KH12 summer/autumn

summer/autumn 2012 Volume 29: no. 3

in this issue…

•President’s Corner 3 •Competition 2012 Results 4 •Summer Harp Event Reviews 17 •SHSA 30th Anniversary 19 •Spotlight on new Scottish CDs 25

•Harping to Scotland 29 •Gaelic Column: Mod 31 •Clan Report: Clan Ruthven 33 •TUNE: The Perthshire Hunt 34 •Join the SHSA form 45

Allison Miller, National Championship winner

SHSA 30th ANNIVERSARY ISSUE and

NATIONAL SCOTTISH HARP CHAMPIONSHIP RESULTS

The Scottish Harp Society of America the kilt & harp summer/autumn 2012, Volume 29: No. 3

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from

the

editor

Committees

Competition……………………………………..…..Jen Narkevicius Journal………………………………………….…….Cheyenne Brown Advertising subcommittee………..….Mark Auchter-Bruening Membership………….…………………………………Kat Bingaman Web Site……………………………………………………….Kira Jones Elections………………………………………….....……Abigail Palmer

Journal Staff

Editor-in-Chief………………..……………………Cheyenne Brown Member News Assistant …………..……….…...Lindsey Duncan Music Assistant……………………………….……..Mary Umbarger Fiction Contriubut…………………………………..Barra the Bard

Board of Directors

Ann Heymann Sue Richards Karen Babb Sharon Knowles Wendy McCormick

The Scottish Harp Society of America The Scottish Harp Society of America was formed in 1982 by Dr. Herbert P. MacNeal and harper Christina Tourin. The Society is dedicated to the performing of Scottish Music, both new and old, on the small harps of Scotland. We support the playing of nylon, gut, wire strung, levered and unlevered harps. Membership is open to all.

Officers

President……………………………………..………….Kelly Brzozowski Vice President…………………………….………..… Jen Narkevicius Secretary……………………………..……Evelyn Tiffany-Castiglioni Treasurer………………………………..…...….…………Allison Miller

The Kilt & Harp Editorial Policy: Submissions to the quarterly Kilt & Harp are most welcome. First priority is given to items concerning the activities of the SHSA and its members. Particularly welcome are articles about Scottish music, culture, and the small harp or clarsach. Bring it on! And any ideas! Copyrighted items will be included with written approval from the copyright holder. Responsibility for obtaining copyright shall be held by the submitter of copyrighted material. Selection, placement, and editing are at the sole discretion of the editorial staff. All material enclosed are ©2012 by the Scottish Harp Society of America unless otherwise noted, or in the public domain. For more information, contact Cheyenne Brown at 011 44 141 956 3139 or [email protected].

Hello, Check out all those who participated in competitions and harp events this summer! Were you one of them? Are you inspired for next year? The events are a great way to structure your winter practice and set goals for the future. And to meet other people interested in the same music! I LOVE Haley’s article about how she practiced when her right hand was injured this summer. I think we can all learn something from that. I have also been to some great concerts recently, the Shee with Rachel Newton on the harp, and Mary MacMaster and Donald Hay’s new album launch. I interviewed them in this issue as I loved both the new CDs so much. I hope you check them out.

View of Loch Lomond from Benn Dubhcraigh,

from October. Now all the Scottish mountains are covered in snow.


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SOME IMPORTANT NOTES:

Annual Meeting: The SHSA national meeting will take place on December 27th, 2012 at 8:00 pm (EST). It will be a virtual meeting – more details to follow via e-mail.

Membership Dues: due 1st January, 2013 – avoid the rush, use the new address to mail checks. (see page 35. Address: PO Box 681, Mechanicsville, MD 20659) Competition Organizers – send in your venue and date information so people can start planning now to come to your competition!

I’ve been a member of the Scottish Harp Society of America since I was ten years old. That’s when I entered my first competition at the Stone Mountain Highland Games and when I really fell in love with playing Scottish Harp. I’ve learned something from every single edition of the Kilt & Harp over the years. Most importantly to me, I’ve watched my students begin competing and begin learning to love traditional music.

These students don’t just learn the tunes and songs – they learn history, arranging, technique, performance skills, confidence, and so many other skills. They learn to listen to fiddles and pipes and singers and they begin to understand that they don’t have to rely on other people to arrange their music for them. My point in all this is to say that this organization is important. For 30 years, SHSA has been educating harpers and helping the general population to love traditional music as much as we all do. I’m so proud to have been a part of this for most of those 30 years and I’m excited to see what’s going to happen in the future. I’d like to encourage all of you to be an active part of this and help the Scottish Harp Society educate and inspire for the next 30 years!

from the

president


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Minnesota Scottish Fair: Dakota County Fairgrounds

May 19th, 2012 Submitted by Ann Heymann, organizer

Judge: Jo Morrison Our fourth annual Minnesota SHSA harp competition was held May 19, in conjunction with the Minnesota Scottish Fair & Highland Games. At the Dakota County Fairgrounds, this mid-May event usually means that woolies are more than just a fashion statement, but being that we have inside staging, we are not hostage to fickle weather. It was great to see more harpers this year, not only from Minneapolis and St. Paul, but from Duluth, Saulk Center, Northfield, and a special surprise was to see Elise Krueger from Ohio! This did not go unnoticed by fair management (and pipers, clans, et al.) and it look like our SHSA competition has definitely "arrived". Competitors understood that they are being judged according to a standard, but it was fun to have such active competition in the "Harp in Ensemble" category. We'd like to thank our harper friends from Duluth and from Northfield! SOLO HARP RESULTS: Beginner, Open: 1st place: C.J. Betcher Beginner, Youth: 1st place: Grace Elin DeRocher Novice, Open: 1st place: Philip Hommes Journeyman, Open: 1st place: Kathryn Dean Elmer 2nd place: Elise Krueger Master: 1st place: Chad McAnally

