Playing Music for Scottish County Dancing

1. On receiving the program
2. Preparation of the musical score
3. Practicing the music
4. Setting up for a dance
5. Playing at a dance

1. On receiving the program

The first job, on receiving the program, is to check to see how many dances were in the immediately preceding program, since the band will already be ready to play them. The second job is to check to see how many dances have been in previous programs. For these, we already have the music prepared. But we must remember if we had been pleased with these sets of music, and if not, what modifications are necessary. The third job is to see which dances are new to the band. For "new" dances, the lead tune (if such exists) has to be found. This is easy if the new dance is an RSCDS dance or if the lead tune is in another book in our extensive collection (of about 4000 jigs, reels and strathspeys). If no official lead tune exists, then we must make a decision on what tune to use.

After such a lead tune has been selected, we must decide on the alternate tunes. Since most dances have eight repetitions, and it is accepted practice to begin and end with the lead tune, three alternate tunes is the norm. They are conventionally played in the order 12342341. It is conventional to change key between tunes, as a aid to dancers. This means that at least three different keys are required. A repetition of key is normally only available for tunes 1 (lead) and 3 since there is no combination of 13 or 31 within the ordering of tunes. Also, the style of the alternate tunes should be compatible with the style of the lead tunes. I'll give some examples:

Jigs: these are in 6/8 time, that is six eighth notes to the measure. There are two basic types of jigs - single jigs and double jigs. Single jigs have fewer notes in them than do double jigs. Double jigs tend to use every available one of the six eighth notes in the bar, that is, a very even tempo, whereas single jigs tend to use quarter notes followed by eighth notes, giving a somewhat more syncopated beat. The dancers may have noticed that most programmes begin with a jig. This is most likely to be a single jig, allowing the band a relatively easy start to the evening!

Reels: these are in 4/4 time, that is four quarter notes to the measure. There are several different types of reel - for example, Scotch measures, "thousand note" reels and hornpipes. Scotch measures tend to use many quarter notes and fewer eighth notes whereas "thousand note" reels tend to be almost all eighth notes. Hornpipes are akin to "thousand note" reels, but have the added characteristic of the use of many arpeggios and of being syncopated.

Strathspeys: these are also in 4/4 time. However, although the dance is slower than a reel (for the dancers), the musicians are often playing faster! There are three different types of strathspey - "true" strathspeys, slow airs and schottisches. "True" strathspeys are unique to Scottish Dance music. They are characterised by the "Scotch snap". This is written as a sixteenth note followed by a dotted eighth note (3/16 of a note). This is actually played as a thirty-second note followed by a double dotted eighth note (7/32 of a note). This often occurs on the first beat of the bar, and gives the characteristic "drive" of a good strathspey tune. It takes a musician unfamiliar with this style quite some time to master it. Slow airs are often song tunes adapted for use as a strathspey. Schottisches are meant to be played considerably faster than strathspeys (for example, the Glasgow Highlanders), although the tunes are sometimes used in "regular" strathspey. They do not have the "Scotch snap", and consist mainly of dotted eighth notes followed by sixteenth notes.

Waltzes: these are in 3/4 time, that is three quarter notes to the measure. We have a small collection of waltzes with Scottish (and Irish) connections.

The point here is that, although there are three main (and one other) types of dance, the music has much more diversity in type. Musicians must learn to play in many different styles.

2. Preparation of the musical score.

Many musicians elsewhere play from hand written copies of music, or from copies that are photocopied from various sources and then pasted together. This can lead to much frustration. We have adopted the system of using a computer music program called SongWrightV. I purchased this program several years ago with the band in mind, and have upgraded the program twice. This enables me to prepare uniform, consistent and legible musical scores for the band. I can assure you that they are very grateful, especially those who have played with other groups.

Each new tune has to be entered into the computer as a melody. We ensure that we print either four or eight bars to a line (this is not always the case in commercially printed music, and creates difficulty for those who write it out by hand). I then print out a copy of the melody. The next task is to decide on the harmony. Some sources will give a suggested harmony, but most of the older sources do not. Then I try to play the tune and see what harmonies fit best. Now this is a matter of personal choice, and I sometimes disagree with suggested harmonies. Sometimes, I find that a small change in the melody will improve the harmonic flow, or make things easier for the violin (avoiding awkward fingering and/or string crossing). The basic guide for harmonising in the Scottish idiom lies in the music of the Geneva Psalter. If you find that some tunes may be reminiscent of parts of hymns, now you know why!

When all four tunes have been harmonised, there is then the question of how best to progress from one to the other. Certain changes of key are "natural" whereas others are tricky and some downright awkward. Those, we try to avoid, either by changing the selection, or by transposing a tune into a different key. Any changes (as well as tune selections) must bear in mind the musical compass of the instrument that is playing the melody, and that is generally the violin.

