a drummer with the band today. I met Sandy when I first joined the regiment in 1963.|
|PAGE 29 – PEACE TOWER VICTORY BELLS: is a slow air which is played in slow and quick slow time. I composed the tune to represent the sound of the Bell’s you might hear from a clock tower or tower from a government building. The title reflects the last place I had heard tower bell’s ringing, The Peace Tower in Ottawa, Ontario Canada. I decided the tune sounded like they would bell’s rung out for the victory of something and gave it the title Peace Tower Victory Bells.|
|PAGE 30a – DREAMTIME FOR MAGGIE: is a slow air which I composed and named it after my wife Margaret (Maggie) Cummins. Maggie, unlike me can fall asleep most anywhere and I know she would not like me sharing with you some of the times she has fallen asleep during somewhat unusual times. However, the tune reminds of someone that might be dreaming about something, so I titled the tune Dreamtime for Maggie.|
|TUNE 30b – OUR MEMORY OF BYGONE DAYS: is a slow air that reminds of a tune you might reminisce to and was therefore titled Our Memory of Bygone Days. Even as you play the tune, you can drift of remembering some wonderful times from your past.|
|PAGE 31a – THE OLD GIRL: is a tune in quick waltz tempo, which I wrote for The Old Girl, my mother-in-law Elizabeth Phyllis Hickman (nee Cummins) who had recently passed away. I used to affectionately call my mother-in-law The Old Girl from time to time, so I felt it was a fitting title for the tune. My mother-in-law lived with my wife Maggie and I for some 37 years after the passing of my father-in-law Joseph Cummins. I officiated my mother-in-law’s funeral and I recall stating that she was more of a mother to me than my own mother, since we lived together for many more years that I actually lived at home with own mother. The Old Girl passed away at the age of 94 and would have turned 95 about 7 weeks follower her passing. She was bright and active to the very end, so maybe I should have been calling her The Young Girl and of course the title of this tune would be slightly different.|
|PAGE 31b – THE AGNEW-MACLEOD WALTZ: I composed this tune to recognize the relationship and marriage of my biological mother an Agnew and her husband a MacLeod. This tune was composed shortly after I discovered my birth mother’s grave and from having found an obituary of a man who was born in Antigonish Nova Scotia and died in Halifax Nova Scotia that indicated his former wife who had the same name as my mother had passed away before him. I was not sure at the time I found the obituary if this was my birth mother, but after some research and by a comment made on Facebook following a comment I had made on the same topic, friends of the person making the comment were also listed in the Obituary with the MacLeod name. In one instance a picture showing a family from the mid 1960’s turned out to name those in the photo as of a family with the father, two sons and two daughters and a photo of my mother, the first and only photo I have seen of her. The photo was proof of who my mother had married and who their children were as it indicated the mother had passed away on the same date as the date I discovered my mother had passed away. It was taken three months before my mother passed away while the family was visiting relatives in Nova Scotia. So, I felt it was in order to title this composition after my birth family (AGNEW) which was my birth Surname before I was adopted by the Bice family and my mother’s husband’s family the MACLEOD’s.|
|PAGE 32 – THE TYROLEAN WALTZ: is a tune that I composed that seemed to have an alps musical sound to it. After researching other music that had a similar sound, Tyrol seemed to be an area where this style of music seemed to come from, so The Tyrolean Waltz was selected as the name of this tune.|
|PAGE 33a – LAMENT FOR COLONEL H.P. STEWART CD: is a tune that I composed the day following the passing of Hugh Parkhill Stewart who was a former Commanding Officer and Honorary Colonel of the Toronto Scottish Regiment. Colonel Stewart was also instrumental in the formation of the 75th Toronto Scottish Cadets of the Royal Canadian Army Cadet Corps specifically seeking and having the number 75 attached to the cadet corps. I recall when I became the Pipe Major of the Toronto Scottish, our first parade was a CO’s parade and Colonel Stewart accompanied the inspecting officers and when inspecting the band, Colonel Stewart commented that surely the regiment could find the Pipe Major a uniform. I was actually wearing my civilian day wear. I did have my old Tor Scots Cap Badge that I received in 1961 when I started as a boy piper with the regiment. However, it may have been the fact my glengarry had a red rather blue tourie on it or the fact I was wearing a Davidson kilt, which is the regimental tartan of the other Scottish regiment in the Toronto area, the 48th Highlanders of Canada. Anyway, shortly thereafter, I had a kilt and was waiting for my DEU and Full Dress Tunics, so I work my day jacket and Hodden Grey Kilt for that years Remembrance Day Services. Up until that parade, I was the only piper who every played with the Toronto Scottish who had never worn the Hodden Grey. To explain, boy pipers back in the 1960’s work what was called Bush Patrol with trousers, waist belt and glengarry and cap badge while on parade. Back when I started there were not cadet corps associated with the Toronto Scottish. So, when I enlisted in the Militia I joined the 48th Highlanders and therefore did not get the opportunity to wear the Hodden Grey kilt until many years later when I was appointed and the Pipe Major of the Toronto Scottish.|