COMPETITION RESULTS summer 2012

Ann Heymann, Elise Krueger, Kathryn Elmer, Jo Morrison

C.J. Betcher

Ann Heymann, John Fairbairne, Chad McAnally, Jo Morrison


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Minnesota Games, continued: SPECIAL CATEGORIES: Harp & Spoken Word: 2nd place: Judith Finley Harp in Ensemble: 1st place: Everet and Philip Hommes (hammered dulcimer) 2nd place: Madeline Strobel, Laura Olson, Sarah Swan MacDonald, and Elinor Niemisto 3rd place: Grace MacDonald, C.J. Betcher, Elinor Niemisto, Madeline Strobel, Laura Olson, and Art Wineman 4th place: Laura Olson, C.J. Betcher, and Elinor Niemisto Emerging Forms: 1st place: Kathryn Dean Elmer 2nd place: Art Wineman Non-graded: Reuben Correa SPECIAL AWARDS: Most Promising Harper: Elise Krueger Harper of the Day: Kathryn Dean Elmer

Everet & Philip Hommes

3rd place ensemble

Anne Heymann, Kathryn Elmer, Art Wineman, Jo Morrison

Grace Elin DeRocher

Reuben Correa


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Ohio Scottish Games: Wellington, Ohio June 21st-23rd

Submitted by Linda Phillips, Chairperson Judge: Jen Narkevicius

This is the 28th year for Ohio Scottish Games to host a harp competition. Our event is sanctioned by the Scottish Harp Society of America (SHSA). Judging this year’s competition was Dr. Jen Narkevicius. Jen is currently serving as Vice President of the Scottish Harp Society of America and is also past President. Karen Babb served as our Steward and Sue Richards along with Seamus Gagne was Masters of Ceremonies for the day. Tim Wallace provided sound equipment and also did a sound recording of the event. Following the conclusion of the competition and awards we held a free harp workshop led by Jen Narkevicius. I thank Calvin Woods who supplies the sound shell and stage platform each year. Thank you to volunteers Wendy McCormick for handling SHSA memberships and the CD sales table and Karen Babb for being steward. Special thanks to Gail Turner who helped set up on Friday before the games even with a broken toe! Dreama Powell and Gail Turner, fellow Scottish American Cultural Society of Ohio board members are a wonderful help throughout the year as we plan together for the Ohio Scottish Games and Ohio Scottish Arts School. This year we had 14 competitors. SOLO HARP RESULTS: Beginner: 1st place: Madeline Hiros 2nd place: Alexis Dolfi Novice: 1st place: Julia Lerner 2nd place: Cecelia Hiros Apprentice: 1st place: Sarah Kolick Journeyman: 1st place: Rachel Clemente 2nd place: Kayla Lutz 3rd place: Laura Hiner Master: 1st place: Tiffany Lingle 2nd place: Steve Schack SPECIAL CATEGORIES: Emerging Forms: 2nd place: Laura Hiner Harp and Vocal: 1st place: Carol Kappus 2nd place: Tiffany Lingle 3rd place: Steve Schack

all the competitors

Linda Phillips and Carol Kappus


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Ohio Scottish Games, continued: TROPHIES AND SCHOLARSHIPS Dr Andrew Turner trophy for Harper of the Day (given by Mrs. Edna Turner and presented by her daughter, Gail Turner): Alexis Dolfi Mary Young trophy for Most Promising Beginner: Madeline Hiros Bard's Cup (given and presented by Linda Phillips): Carol Kappus Clan Lamont Scholarship to the Ohio Scottish Arts School 2013: Rachel Clemente

Alternate: Kala Lutz Ohio Scottish Games Scholarship to Ohio Scottish Arts School 2013: Julia Lerner

Alternate: Alexis Dolfi

Charlie and Ann Heymann

Frank Duncan from Crieff, Scotland, with Crieff display

Linda Phillips, Carol Kappus, Alexis Dolfi

Karen Babb and Jen Narkevicius


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Grandfather Mountain Highland Games Celtic Harp Competition July 12-15th, 2012

Report submitted by Moire Latamore Judge: Jo Morrison

SOLO HARP RESULTS: Novice: 1st place: Savannah Kahley 2nd place: Grace Vervaet 3rd place: Frankie White 4th place: Frieda Winter Apprentice: 1st place: Mikela Vaughn 2nd place: Anna Garrett 3rd place: Dennis Saidat Journeyman: 1st place: Valerie Stancik Master: 1st place: Mike Connors SPECIAL CATEGORIES: Harp & Ensemble: 1st place: Mikela and Rachel Vaughn (harp with song accompaniment) 2nd place: Julie Gorka and Nora Gardner (harp with fiddle accompaniment) Harp & Vocal: 1st place: Valerie Stancik SPECIAL AWARDS: Harper of the Day (In Memory of Dr. Herbert and Ethel MacNeill): Mike Connors Most Promising Harper (In Memory of Ashley Hamilton): Savannah Kahley Clan MacNeill Award (in Memory of Doris MacNeill): Valerie Stancik


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Creiff, Scotland August 19th, 2012

Report submitted by Corrina Hewat, judge The Creiff harp competition went incredibly well this year, with over double the amount of competitors, although one pulled out due to illness. I also did a 'Come and Try' workshop, which was a lovely mix of players and complete beginners who all got something out of the time. Next year, we have decided to incorporate the Harp Competition into the day of the Highland Games. The last two years we have had the competition the day before the full event, which has made us a 'separate' event, so I believe incorporating us within the day of Piping, Caber Tossing and the rest will bring in more folk to watch and compete and gives us more of a sense of belonging to the Games. The standard was extremely high in all the categories. The teaching in Scotland is excellent, and this shows through in the pupils’ performances. SOLO HARP RESULTS: Novice: 1st place: Chuansu Gallagher Apprentice: 1st place: Yifan Wong Journeyman: 1st place: Sophie Darbyshire 2nd place: Pip De Klerk Master: 1st place: Ruaidhri Irvine

