No Hornpipe Shakes for Me

Due to my focal dystonia, I am incapable of moving my E finger with any coordinated speed. The dystonia manifested in about my 9th year of piping and I’ve been playing for 19 years now. Since then I’ve gradually become able to play GDE grace note patterns, taorluaths, and even D doublings (but only from a higher note). This means I can also play hornpipe shakes from notes higher than D down to D or C fairly reliably. However, a lot of hornpipe shakes occur from notes below D or C and my focal dystonia still prevents that. From the top notes the pinkie and ring fingers are already up in the air and so I imagine they’re easier to pick up coming from a state of having already been in the air, but from a lower note the tension is already there and the contraction of my pinkie finger upon trying to play an E grace note kicks in and no E grace note comes out.

If you’ve listened to my blog for a while you might have noticed the odd tune where I’ve removed the hornpipe shakes in favor of delayed slurs. Tunes filled with hornpipe shakes I usually avoid posting to the blog but I figured I’d get over it and post a few of my favorites where I’ve had to remove the hornpipe shakes in order to make my fingers be able to play the tune.

The pipes are the new-to-me Sinclairs mentioned in the previous post. I had a go with Ezee in the tenors the other day which will be posted at the bottom but I’d like to feature the pipes with Selbie tenors which I much prefer. The Ezee are a bit richer, but also harder to tune. The Selbies are not as bold as the Ezee (which I find odd and opposite of what I’d expect). I like the Selbies more because they are easier to tune because they are less bold. Additionally, the Ezee tenors do not strike in well and cut out if blown in from a howling state which they are wont to do upon strike in. Basically, terrible reeds for a band pipe. Pulling off the tenor volume a bit with the Selbies also lets the Redwood bass shine quite remarkably in my opinion.

One thing you’ll have to put up with is the fine line this reed has between a crowing high A and a sharp high A. I need to pull this reed out just a tad so I can blow through the high A more consistently.

Recorder off to the left (tenor side):

Leaving Port Askaig and The Quaker – this one’s a bit rough and is provided only for comparison to the Ezee tenor recordings below since they mic was in the same spot as this recording

Recorder behind (drone side):

Hector the Hero, The Rock, 1st Hype Cowboy Division

Recorder off to the right (bass side):

Mason’s Apron and The Good Drying

Recorder behind but farther away (drone side):

Humours of Ballyloughlin, Scarce O’ Tatties, Old Chanter, and Leisa McCord

Here are the recordings using Ezee tenor drones with the Redwood bass. They all are recorded with the mic off to the left (tenor side).

Kalabakan, Bridge Something, High Road to Linton, Sleepy Maggie, and Dancing Feet

Room 35, Moonshine, and Glenlyon