|PAGE 33b – THE POPPY AND THE CROSS: is a tune I had written that sounded somewhat similar to a lament, though I had not started out to compose a lament. However, selection of the title was around the time of Remembrance Day and The Poppy came to mind as a symbol of remembrance and sacrifice as did the Cross, which held a special meaning for myself being a member of the Clergy and most war memorials or cenotaph’s within the British Commonwealth dedicate to those who paid the supreme sacrifice often have a Cross or a Sword that is in the form of a Cross or both, I felt this would be an appropriate title for this tune.|
|PAGE 34a – THE BLUE EYED SHEPHERD: is a tune I wrote to welcome to our extended family Rosie Mae the Duchess of Cambridge. Rosie is an Australian Shepherd that has amazing blue eyes that are one of the first things you notice about her, especially when she looks at you. My nephew and his wife brought Rosie home in the summer of 2016 and when I first met her she appeared to be dancing as she went around the house greeting everyone. So, I thought a Strathspey was in order, because her moves seemed be so graceful, similar to highland dancers dancing a strathspey rather and the motions or a dancer dancing a reel or jig. She was a wonderful wee dog, however, that’s when she was a pup, she has grown closer to her normal size now, but still dancing around the house when you visit as she greets you.|
|PAGE 34b – THE CELTIC CROSS: is a strathspey I composed and was considering what title to use. I have always loved the form of the Celtic Cross and with my own heritage coming from Celtic families with James Agnew’s from the area of Larne and Templepatrick, County Antrim, Northern Ireland who married Jessie Fleming the daughter of Alexander R. Fleming and his wife Jean Stewart from Kirrandrum, Parish of Tullymet, Athol, Perthshire near the village of Logierait and Ballingluig at the junction of the Tay and Tummel Rivers, Scotland. Both families immigrated to Canada in 1843 and settled in the Owen Sound area of Grey County in the township of Derby in the town of Kilsyth, Ontario. The Agnew’s eventually settled in the Grey County in the township of Proton, on a farm just to the west of the town of Dundalk, Ontario. I chose to title the tune The Celtic Cross because of my Celtic heritage. Also, the cross that I wear as a clergy is also a Celtic Cross which I was given around the time I had composed this particular tune, so the tune was titled The Celtic Cross which is thus named after the Celtic Cross that I received as a gift.|
|PAGE 35a – HOPSCOTCHING: is a strathspey I composed which after I had written it, sounded like someone jumping. After some consideration, I remembered a game that, mostly young girls in my generation, but some of us young boys would participate in was called the game of Hopscotch. In years gone by it tended to be played more by young boys than young girls. |
The game was played by the Romans, even the soldiers in full armour. However, it grew in popularity in 17th Century England and is played by children throughout the world. It is called "Marelles" in France, "Templehupfen" in Germany, "Hinkelbaan" in the Netherlands, "Ekaria Dukaria" in India, "Pico" in Vietnam and "Rayuela" in Argentina. The English term "Hopscotch" comes from "hop" meaning "to jump" and "escocher", an Old French word meaning "to cut". The latter word is also where we get the term "scratch", as well as "scotch a rumor" (or scratch it out) and "butterscotch", a hard candy that's made in large sheets and then "scotched" or cut into small pieces. So, the term Scotch Hoppers and Hopscotch does not mean the game originated in Scotland, simply that a Scottish term was used to make up the word.
The game begins by drawing on the ground in sand or mostly on pavement, such as sidewalks or driveways a layout with chalk (or if in sand, with a stick or your finger). They vary but are made up by squares, rectangles and semicirlces for the most part. They the squares etc. are names as Home (where you being and end) and Safe at the top end, with numbers from 1 sequences from the home square or semicircle. The numbers are the squares that are hopped in the sequence of the numbers.