Chuansu Gallagher


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Crieff Competition, continued:

Yifan Wong Ruaidhri Irvine

Sophie Darbyshire Pip De Klerk


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Inaugural Edinboro Harp Competition: Edinboro University, PA September 7-9th, 2012

Reports submitted by Maia Chisholm Judge: Kim Robertson

A Harp Competition was added this year to the Highland Games and Scottish Festival sponsored by Edinboro University on September 7-9. For this exciting and successful event, SHSA President Jen Narkevicius, our MC, and Competition Steward Phyllis Howard managed the logistics for Judge Kim Robertson. Kim was also a featured performer at the Friday night concert and led a Saturday morning workshop titled “Tricks of the Trade”, before adjudicating our inaugural Celtic Harp Competition at the Edinboro Games. Community response was so positive that we’ve been invited back for 2013!

Photo: 1st row: Carol Kappus, Cecilia Hiros, Elise Krueger, Kayla Lutz, Steve Shack; 2nd row: Don Olah, John McBurney, Madeline Hiros, Olivia Tse, Roberta Birchler, Ellen Paquette, Kim Robertson – Judge; Maia Chisholm – Harp Events Coordinator; Jen Narkevicius – Competition MC RESULTS: Beginner: Youth 1st place: Madeline Hiros; Open 1st place: Donald Olah Amateur: Youth 1st place: Cecilia Hiros Open: Youth 1st place: Elise Krueger; Open 1st place: Steve Schack Ensemble: 1st place: Wood ‘n Strings (Roberta Birchler, Kayla Lutz, and John McBurney) Vocal/harp: 1st place: Carol Kappus


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Ligonier National Competition September 22nd, 2012

Reports submitted by Melanie Sandrock and Robert Currie Judges: Sue Richards and Jen Narkevicius

Ligonier Highland Games hosted the Scottish Harp Society of America National Competition on Saturday September 22, 2012. The setting was the beautiful Laurel Mountains in Ligonier, Pennsylvania just outside of Pittsburgh. The day began in a cool rainy mist but soon turned into a lovely sunny day to the divine tones of Scottish harps. Seventeen players hailed from five different states vying for the silver cup and the travel scholarship. This year also marked the 30th anniversary of the Scottish Harp Society of America. Sue Richards, Jen Narkevicius, Karen Babb and Wendy McCormick, all officers or members of the board of SHSA, ceremoniously cut a delicious cake to commemorate the day. The day was amazing from beginning to end. The Scottish Harp Society of America (SHSA) and the Clan Currie Society are pleased to announce that Allison Miller of Lisbon, Ohio is the 2012 U.S. Scottish Harp Champion of America. Judging the Nationals were harpers Jen Narkevicius and Sue Richards. It was a successful event, with a full flight of competitors. The championship hosted competitors in four Special Categories as well as solo artists at every level of ability. Many traveled halfway across the country to take part. Judges Narkevicius and Richards had a challenging event to judge as the quality of the competitors’ performances were extremely high. In addition to judging, they provided competitors with thoughtful feedback on their performance. For Allison Miller, the win was unforgettable. "It has been quite an honor to receive this award, and I am very grateful to everyone who has ever taught me a harp tune, and the people who have given me the encouragement and inspiration to reach this level of performance and repertoire.” Commenting on Miller’s award-winning performance, judge Sue Richards said: “This was the best competition yet! There was tight competition on almost every level, and it was very difficult to judge. Precision and style, choice of tunes, and attitude were extremely important. We are very happy that competitors travelled long distances to compete. We are very proud of what we have accomplished since SHSA was founded 30 years ago. We are also grateful to the Ligonier Games for hosting our event.” The championship was – and will continue to be – sponsored by the Clan Currie Society, who has entered into a five-year commitment to act as Title Sponsor for the Championships through 2014. “We are absolutely thrilled to have the Clan Currie Society make such a generous and long-term gift,” said SHSA vice-president and Competition Chair, Jen McGovern Narkevicius. “Part of the success of our National Championship depends upon generous donors like the Clan Currie to ensure we have sufficient funding in place to produce a first class competition. It is especially rewarding when that support comes from a clan with such an ancient and distinguished history of Gaelic poets and musicians.” According to Robert Currie, president of the Clan Currie Society, the partnership with SHSA is a perfect fit. “The founders of our Clan were the celebrated MacMhuirich bards of Medieval Scotland and the


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instrument of the Bard was the clarsach. Over the past several years Clan Currie has sharpened its focus on the arts with our concerts, special events and scholarship program. In addition to sponsoring this championship, we have also established an annual harp scholarship at the Royal Conservatoire of Scotland. We look forward to becoming involved in more of these types of programs in the future.”

About Allison Miller Allison Miller began her musical career at age three with Suzuki piano lessons and, although she continued to play piano for the next thirteen years, she began to play the lever harp at age fourteen and began to explore the traditional music scene. She attended workshops at the Ohio Scottish Arts School and, after completing an undergraduate degree in biology, had the opportunity to pursue post-graduate studies in Clarsarch (Scottish small harp) and Scot's Song at the Royal Scottish Academy of Music and Drama in Glasgow, Scotland. Allison taught with Comhaltas coinin Erin in Scotland, has taught both privately and publicly in America, and has appeared in concert in Scotland, Canada, and multiple venues in the United States. She and her sister, Sairey, play as a duo, "The Hired Hands," and they released a CD, Something, in 2009. She has completed her doctorate in Physical Therapy and hopes to bring both good tunes and ergonomic playing techniques to the music world.

