The Highland bagpipe

by W. L. Manson

Borderers.

Cameronians.

Royal Highlanders.

Highland Light Infantry.

Seaforth Highlanders.

Gordon Highlanders.

Cameron Highlanders.

Argyll and Sutherland Highlanders.

The number of men allowed to each band as full pipers, that is, the number authorised by the War Office, is six—one sergeant-piper (formerly pipe-major) and five pipers—but each battalion has always ten or twelve men in its pipe band, those above the regulation number being acting pipers. Only the Highland regiments and the Scots Guards are allowed a sergeant in excess of the ordinary strength to perform the duties of sergeant-piper. Members of the band get the same pay as drummers—1d. per day more than ordinary privates—with the opportunity to earn “extras” by playing outside at parties, in public parks, or in any other way. The sergeant-piper and his five comrades are clothed by Government, and a fund is supported by the officers of each battalion, out of which the cost of the pipes, both for full and acting pipers; long hose, buckled shoes, etc., and the uniform for the acting pipers is defrayed. Captains of companies, however, supply their pipers with banners. The pipers are all drilled in the same way as other soldiers, their training as pipers only beginning after they have served in the ranks for some time. Tuition is given free of charge by competent sergeant-pipers, and any lad joining a Highland regiment will be taught the pipes properly if he chooses. Pipers are generally Highlanders, and it is a remarkable fact that in the time between the middle of the eighteenth and the beginning of the nineteenth century, Skye alone furnished five hundred pipers for the British Army—an average of ten a year. Regimental pipers are, however, quite often Lowlanders, and it is doubtful if any Highland town can boast of having had five pipers in one regiment, as Falkirk, a Lowland town, can. Robert Galbraith, from Falkirk, joined the 42nd in 1854, and served through the Crimea, the Indian Mutiny, and the fighting which ended at Coomassie. Pipe-major James Honeyman, still alive, came through the Mutiny and Ashanti Wars, leading his regiment into Coomassie. John Honeyman, his brother, was also a piper, and so was their father before them. The fifth 42nd piper was James Wotherspoon, who joined after the Mutiny and followed his colours to the Gold Coast. Besides, two other Falkirk men were pipers in the Black Watch—Alexander Mac Intosh and George W. Alexander—making a record which can hardly be beat by any other town of similar size, Highland or Lowland. When, during the Mutiny, the four Highland regiments marched from Lucknow, their pipers numbered one hundred and forty all told, quite a respectable number of fighting musicians.

The duties of regimental pipers are too numerous to give in detail, but it may be worth while to describe “Reveille” and “Tattoo.” “Reveille” is generally sounded at early morn by the bugler on duty, or sometimes by all the buglers followed by the pipers and drummers playing round the camp to rouse the troops. No sooner is “Reveille” sounded than the camp becomes animated with busy men preparing for the routine of the day. The tune is usually “Up and waur them a’, Willie,” “Hey, Johnnie Cope,” or sometimes “Up in the morning’s no for me.” As “Reveille” begins the day, so “Tattoo” is the signal that another day has gone. The guards turn out and stand under arms, picquets are mounted and sentries posted, all in undress and greatcoats, and gates are closed for the night. Of all ceremonies in which a pipe band is engaged, “Tattoo” is the most attractive to spectators. Drummers and pipers march to the ground in full kilt and feather, and form up in perfect silence, save for the curt word of command. The buglers form up in front of the pipers, and at the order, “Sound off,” a shrill blast is sounded by the buglers, who then disappear. Drums are slung and pipes placed in position. At the word of command the tattoo rolls are gone through, then the order, “Quick march,” is given, and the band steps off, taking up the usual rolls as in an ordinary march. They march and counter-march the length of the parade ground, and come to the halt in the exact position they started from. Then the music ceases, and the tattoo rolls are beat off as before, after which all are marched back to quarters and dismissed. Old Highland tunes are invariably played for “Tattoo,” “My Faithful Fair One,” and the “Cock o’ the North” being favourites. Other tunes, too, have been dedicated by custom for special occasions—as, for instance, “Highland Laddie” for the march past, or when troops advance in review order; “The Crusaders’ March,” for reviews and inspections, at mess, tattoo, or parade; “Bannocks o’ Barley Meal,” or “Brose and Butter,” for breakfast, dinner, or tea, and sometimes for officers’ mess; and “Hey Johnnie Cope” as the warning for parade. “The Haughs o’ Cromdale,” as is well known, is always played by the Gordons’ pipers when the regiment is at the charge, though, by some inexplicable slip, it got mixed up with the “Cock o’ the North” at Dargai.