When playing the game the first player tosses the marker (typically a stone, coin or bean bag) into the first square. The marker must land completely within the designated square and without touching a line or bouncing out. The player then hops through the course, skipping the square with the marker in it. Single squares must be hopped on one foot. For the first single square, either foot may be used. Side-by-side squares are straddled, with the left foot landing in the left square, and the right foot landing in the right square. Optional squares marked "Safe", "Home", or "Rest" are neutral squares, and may be hopped through in any manner without penalty. After hopping into "Safe", "Home", or "Rest", the player must then turn around and return through the course (square 9, then squares 8 and 7, next square 6, and so forth) on one or two legs depending on the square until s/he reaches the square with her marker. S/he then must retrieve her marker and continue the course as stated without touching a line or stepping into a square with another player's marker.
Upon successfully completing the sequence, the player continues the turn by tossing the marker into square number two, and repeating the pattern.
If, while hopping through the court in either direction, the player steps on a line, misses a square, or loses balance, the turn ends. Players begin their turns where they last left off. The first player to complete one course for every numbered square on the court wins the game.
Although the marker is most often picked up during the game, historically, in the boy's game, the marker was kicked sequentially back through the course on the return trip and then kicked out.
The title HOPSCOTHING of the tune is simply a derivative of the name of the game HOPSCTOCH indicating you are playing the game.
|PAGE 35b – THE PERSISTENT MOUSE: is a strathspey I composed and titled for a similar reason that Robert Burness (Robbie Burns) the Scottish Poet wrote his poem TO A MOUSE (or in old Scots TAE A MOOSE). Burns was ploughing the farm field when he came upon a mouse and Burns wrote a poem about how he felt the mouse must have been feeling when a Ploughman’s Plough was about to destroy his home and possibly end its life. It showed Burn’s inane tolerance for all creatures and his human approach to life. I was cutting the lawn in the back of my house when I often come upon a rabbit who frequently visits to sit in the shade under some of our small fur bushes and some toads and other critters from time to time. This one time I came upon this mouse who managed to scurry out of my path when it was burrowing a home. I saw him dart away from the lawn mower as I passed near his borrow. Then I saw him come back and continue his work. Then as I passed by again he would dart away to safety and return to continue his work. Then I finally passed over the burrow and he returned again to continue working, he kept doing this until I seem to be far enough off that he went on with his business and completed his burrow. He was a field mouse, rather than one that might scurry around you house should they manage to get indoors. We live in a rural area, though in town, but we find lots of creatures in our yard. I sat and watch this mouse complete his work after I had finished my work. In fact our friendly rabbit dropped by and settled near the mouse’s burrow and them mouse hid for a while. The rabbit was under the bush near the burrow for some time, keeping hidden and out of the sun for some time. The mouse would sneak back to burrow and if he rabbit moved its ears or turned or lifted its head he wee mouse would scurry away and return again when the rabbit settled down for a while. I thought what persistence that wee mouse had. So, I titled this tune The Persistent Mouse as the tune tends to have a bit a pace to it that seems to say that a dancer would be persisting through the strathspey. I suppose I should compose a tune and title it about rabbit in recognition of the other major visitor to our backyard. Well, maybe someday I will.|
|PAGE 36a – PIPIE’S BONNET: is a Strathspey I composed as part of a MSR (March, Strathspey and Reel) titled PIPIE’S SET using the 2/4 March Pipie’s March, Strathspey Pipie’s Bonnet and Reel Pipie’s Dirk. Though not many will likely chose all three tunes to form a MSR set, they do complement each other and what would a Pipie (the affectionate term for a Pipe Major) and how would Pipie look if he were marching without his Bonnet and/or Dirk. Undressed in my opinion.|