About the Clan Currie Society The Clan Currie Society, an American-based, international, non-profit cultural and educational organization, is the preeminent Scottish-American cultural society in preserving and promoting Highland heritage through an extensive scholarship program and at Scottish Games and festivals, as well as community groups and classrooms. The Society was originally formed in Glasgow, Scotland in 1959 to further the knowledge and appreciation of the MacMhuirich (pronounced MacVurich) bardic dynasty. The MacMhuirichs served for over 700 years as professional poets to the Lords of the Isles and later to the MacDonalds of Clanranald among other prominent Highland clans and families. The Red Book of Clanranald, one of Gaelic Scotland’s literary treasures, was penned by successive generations of the MacMhuirich family. Today, the organization is a respected producer of outstanding programs and events to honor Scotland’s rich culture and ancestry. The Society’s signature events include The Pipes of Christmas – a musical celebration of Christmas performed on bagpipes and brass, harp and fiddle, and organ – the annual observance of Tartan Day on Ellis Island - the largest Tartan Day celebration in the country – and the new Harp Glen – a hands on, interactive celebration of the Scottish harp held at the Seaside Highland Games in Ventura, CA. The Society also hosts the annual MacMhuirich Symposium featuring leading Gaelic scholars and historians. The 2012 symposium was held on the island of South Uist in the Outer Hebrides and brought together many of the luminaries in the Scots Gaelic community to interpret and celebrate the vast accomplishments of the MacMhuirich bardic dynasty which spanned nearly 700 years. The 2013 Symposium will be held in Nova Scotia in conjunction with the 150th anniversary of the Antigonish Highland Games.

Ligonier Games, continued


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Ligonier Games, continued: SOLO HARP RESULTS: Beginner: 1st place: Ali Crownover (Winner of the Va. Harp Center $100.00 gift certificate) 2nd place: Sarah Hetzler 3rd place: Jaime Stewartson 4th place: Shelby Schran 5th place: Hannah Thomas 6th place: Samantha Schultz Novice: 1st place: Alexis Dolfi Journeyman: 1st place: Kayla Lutz 2nd place: Mary Abbott 3rd place: Elise Krueger 4th place: Alexander Mullin Master: 1st place: Alison Miller 2nd place: Mike Connors 3rd place: Abigail Kent SPECIAL CATEGORIES: Emerging Forms: 1st place: Abigail Kent Non-Graded Ensemble: Ringgold Middle School I Ringgold Middle School II Winner of the travel scholarship: Elise Krueger (sponsored by Clan Currie)


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Ligonier Games, continued: We want to thank our judges, Sue Richards, Jen Narkevicius, Master of Ceremonies Steve Schack, Steward Roberta Birchler, and our generous sponsors: The Ligonier Highland Games The Scottish Harp Society of America Clan Currie Saint Andrew's Society of Pittsburgh Western Pennsylvania Harp Grove Ringgold School District Harp Program Lewis Creek Harps - Jeff Lewis Rees Harps Sylvia Woods Harp Center Melody's Music Virginia Harp Center

Mike Connors Abigail Kent Tiffany Lingle Abigail performs to the crowds!


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Stone Mountain Highland Games October 19-20th

Results submitted by Kelly Brozozoski, judge

Novice: 1st place: Claudia Madden Apprentice, Youth: 1st place: Teresa Sheppard 2nd place: Abby Barnes 3rd place: Averie Booth Apprentice, Open: 1st place: Karla Sullivan 2nd place: David Babulski Master: 1st place: Kira Jones

Averie Booth

SHSA’s 30th ANNIVERSARY CAKE! Presented at Ligonier National Championships


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Ohio Scottish Arts School June 23-28, 2012

The Ohio Scottish Arts School had a rousing year yet again! We started the week with the Ohio Scottish Games on Saturday, June 23, with yet another excellent harp competition, adjudicated by Jen Narkevicius. We had a good crowd and it wasn't too hot, always an issue in Ohio. Linda Phillips did a great job of organizing everything, Seumas Gagne and Sue Richards were the masters of ceremonies. This year all first-place winners in the adult categories received $100 prizes. The school started that evening with orientation, then on Sunday morning the harp classes began. The instructors this year were Seumas Gagne from Seattle, Jen Narkevicius from Maryland, Ann and Charlie Heymann from Minnesota, and Sue Richards, coordinator. All were excellent teachers! Ann and Charlie offered a class concurrent with the wire harp class, in which students built a harp for themselves, strung it with wire, and began playing. They will do this again in 2013, so plan ahead if that interests you! Seumas held a singing class every morning before the harp classes, and most of the songs were in Scottish Gaelic, to the delight of the students. Gaelic was a new focus this year, as OSAS offered a separate class in the afternoons, taught by Frances Acar, and open to all disciplines. The afternoons were filled with harp class, then optional band class with Charlie, open to anyone, and at 4:00 a "lecture". Lectures ran the gamut with music history, performance issues, and a history of Scottish fiddle and dance in Scotland and the Colonies. Instructors are allowed to teach/talk about anything they want under the sun, and they obliged! After dinner, there was an activity and snack every evening for the teens. On one night there was an instructor concert, filled with fine music by pipers, drummers, and the harp staff. On another night there was a talent show; the definition of talent was very stretched at times, but the harpers came through with several wonderful acts. The adults usually migrated to the common room for some tunes together, joined by the fiddlers and pipers with small pipes. Sometimes dancers dropped by. On the last evening the harpers went to visit the weeping beech tree on the town square, and sang their songs one more time in this beautiful setting. Then back to the common room for a fabulous mega-session. On Friday morning we played through our fave tunes in a big circle, announced scholarship winners, played a couple silly games, and then said our goodbyes until next year. We again had a nice balance of quite a few teens, and adults of all ages. I believe they all went home as friends, reeling with new tunes to practice. We are counting the days until OSAS 2013. www.ohioscottishartsschool.com.

