Julia Say wrote:
There are about 4 styles of traditional Northumbrian piping at the moment. Proponents of each might well argue that the others arent trad. We can start that row if you like, but first decide who you want to sound like, so I know which way to slant the argument!

From: Ewan Barker <e.barker@eureka.ballarat.edu.au>
Oh, go on, Julia.... *Please* tell us what the styles are, who exemplify them, what distinguish them, and why they are (not) traditional. I'm waiting with bated breath.

Barry Say wrote:
As a basis for discussion (only) and historically speaking, try Tom Clough, Jack Armstrong, Billy Pigg, Joe Hutton among others
In modern times try Kathryn Tickell, Adrian Schofield, Chris Ormston, Pauline Cato among others

and Ewan wrote:
These are, of course, most of the most prominent current and recent pipers. How much do you think they are representative of different stylistic traditions, and how much are their differences simply their individual approach to the music they play? How much does one's style depend on formative tradition, on individual quirks, and on the situation (i.e. the type of tune being played)? For example, Kathryn Tickell is sometimes accused of playing non-traditionally. But on her new CD she plays Lads of Alnwick in what seems to me a very traditional manner (with a covetously tight staccato).
This question of stylistic versus individual differences can be seen in many different contexts. In painting, for example, Manet and Monet might be viewed as belonging to the same stylistic school, although their works are readily identifiable, whereas Toulouse-Lautrec belongs to a different school. In linguistics the analogous distinction is that between dialect and idiolect (one's individual speech idiosyncrasies).
To take the analogy back to piping, consider border pipes used to play a highland tune compared to an old border tune like Dorrington Lads. That is a different language.
Now think of Dorrington Lads played with something like highland gracing (by a highland piper who has taken up the border pipes), compared to played by Matt Seattle with his ideas on reconstructing a border style of ornamentation.
That is a different dialect, a different stylistic tradition. (As we see, a tradition can be new or reconstructed, as well as "traditional".) I would be very interested in people's comments on different stylistic traditions in Northumbrian piping.

From: Barry Say <Barry.Say@nspipes.demon.co.uk>
The French have a good answer to this one: paff (or is it boff?). The answer is all and none. The musician selects from the inputs, and adds their own inspiration. Surely this is the essence of traditional music. The only change is that the range of inputs has increased. No longer do they have to cycle down to Wooler to get the latest Jimmy Shand '78 or twiddle the reaction condenser to pick up Hilversum. Nor indeed can they make the pilgrimage to Newsham (see another post)
I like Kathryn's playing, and have had piping lessons from her which I found valuable.
Try this for a theory:
Kathryn leaves a space between each note of tune, but each of the notes is heavily decorated in a style which is not closed. The gracing may occur (in her words) at the beginning, in the middle or at the end. The grace notes are played so fast that they merely amount to colour on the note. She plays instinctively and had to analyse her playing *on-the-spot* in the lessons. This was not straightforward.
From what I have heard of Tom Clough’s playing, he would use less grace notes, but each would be played distinctly and closed. More of this from Chris later (I hope). If we can also get Adrian to contribute we may get a really useful discussion.

Bagpipes and styles and paint:
Artists with brush and canvas have a vast range of possibilities. Musicians who chose NSP have already closed their options somewhat.

I dont think the discussion has gone far enough to make the distinction. As the traditions become more recognised, more people will be able to distinguish the differences, and the differences will become more important.

From: Chris Ormston:
Anyway, here goes!.........
Firstly, piping styles have always been numerous, and I'm beginning to doubt if there was ever one agreed way to play. The Clough family had their approach, yet they respected Richard Mowat who would take his whole right hand off the chanter to scratch his *****.
They were also good pals with Anty Charlton, who, according to Forster Charlton, had a style like a "Dripping tap". Tom Clough Jnr. told me that Anty's hands were so fat that he couldn't manage a staccato style, while the open fingered pipers would jest that the Clough disciples only played fast and staccato to mask the dreadful tuning of their chanters. Tom Clough jnr. also remarked that Billy Pigg was a lovely bloke, but wasn't rated as a piper!!!!!
Anyone notice a pattern? These guys all got on, despite having different opinions and approaches. Sure, there was plenty of ribbing, but it was fairly tongue-in-cheek. That's the way it had to be, and still has to be. Objective criticism of styles of piping is handicapped by the small numbers of pipers worthy of analysis - it's too easy to get personal. If I remark about one piper's approach, people take it as like/dislike of the individual.
So what's my opinion of the four styles identified by Julia/Barry?