|PAGE 36b – THE CARIBANA PIPER: is a Calypso Style Reel I composed which could be used in conjunction with another Calypso Style Reel titled The Rum O’clock Reel, which I composed a couple of years earlier. I titled this tune The Caribana Piper, because of the annual Caribbean community in Toronto’s who used to have a Caribbean Pavilion back in the 1970’s during the time of the Metro International Caravan week long celebrations usually commencing the last week of June and ending following the July 1st weekend celebrations. Many cultures within the Multicultural Community of Toronto had pavilions, the Italian, Spanish, Chinese, Greeks, Ukrainian, Polish, English, Irish, Scots, etc. The regiment I was a piper with, the 48th Highlanders of Canada had a pavilion at the Old Comrades Association building on Church Street just north of Wellesley. Each weekday evening commencing at 6 p.m. every hour on the half hour there would be a show put on by the pavilions until the last show at 11:30 p.m. as the pavilions closed at midnight. On the weekend the pavilions would start at 12 noon and run until midnight. In our case the Pipe and Drums would put on a display with a small group of piper and drummers, which included playing of Medley’s and MSR’s as well as display of highland dancing by member of the pipes and drums as well as the Address to the Haggis. I recall visiting other pavilions with the Princess selected by our own pavilion and putting on a small show for them. I recall several, and the Caribbean Pavilion was always enjoyable for their music and food. Also, Toronto has the Caribana Parade which is part of the former Caribana Carnival which is now known as The Toronto Caribbean Festival and I can just imagine a Piper leading the parade playing The Caribana Piper Reel. A tune for the fun of it as was its predecessor The Rum O’clock Reel and in 2017 I compose another Calypso Reel titled St. Kitts Reel which can be found in the NEW COMPOSITIONS SECTION – TUNE 01.|
|PAGE 37a and 37b – R.S. MACDONALD-THE LEFT HANDED PIPER: was written the celebrate Pipe Major MacDonald’s 60th Birthday. I was going to title it “The Left Handed Piper” but I thought I should add Roddy’s name to the title to both honor his 60th as well as he is one terrific piper who happens to play Left Handed. The tune was composed in both cut and held - 1st MP3 Clip and round tempo - 2nd MP3 Clip. Being at two part tune, both versions could be played together with the cut and held version first and the playing the round version. I actually like both versions|
|PAGE 38 - THE RSM’S POLKA: is a 2/4 Polka written in polka style rather than a 2/4 March with some polka style runs. I chose the title The RSM’S Polka to recognize the Regimental Sergeant Major’s that I have known over the years and often felt that they deserved a tune specifically for them to dance to as any Warrant Officer’s and Sergeant’s Mess Dinner and Dance or Regimental Ball.|
|PAGE 39 - THE 48th PIPERS: is a Hornpipe I composed originally to recognize the 125 year anniversary pipers who have served with the 48th Highlanders of Canada since the raising of the regiment in October 1891. The first pipers in the regiment were Charles Munro and George Murray the first two company pipers and they played while Captain Henderson drilled the men at Bailey’s Hall. Shortly after, Pipe Major Robert Ireland, considered the best piper on the Continent was appointed a Pipe Major and during his tenure he established a band of 19 (14 pipers and 5 drummers). Over the years the Pipers of the 48th Highlanders have come from far and wide, but primarily the Toronto area. The band has always been one of the top pipe bands in the Canadian Armed Forces and the pipers have always been of good caliber. The 48th Highlanders of Canada Pipes and Drums have produced some of the top solo competitive pipers and pipe majors over the years as well as top caliber Grade 1 band for many years. Many pipers who were trained by the 48th Highlanders Pipes and Drums went on to become pipe majors of the Canadian Forces Pipes and Drum and Civilian Pipe Bands. The 48th Highlanders of Canada also had a number of pipers who were with the 48th Highlanders establish bands, including the other Toronto area regiment of Scottish heritage, The Toronto Scottish, when Piper Bell was appointed the first Pipe Major of the Toronto Scottish Regiment. Others who would become Pipe Major of the Toronto Scottish after having served with the 48th Highlanders are: John Wakefield, David Buchan, Jim Tompson, Fred Hodgson, Rick Dade, Iain Dewar (son of Sandy Dewar and grandson of Archie Dewar) and most recently myself Ken Bice. Others such as William (Billy) Gilmour went on to become Pipe Major of the Canadian Regular Forces Canadian Black Watch RHR of Gagetown, New Brunswick, as well as Pipe Major of the 2nd Battalion Royal Canadian Regiment following the disbanding of the Canadian Black Watch RHR Battalion from Gagetown and then as Pipe Major of the Central Command Pipes and Drums of the Royal Canadian Air Force at which time he was also appointed Senior Piper Major of the Canadian Forces. Another piper who held the Senior Pipe Major of the Canadian Force was CWO Alexander (Sandy) L. Dewar MMM CD while he was Pipe Major of the 48th Highlanders of Canada Pipes and Drums. Within the regiment a number of families of pipers have existed, with fathers, uncles, sons, cousins and daughters have served and a few come time mind, such as the Dewar Family, the Hodgson Family and the Elms Family. So, to title this hornpipe The 48th Pipers made a lot of sense to me to honor those who have served and contributed to the 48th Highlanders Pipes and Drums from the first pipers to today’s pipers who are presently serving with the band and regiment and those who may come to be pipers with the regiment in the future.|