SUMMER CAMP MEMORIES summer 2012


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Common Ground on the Hill July 2-8, 2012

Common Ground on the Hill greatly expanded its harp program this year, to feature four harp teachers and a full slate of options. We had Grainne Hambly, Billy Jackson, Cheyenne Brown, and Jo Morrison teaching a wide slate of classes for all levels. Cheyenne Brown has become a super-popular teacher here. She filled her student’s heads and hands with Pan-European tunes, left-hand techniques, and funky bass-line ideas. Grainne and Billy offered two sessions of an Irish and Scottish Harp class, one for intermediates and one for advanced students, with different foci and tunes, to great acclaim. All harpers had the excellent opportunity to hear about tunes and their history and learn a few with Grainne and Billy’s Music of the Harpers class. Advanced players got to study challenging tunes and how to tackle their problems with Jo, while slower learners had the camp favorite Stress-Free Harp class for learning tunes orally. Each class offered diverse music, review or introduction of harping skills of varying levels, and new challenges for the students. With all this going on, who could need more? Yet there were any number of other classes – such as singing, other instruments, arts and crafts, and spoken word -- available throughout the day from a wide variety of expert teachers. Several of the harpers even chose to take part in the all-camp Gospel choir after dinner, and really put their energy into it! Plus we had concerts every night featuring a wide array of styles and types of music, and dances afterwards. Spontaneous sessions took place all around campus throughout the day and evening hours. The reviews from the new-comers were glowing! Find someone who went and ask them about it! We’ll be doing it all again in 2013, this time with Cheyenne and Jo back, plus Corrina Hewat! We will also be expanding into two weeks – there will be all three teachers the first week, and Jo and Cheyenne will continue with skill-building classes the second week for those that want a two-week experience (or those that can only come on the second week.) We can’t wait and hope you will come join us! www.commongroundonthehill.com

Cheyenne Brown plays for one of the post-concert dances

Jo and Wayne Morrison perform at the Common Ground On the Hill evening

performance

Photos by Cristina Huertas


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Scottish Harp Society of America is celebrating 30 year – quite an achievement! Here are some of the highlights. Dreama Powell has been collecting photos of our progress and shared some with Kilt & Harp for this milestone. And Sue Richards, stalwart member also shared her memories. The anniversary year is not over – send your recollections or photos for the next edition! It all started in 1982 when the society was officially founded. The story goes that Dr. Herbert MacNeil, the founder of the Scottish Clan Society of America, met Christina Tourin having heard her playing an Irish program in New York. After the concert he asked her, “Did you know the Harp was just as much a part of Scottish culture as in Ireland?” to which she replied, “Yes”. His response was, “Well, what are you going to do about it!?” A year later, 3 people established the Scottish Harp Society of America.

The Kilt & Harp began publication with Sandra Sparks of Georgia as the editor. There have been eight more editors since then including Darcy Fair, Christina Tourin, Sheila Fleming, Susan Wilzer, Cynthia Cathcart, Karen McGarret, Weldon Patterson, and currently, Cheyenne Brown. The content has varied but the tunes have had a significant presence and 293 Scottish tunes have been published to date. Christina Tourin set up a tent at various games to introduce the harp while caring for her first child Jamie. By 1985 there were 269 members. There have been leaner years but membership has been growing. There have been 15 presidents since the beginning: Christina Tourin, Nancy Bick Clark, Hilari Farrington, Sue Richards, Martha Kuch, Tracie Brown, Dreama Powell, Mary Radspinner, Mary Wallace, Harriett Lanner, Evelyn Tiffany-Castiglioni, Debra Peterson, Jen Narkevicius, and Kelly Stewart Brzozowski.

SHSA 30th Anniversary

Figure 1: Dr. Herbert P MacNeil with Ethe l, his wife and

Chris tina Tourin in 1984 at the 1st National in Alexandria VA with the trophies and the Championship Cup, Dr. MacNeil

had es tablished.


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The Ohio harp competition was started in 1985 just after the SHSA workshop at Oberlin. The first Oberlin Scottish Arts School began in 1984 with 12 students, taught by Christina Tourin and Shelia Fleming (Sile Harris). The next year, 1985, there were 30 students taught by Tina, Sile, and Alison Kinnard from Scotland. By 1986 the student count was up to 34 with 5 instructors including Calum MacKinnon a fiddler, who accompanied Sheila, and Charlie and Ann Heymann of MN. By 1987 there were 43 students and 6 instructors: Patsy Seddon, Mary McMaster and Angus Fallon MacGregor were added. The growth continued with 67 students in 1989. In 1990 the Ohio Scottish Arts School added the harp program and continues it still.

Figure 3: Angus MacGregor wins the fir s t Nationals and rece ives the Cup from Dr. MacNeil

Figure 2: Ann MacDearmid, instructor ,

in Fairchild Chapel


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Figure 4: The fir s t group picture at Ober lin – 1985

Figure 5: The lates t group picture at Ober lin 2012 – note Dreama and Sue are in both photos !


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Figure 6: It ’s not just about the music - the culture is a lso important

The very first Competition was at Grandfather Mountain 1984. The first Nationals were held at Alexandria, Virginia and were sponsored by Leonard "Chuck" Bearman. Dr MacNeil continued to give to SHSA by donating the Championship Trophy. The US National Scottish Harp ChampionshipTM is being held in its 28th year at the Ligonier Highland Games, sponsored by the Clan Currie Society. Sue Richards shared her recollection as one of the few remaining early members: I first noticed the Scottish Harp Society in 1983 when I saw an advertisement for a week-long workshop at Oberlin college in Ohio. Tina Tourin and Sile Harris were the instructors, I believe we stayed in Asia house dorm on the campus, and the classes were held in the new music building. It was great fun to learn tunes, and I particularly remember the Performance Anxiety class, a new concept for me. I was still dealing with my fears. Although I cowered in the corner, I learned a lot and it opened many doors. (Thanks, Sile!) Dreama Powell was one of the students that year, and she and I have been to almost every Scottish harp week since. Tina was at the Early Music Institute, and had organized this as part of the institute. It later was separate, and the SHSA workshop ran for another six years independently. Those early years were great! Our numbers grew, and I believe that we had upwards of sixty people come, with usually three or four teachers from Scotland and the US. It was there I first met Patsy Seddon, Mary MacMaster, Wendy Stewart, Alison Kinnaird, Chris Caswell, Calum MacKinnon, and students from all over the US. Quite a few of the students have gone on to have harp careers. In 1990 the Ohio Scottish Arts School took over the SHSA workshop and it has been there ever since.