CLOUGH Four, possibly five generations were pipers.
Attracted pipers from far and near to come for tuition, advice, and inspiration. Style/repertoire was passed through the family, and remained an unbroken tradition for at least 120 years. If there were indeed Five generations, this would take us back to the time of Robert Bewick, and possibly John Peacock. They must have been doing something right!
Style based on crisp, staccato fingering, while maintaining a flow to the music - not easy, but very effective. Sparing use of gracenotes, which themselves were detached with real time values. Great emphasis on rhythm and expression.
How do I know this? Analysis of the (admittedly limited) recorded material, comparison with Clough's manuscripts, 22 years of trying to play it (3+ hours per day for the first 3 years, hence cocked up A levels and exile at Liverpool University) AND I asked a bloke by the name of Tom Clough Jnr. THE TRUTH WAS OUT THERE
A few days before his death, Clough Jnr. told me "Me father would have liked you." Suddenly, it had all been worth it! So forgive me if I give any Clough sceptics a cyberpunch on the nose and directions to the nearest melodeon shop. You're not going to take it away from me.

HUTTON I wish I'd started playing before Joe's heart problems started. I wasn't inspired by his later stuff, despite the obvious rhythm and accuracy. Then, Joe wasn't a well man. BUT, listen to Roxburgh Castle/De'il Among The Tailors on the 1950's recordings. I'm told that until he became ill, Joe could rattle with ease through standard variation sets. I think that there was a lot of the Clough approach in Joe's playing, and pipers could benefit from emulating his style without getting caught up in the Dressed Stick bit that was imposed upon him. I always think it a shame that he was derailed onto that Lemonville/Nellie the Elephant stuff in his later years. A lovely, patient man who was too gentle to offer anything but praise. Listen to his music (pre-1974) and learn.

PIGG A difficult one, seeing as he's top of the pops at the moment. I think the main difficulty is that he's often seen as a mainstay of the piping tradition, whereas I suspect that he was very much a one-off. The appeal is in the fact that he's probably the most expressive member of the Dead Pipers Society, yet his imitators often try to emulate his inaccuracies along with his personal interpretations.
Spur-of-the-moment insertions of Billy's never sound quite the same when practiced over and over again!!! It's also difficult to analyse recordings which were mostly informal and, again, made when Billy was not in the best of health, but what he lacked in rhythm, phrasing and timing is more than compensated for by that urgency, expression, and a will to experiment. If no-one tried out new tricks, we'd all be sitting by some riverside blowing bits of grass! (Cue Lance's theory about monks on the banks of the Hwang Ho) At least Billy's approach incorporated aspects of his piping forebears along with the experimental bits. Nowadays people miss out the starter and main course and, in trying to get to the pudding, land head first in the sweet trolley!
In short, contrary to popular opinion, I LIKE IT.

ARMSTRONG? YOU CAN'T BE SERIOUS

Time to head for my bunker!
Chris Ormston (Clough is MY shepherd - I shall not waltz!)

From: Barry Say <Barry.Say@nspipes.demon.co.uk
Chris, I was not promoting Jack Armstrong's style or in any way recommending it, merely saying it existed. (In a recent conversation he was described as playing "well within his capabilities".) However, Jack did have a knack of gaining a great deal of publicity and brought the pipes to the attention of a wide audience. His protegees have likewise been successful both in playing and making, and all have contributed to the current state of Northumbrian piping.
You may hold the opinion that this has been a diversion from the tradition of Northumbrian piping and has resulted in newcomers to the instrument setting themselves very low goals, - I couldn’t possibly comment.