Once the selection is complete, suitable scores must be prepared for the various instruments. This, at the moment, means three different versions, piano, violin and guitar/accordion. A complete set of music for the four members of the band for one dance evening consists of 160 sheets of music.

3. Practicing the music

The band meets once per week to practice as a group. However, one evening per week is not sufficient to get ready for a dance. Each member of the group spends several hours per week practicing. Technique practice (scales and arpeggios) is necessary to keep the fingers nimble. As well as practicing the backing harmonies, I also practice the tunes, for one never knows when one has to jump in - suppose the violin broke a string in the middle of a piece! I also know that Stewart practices many hours. He is most important, being the lead musician. I do not know how many of the dancers appreciate how good a Scottish fiddler Stewart is. Without him and his great talent, there would be no Corryvreckan. And I can assure you that the other members of the band put in many hours too.

The weekly practice gives us a chance to blend the sounds together, decide who will play lead on what tune (or parts of tune), and to make sure the transitions from tune to tune are smooth. Sometimes, after playing a selection together, it will become clear that one tune does not "fit" as well as I had hoped, and it will be voted out, so another must be selected, and the preparation process repeated.

4. Setting up for a dance

The band makes use of sound equipment that is the property of the Branch. This includes an aging amplifier and two speaker boxes that were gifted to the Branch by my son-in-law, Glen Rowe (a former President of the St. John's Folk Club), another amplifier gift by Fred Wilson, a former member of the Branch, the Yamaha FP1 electronic piano, purchased by the Branch, as well as several microphones, microphone stands and cables, also purchased by the Branch. However, other equipment is the personal property of individuals. I bring my own piano stool. We all have our own music stands. Stewart and Tara have purchased their own pickups for their instruments. Of course, they, and Phil own their own instruments and look after their maintenance.

Mid-afternoon, on a dance day, the band meets at the venue, bringing the equipment with them. After the necessary re-arrangement of any furniture that is around, and finding suitable tables for the speakers and the amplifiers, all is then arranged on the stage -- the various cables, stands and microphones are laid out and plugged in. After all that is set up, we switch on, hopeful that the aging amplifier is still working! We then test each instrument individually to ensure that all is in working order. Once we are satisfied with that, we proceed to check the balance of the various instruments as we play together. If we are lucky enough to have an extra person along, we can get instant feed back, but usually this is not so, and we have to guess.

We usually then play a few of the dances for the evening, just to get in the mood! Then we go home for a bite to eat, and return a good half hour before the dance is due to begin.

5. Playing at a dance

Since we have usually arrived before any of the dancers, we are likely to have the hall to ourselves for a while. We will play some of the dance selections for the evening and/or some favourite selections as a warm up for the evening. It is important to get the muscles relaxed and warm so that the fingers will perform well all evening. We are usually prepared to start at the "appointed hour", but usually there are not sufficient dancers to make it worth while. So we continue to play to keep warmed up until the MC calls for a start.

Nowadays, the "normal" dance program consists of sixteen dances. Since almost all dances have four tunes, this means we will be playing, on average, 64 tunes twice each. If played continuously without a break, this would take about 90 minutes -- about the same time as Beethoven's 9th Symphony! Fortunately for our fingers, there are breaks between playing dances, while sets assemble and the dance is briefed. We are grateful for these breaks, especially after a "thousand note" reel such as the "De'il among the Tailors", or a standard strathspey, which takes over eight minutes of non-stop playing time.

After the dance is over, we must disassemble all the equipment, wind up all the cables, and stack it away in our vehicles, to be transported home and stored until the next occasion.

It has been the custom for the Branch to place a hat at the front of the stage, and to solicit contributions. None of these have ever gone into the pockets of the members of the band, and have been returned to the Branch as part of the Piano/Equipment fund. Even monies that the band had earned for playing at the Burns' Supper were given to that fund. However, the purchase of the piano does not mean that the band has no further need of funding. As mentioned above, the amplifiers are aging, and if the main amplifier (which, being old technology, and so unshielded, tends to pick up radio signals!) should fail, we shall be lost. It needs replacement very soon. Also, we are in real need of a proper mixer board, to enable easy balancing of the various instruments, and a proper control over volume. Third priority would be better speakers of a more modern technology.

Some members of the Branch might recall the cost of employing a band for the dances. Those who have served on the committees for early workshops will tell you that the fee for bands such as Duncan Keppie's "Macadians" (they were the first live band to play at a workshop) was several hundred dollars (plus transportation, accommodation and meal charges). In many respects, the Branch is getting its music on the cheap. However, I hasten to point out that the members of the band are not looking for remuneration for playing for the dances. Someone once said that a band "just comes and plays". As outlined above, members of the band spend a great deal of time and effort to present as professional and polished a performance as we can. We too, like the dancers, want to have an enjoyable evening.

Tuesday, 25 March 1997

updated August 1st 2007