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The first SHSA harp competition was in 1984 at the Virginia Scottish Games in Alexandria. There were five competitors and Angus Fallon MacGregor (a.k.a. Mike Spratlin) won in a field of five players. (I came in last.) The rules were somewhat copied from the Mod in Scotland, and we had to learn two instrumental arrangements as well as learn an accompaniment arrangement and accompany a singer with no rehearsals. Everyone played the same music, and were judged on playing ability and expression, I suppose. I believe the singer was Helen Tony. It was hot, she was a good sport! This was July, it was hot for everyone, kilts be damned! It is amazing that no one's harp melted. We tried to keep up those competition rules for a few years, but it was too hard to get the music arrangements out to the people, and the Kilt & Harp was irregular. So we embraced the rules for fiddle comps, adjusted them to fit harp, and continued on. Over the years we have gone over and over and over the rules, trying to make them appropriate and challenging, but also encouraging. They are still a work in progress. We have added separate categories for singing with harp, storytelling with harp, ensemble with harp, and historical harp. Hopefully there is something for everyone. The second year, I won the championship. I believe it was that year that a teenager named Heather Yule came to the comp. Her mother had moved to Scotland and married a harp maker named Jack Yule, who became a force for harp builders for quite a while. Doctor Herb and Ethel MacNeil used to come to the games and encourage everyone, offer all the support he could, and be very proud of our budding society. He tried to meet all the harpers, and would later write them little notes of praise, ending with, "for aye." After he passed on, Ethel continued the support for years. I believe it was probably due to Dr. Herb's networking, along with Christina Tourin, that our early years were endowed generously by Nestor MacDonald and Ellis (MacDonald?). I should also mention Evelyn Murray, who helped us in many ways through the 1990's. The harp society and the competitions had their ups and downs in the '90's. We were (and still are) a volunteer organization, and the internet was not common, so communication was hard, and it was a huge job to get out the Kilt & Harp, or to have communication with the officers. In the mid '90's Susan Wilzer took it over and was pretty much responsible for reviving the society through her work with the K&H. Cynthia Cathcart took it for a few years, and it has been mostly healthy since. Through all the years, the important aspect of SHSA has been a travel/study scholarship awarded to the National Champion in the early years, and now to the winner of the Journeyman level at the Nationals. Winners usually use the money to tour Scotland and study with teachers there, or to study here in the US with Scottish experts. The Scottish harp class at the Ohio Scottish Arts School is a popular place to learn


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tunes and make harpy friends. Another great aspect of OSAS is still the interaction with instructors brought over from Scotland, and lesser-known instructors from the US who deserve attention. I like to think that people like Jo Morrison, Nancy Hurrell, Seumas Gagne, Janet Witman, Cheyenne Brown, Jen Narkevicius, and Dominique Dodge, and others got a little boost from teaching at OSAS. SHSA has always meant companionship, fun, great tunes, and challenges, to me. I love the music, I love playing in sessions. I love the sound of pipes, and trying to imitate that. But I stand by the order in which I listed those. Companionship was always my gauge for whether to hang in there, with fun, tunes, and maybe a challenge following closely. I am very proud of what SHSA has become. We remain volunteer based and sometimes struggle to keep the Society close and connected. The internet has made that easier and it is always great to hear from members. We are all looking forward to what the next 30 years will bring – growth and development – change- for our beloved traditional music!

Kilt & Harp Advertising Rate Card and Specifications

full page (7.5"w/9"h) $70 (1x) 1/2 page vertical (3.5"w/ 9"h) $45 (1x) 1/2 page horizontal (7.5"w / 4.5"h) $45 (1x) 1/4 page (3.5"w / 4" h) $25 (1x) business card (3.5"w / 2"h) $10 (1x) classified ads (for SHSA members) FREE Artwork must be received in .doc, .jpg, or .tif format (min res for graphics 150 dpi). Please email Mark Auchter-Bruening ([email protected]) or Cheyenne Brown ([email protected]) with your ad or for further information. Deadlines: December 1st 2012 for Autumn issue


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SPOTLIGHT ON

NEW SCOTTISH CDs

Rachel Newton The Shadow Side Autumn 2012 Tell us about your new solo CD! My new solo CD is a combination of songs and instrumental pieces played on both Mark Norris acoustic harp and Camac electroharp. I also sing and play the fiddle on the album and have two guest musicians; Kris Drever on guitar and mandolin and Mattie Foulds on percussion. The songs are all traditional except one by Hank Williams. Two of the songs are sung in Gaelic. What is the process you go through to arrange a set for voice and harp, or a tune arrangement? I work a lot on trial and error! I don't usually think in chords I much prefer to have a riff or a bassline working through my arrangements. To write the music for my album I built up arrangements by recording different parts on my computer. Once in the studio I did put a few layers of myself playing different parts on record!


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Tell us about a day in the life of a Scottish harper, how do you make a musical career work? It's hard to describe a day in the life as every day is completely different. I think to make it work one has to be flexible and not many musicians I know survive playing in just one band or doing one specific job. I really enjoy playing music with as many different people as I can as it's the best way of learning about your own music and improving your skills. As well as playing in bands like The Shee, I also do some teaching and I love playing music for theatre. Tell us about your other band projects. I mentioned I play in a band called The Shee. This is a 6-piece band and I play electroharp. We don't have a guitar or percussion in the band and it means we have to find different ways of using all the instruments we have. The main backing comes from accordion, mandolin and myself. My role is usually to provide the basslines, which is really fun on the electroharp! I also play and sing in the Emily Portman Trio. Emily writes her own songs and we work together to arrange them. We do lots of three-part vocal harmonies and more unusual instrumental line-ups.