|PAGE 40(Cut/Held -1st MP3 Clip ) and 41 (Round- 2nd MP3 Clip) – PIPE MAJOR MWO TERRY CLELAND CD: is a Hornpipe I composed to recognize the years of service Terry gave to bot the Piping Community and the Canadian Forces. Terry joined the 400 Squadron Royal Canadian Airforce in 1970 and served as an active serving member until November 2014 when he reached the mandatory retirement age with service for 41 years. He became Pipe Major in 1978 and served in that capacity for 36 years. Terry continues now as a civilian volunteer playing with the 400 Squadron RCAF Pipes and Drums. During his career with the band he continually improved the quality of the band over the years and the band had been in the Piping and Pipe Band Society authorized Highland Games competitions playing primarily in the Grade 2 Pipe Band level. I have known Terry since the 1970’s when he also was the instructor for the Downsview Junior Pipe Band while piping with the 400 Squadron. I composed the tune as both a cut-and held and round version. I definitely prefer the round version, but the cut and held version is available for those who may prefer that style.|
|PAGE 43 (parts 1-5) and 44 (parts 6-10) – THE PIPER’S MARATHON: is a Hornpipe in round tempo that I started to compose and as I was composing it I thought I would never finish the tune as each time I thought I had finished, another part evolved. Though I believe I could have added a couple of more variations on the parts, I finally stopped composing at the 10th part. Now I had to decide on a title. Often, I compose music and leave it without a title for long periods of time, but usually need a title if I decide to publish the tune in a book, etc. So, the title The Piper’s Marathon does not refer to a walk or run that we piper’s do, as Marathon tends to have us think about all those fit individual that like to run in marathons to raise money for charity of simply as a hobby. Runs, as the Boston Marathon comes to mind. No, the title refers to the fact that after playing 10 parts twice over, it seems like a bit of a marathon of piping|
|PAGE 44 – RANDY EGAN: is a Hornpipe which I composed for a longtime friend, Randy Egan. I first met Randy about 1979, when I was Pipe Major of the Scarborough Pipes and Drums. A piper in the band Rod Parnell had two daughters, both Highland Dancers and the one daughter Lisa was also a side drummer (a rather good side drummer). Lisa played in the Newmarket Pipe Band as did Randy and Randy and Lisa were dating. So when the Scarborough Pipes and Drums competed at the various Highland Games, Rod Parnell and I would visit with Lisa at the Newmarket Pipe Band area and that is when I first met Randy. Though Randy and I have never played in the same band, he did play in a composite band that I used to put together from time to time with various pipers and drummers to play for various events. I had composed a tune (6/8 March) which I named after Randy’s father-in-law and my longtime friend Rod Parnell who some people mistakenly think Rod and I are brothers. I suppose we are both good looking fellows and that’s what confuses them.|
|PAGE 45 – AGNEW’S HILL: is a 6/8 Jig which I composed and title Agnew’s Hill. Agnew’s Hill is the only mountain or hill named after a family in Northern Ireland. The hill is named after the Irish Agnew’s though some of the Scottish Agnew’s did settle in the same area. Agnew’s Hill is situated in the Glens of Antrim and Antrim Hill’s area and overlooks the town of Larne on the East Coast of Country Antrim, Northern Ireland. The Irish Agnew’s were the Celtic O’Gnieve’s / O’Ghimn families who were the hereditary poet’s to the Clannaboy O’Neill’s. The name was anglicized to Agnew. The Lord of Larne was an Agnew as was the head of the Scottish Agnew’s located in South West Scotland around their clan’s seat of Lochnaw. The Scottish Agnew’s are the hereditary sheriffs of Galloway. It is unclear as to any inter-relationship between the Irish and Scottish Agnew’s. The Irish ancient Celtic Clan of the O’Gnieve’s and O’Ghimn’s would have been part to the ancient Celtic clan of the Dal Riata who migrated to the west coast of Scotland, landing in the South West part of Scotland around Lochnaw. They migrated north into the Isles of Mull and Skye and inland west to