CHECK OUT WWW.RACHELNEWTONMUSIC.COM and WWW.THESHEE.COM


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McMaster/Hay: Mary McMaster & Donald Hay Hook Autumn 2012 Tell us about your new CD! Macmaster/Hay is my duo with my partner, Donald Hay. He’s a brilliant drummer and percussionist. We have just released our 2nd CD : “Hook” We recorded it over a few months in the studio of our very good friend Tim Matthew, where we also recorded our last CD. We had the chance to spend some time in the Highlands with no distractions so we have written some more of our own music for this album though there are also traditional and modern tunes and songs. Donald was in charge of the production with Tim being second in command. Of course, I add my opinions too. There are plenty of odd noises on the CD. We have a box of gravel to make a footstep effect and an old watch being wound. We also added someone reading a bit of a poem to one track. It all adds to the atmosphere we are trying to create - we’re very inspired by the Scottish landscape. What is the process you go through to arrange a set for voice and harp, or a tune arrangement? It’s hard to talk about this. I think it’s different every time. In the course of learning the tune or song, going over and over it, it’s good to try out different ideas and sometimes things just occur - chords, rhythms, harmonies. The trick is to remember what you’ve just done! Working with Donald is great - he not only comes up with beautiful grooves, he also has plenty ideas of harmonies and especially bass lines. Recording the track is essential as new ideas always occur when listening back.


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Tell us about a day in the life of a Scottish harper, how do you make a musical career work? Every day is different but the truth is that most of my time is taken up with administration - writing emails, filling in forms, organising to get photos taken, sending photos, writing biographies, booking sound engineers, doing accounts, and driving, driving, driving! Practising and looking for new material and trying to write new music is last on the list of essential tasks, sadly. I still love the job though and always look forward to the concerts. Tell us about your other band projects. I still play in the Poozies. We’re in our 22nd year now. We’ve been through many changes over the years. Now we are a 4 piece with Eilidh Shaw on fiddle and vocals, Mairearad Green on accordion and vocals, Sally Barker on vocals and guitar and myself on electro harp and vocals. We’re looking forward to recording our new material in the near future. Sileas (my duo with Patsy Seddon) also

still has occasional forays. We recently played in Geneva at the invitation of Camac Harps. They are such a great company and are very supportive of us harpers. We have played their electro-harps since 1985 so are veterans now!

I sometimes get to play with a brilliant band called Hidden Orchestra. It’s led by an amazing musician called Joe Acheson who writes all the music and plays the bass guitar. The band has 2 drummers, bass, electric fiddle and keyboard, often supplemented with electric cello, saxophone, whistles and trumpet. Joe loves the sound of my little metal harp and uses it a lot in his recordings. It’s fun to play with them though there is a serious amount of cabling that is needed! Joe and I are also involved in a project called Ancience - a word invented to describe the idea of ancient music and modern science working together - along with Welsh harpist Gwenan Gibbard, Northumbrian piper, Andy May and Uillean piper Tiarnan O’Duinnchinn. We played at the Edinburgh Harp Festival 2012 and our next date is a piping festival in Armagh. Joe affects the sounds we all produce with his amazing machines and live looping so it’s pretty out there some of the time but with solid roots in the tradition.

CHECK OUT WWW.POOZIES.CO.UK


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Submitted by Haley Hewitt

My first year as a Scottish harp Master’s student in Glasgow was a whirlwind of new friends, new tunes, and lots of harp! After a too-quick summer of relaxing, teaching, and playing at home I have returned to Scotland to learn some more great music. As the year has just barely started, I’ll share what I learned about harp playing over this summer.

The defining event of the summer was the fracture of a bone in my right hand. This meant I could not play harp with my right hand for about eight weeks. It is mostly healed now, but while it was recuperating I took the opportunity to focus my practice on my oft-neglected left hand. I learned a few valuable skills of which hopefully you can benefit – without having to suffer the injury!

Technique and shape of left hand When I was first learning to play the harp, I was taught that the technique for the left hand was the

same as the right, just with the lower strings. As the years have passed, I have learned that this is not at all true! The left hand forms a different shape than the right, the angle of the left arm and wrist are different, and the left hand fingers must articulate differently to achieve a good tone with the heavier bass strings. These differences become abundantly clear when all of your attention is dedicated to playing with the left hand. It is imperative for a harp player to recognize and appreciate the need to treat the hands differently. I recommend spending a certain amount of your practice time playing the left hand alone to allow you to become even more familiar with how your left hand works.

Tunes As I am right-hand dominant, playing any tune with my left hand has always been out of the

question. Occasionally an arrangement or composition would call for playing the tune in the left hand – I always screwed up my face and tried to find a way to re-distribute the notes across the hands. Being forced to make friends with my left hand as a melody-player proved to be a very valuable experience. By the end of my recovery my left hand playing was almost as proficient as my right had ever been. I continue to play with my left about equally with my right hand, my arrangements of tunes have a more involved and melodic accompaniment in the left hand. I find that inducing my brain to work creatively and intricately with my non-dominant hand results in unexpected ideas and a more balanced sound.

Ornaments Some of the ornamentation of Scottish traditional music played on the harp is very difficult to

perfect. Piping-style ornaments, cuts, turns, and my personal bedevilment, the trebles – these are delicate, nuanced but integral aspects of the Scottish-ness of the tunes. They are challenging enough to master with the dominant hand, and downright infuriating to attempt with the non-dominant! But if you persist, you’ll

harping to Scotland


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find that practice makes it not only easier to play the ornaments, but also to begin to shape and articulate them to your liking. It is important to not let the frustration keep you from getting better. The ability to play ornaments in the left hand is useful for widening the techniques and effects available to you when you are arranging or composing at the harp – and they sound great after all that hard work!