the settle the area of Argyll. The term given to the Irish of Northern Ireland was “Scoti” and the term Scotland is derived from the old Roman “Scoti” references to the Irish. My ancestral background through my great great grandfather James Agnew comes from the Northern Ireland area of County Antrim, around and near Larne and Templepatrick. I also find in my DNA that my makeup is both from Northern Ireland, likely County Antrim on my maternal side and North West Ireland likely from the Donegal area on my paternal side, though I do have some Scottish roots as well from the Perthshire area through my great great grandmother Jessie Fleming. Anyway, I though this particular jig had a bit of an Irish flavour, so I decided to title it Agnew’s Hill after the hill in County Antrim named after my ancestors.|
|PAGE 46 (parts 1-4) and 47 (parts 5-8) – THE CAILLEANN JIG (a.k.a THE CALEDONIA JIG or MEN OF THE FOREST): is a 6/8 Jig which has 8 parts. I composed it to response to the 8 part Galician Jig. Though not in the same form of music, this jig is more along the lines of a Scottish 6/8 Jig. The word Cailleann (old scots gailic – Caiollaion) in the title is a Gaelic word for Caledonia which was the word given to the Northern area above England by the Romans. The word Caledonia in the Roman language means Men of the Forest. So, the title The Cailleann Jig could also be known as The Caledonia Jig or Men of the Forest|
|PAGE 48 – MAGGIE MUGGINS: is a 6/8 Jig I composed and titled Maggie Muggins. Maggie Muggins was a Canadian Television show from the 1950’s and the main character was a young girl name Maggie Muggins. The show began on CBC radio as a 15 minute broadcast and was first aired on New Year’s Day, January 1st, 1947. It eventually aired from September 27th, 1955 to June 27th, 1962 on CBC Television. It was directed by Michael Spivak and well known Canadian and International award winning director Norman Jewison. As a child my wife Margaret Cummins, was nick named “Maggie” for Margaret and Muggins (for Cummins). So, I composed this tune and titled it Maggie Muggins after my wife and her pet nickname as a child.|
|PAGE 49 – PIPE MAJOR JIM THOMSON, MASTER PIPER: is a 6/8 Jig I composed and named after a longtime friend and Jim Thomson. I first met Jim, when he arrived from Scotland and joined the 48th Highlanders of Canada Pipes and Drums as a Piper in the mid-late 1960’s. Jim left the 48th Highlanders and transferred to the Toronto Scottish Regiment Pipes and Drums in around 1970. He eventually served 3 times as Pipe Major of the Toronto Scottish Regiment. Jim and I have been friends over the years and during my term as Pipe Major of the Toronto Scottish; Jim was still travelling from the Haliburton Highlanders to Toronto’s west end to play with the band. Jim though in his senior years is still an accomplished piper and still competes in solo competition from time to time. I know Jim to enjoy playing the light music but is also very much a lover of the big music (Piob Mhor or Piobaireachd) which he still plays and teaches.|
|PAGE 50 – POKEMON GO CRAZY: is a 9/8 Slip Jig I composed and had not given it a name for a long time. I was looking for a suitable name as I always felt the tone of the tune was that of a carnival or circus. The cell phone, modern day fad, came about in the summer of 2016 and worldwide you found people using this cell phone app called Pokémon Go to find and capture Pokémon characters in various places. It subsided in popularity after the main contests that someone would win a major prize if they were the first to find and capture all characters. After that was achieved, the game died off and not much is heard about it. However, it did garner a lot of media attentions during its short popularity. A friend of mine who commented on Facebook one time that people have gone crazy over Pokémon Go, because people would be looking for the characters on their cell phones in order to capture them and not be looking where they were going and bumping into other people, poles on the street and walking into oncoming traffic. So, I found a title for the tune Pokémon Go Crazy because it appeared that people had gone crazy in the actions they were taking as well as the number of people who seemed to be crazy to play the game. They even played it at work. In some instances the producers of the game would restrict the areas where the characters could be found based on requests from various organizations, mainly for the safety of those playing the game and disruption of certain businesses and events. Yes, Pokémon Go Crazy is an appropriate name.|
|PAGE 51 – THREE STEPS FORWARD AND TWO STEPS BACK: is a 6 part 9/8 Slip Jig I composed and I felt that the tune as you played it was something like going forward a few steps and then taking a couple back, so the title Three Steps Forward and Two Steps Back came into being.|