Memorization The main advantage I have found to playing left handed is that it helps me to learn and memorize

music very quickly. Playing the tune when your brain is forced out of its comfort zone seems to help it form new connections and think about the music differently. Even now, having my right hand available, I swap hands when I want to memorize a tune fast.

Recording Albeit unrelated to handedness, getting into the habit of practicing with a recording device is

invaluable. For years I was terrified of recording myself. I got nervous and self-conscious about my playing. However, my current teacher will occasionally record my playing in my lessons, and encourages me to record myself at home. Learning to do this was difficult but well worth it. It is a challenge to truly listen to yourself while you play – after all, you have so many other things that you are thinking about. You might think your playing sounds a certain way, but the only way to be sure that you are getting your phrasing exactly right, your notes clean and even, your dynamics to the full extent of their range, is to listen with free ears. Plus it helps you to know exactly where the trouble spots in your music lie. If you can record your piece the whole way through with confidence, then you know it is performance ready. As an added bonus, when you get to recording for others to listen, you are more comfortable with the whole process.

Even though having one hand out of commission for two months is not fun or at all

recommended, switching up your practice routine and learning completely new skills to add to your art certainly help. I look forward to all the new music I can work on and learn this year with my newfound skills that were a blessing in disguise!


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You can’t be interested in Gaelic music, language and culture for very long without coming across the word “mòd”. Some people, even in Scotland, are confused by this word as they think it has something to do with the M.O.D – The Ministry of Defence – or maybe is a shortened version of “modern”. In fact, the Gaelic word, “mòd” (pronounced approximately “mawd”) meaning literally : “court, assembly or meeting” has now come to refer pretty much exclusively to competition festivals for Gaelic music, drama and literature. The word is often used in English now and although the plural in Gaelic is “mòdan” you will hear people say “mods” in English. This is just like the word “clàrsach” which is now used in English to refer to a Scottish or lever harp. People will say, “clàrsachs” rather than using the Gaelic plural, “clàrsaichean”. There are now many local mods around Scotland but the most important mod - and the original one - is the Royal National Mòd, which is held during the second or third week in October. It moves to different towns from year to year and this year it was in Dunoon on the Clyde coast near Glasgow. There are competitions for children and adults in singing, literature, poetry recitation, drama and playing various instruments, including the clàrsach. The most high-profile competitions are the An Comunn Gàidhealach Gold Medals for solo singing, the Mary Lamont Gold Medals for traditional singing (the difference between these two medals could be the subject of several articles!) and the Lovat and Tullibardine trophy for choral singing. The finals for these are generally broadcast live on radio and TV. You can listen to them on the BBC on the internet here in the USA. As it happens, both the men’s and ladies An Comunn Gold Medals were won this year by people who also play the clàrsach! There have been clàrsach competitions at the Mòd right from its inception in 1892 and the National Mòd has definitely had an important effect on the revival of the harp in Scotland. You can read some of that history in the last chapter of Keith Sanger and Alison Kinnaird’s book, “The Tree of Strings”. Comunn na Clàrsaich – The Clàrsach Society – was founded at the National Mòd in 1931 and now jointly runs the harp competitions with An Comunn Gàidhealach. This year there were about 16 different competitions for solos, duets, groups, singing with the harp and composition. Most of the competitors are children but there are usually a few intrepid adults and the standard is generally very high. Competitions are divided into junior and senior and also by playing level eg beginners or advanced. For most of its history, the Mòd has only had gut-strung harps at its competitions but a few years ago, wire-strung harps were given their own competitions. While the clàrsach competitions don’t get the same media coverage as the gold medals for singing, some of the prize-winners are always picked to appear in the evening concerts and on the television broadcasts. The harp competitors are almost exclusively from Scotland but there have been a few intrepid people who have crossed over from the US and been very successful, even as far back as 1902. Beware, however: if you enter the competition for singing with self-accompaniment, half of your marks will be awarded for your Gaelic pronunciation so don’t neglect to work on that!

Gaelic column: Mòd


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I notice that the final definition for the word “mòd” in my dictionary is “discontent” and that seems fitting as it wouldn’t be a mòd if there wasn’t some dispute about something or other! One year it was about the use of a marquee for the big singing competitions where the noise of rain was so loud (this is Scotland in October, remember) that you couldn’t hear the singers. The most long-running discontent, however, would be from those who feel that the competitions have changed the traditional nature of the music. That, again, could be the subject of many an article and I’m not going to get into that discussion here. Those people have a point and yet the Royal National Mòd has its own place in Gaelic culture and is a treasured social event: you can’t walk down the street without having to stop every few yards to greet old and new friends. There are, in fact, a few smaller mods over here in the US and Canada which are wonderful places to get a taste of Scottish Gaelic culture but it would be hard to beat the atmosphere of the massed Gaelic choirs on the pier in Oban on a crisp, October morning at the close of a Royal National Mòd.

Editor’s note: I had about 12 pupils go to the National Mòd this year in Dunoon. The standards among the children were so high. Unlike American Scottish harp competitions, the Mòd has a ‘set piece’ as well as an ‘own choice’ piece in each category. The set piece for the Grade 2/3 standard (usually for about 10-12 year olds who have played for about two years) was so challenging that I thought most of the 14 competitors who had signed up (you have to register six months before the competition, and submit your own choice music as well that far in advance) would drop out. But, to my amazement, most of the children had mastered the difficult piece! Below are a few pictures of some of this year’s Mòd participants.

Grace Guse and Mary Wilson, winners of adult duet competition, with judge Anne MacDearmid

Sophie and Rebekah, in typical school uniforms and Mòd attire!

Joy and Innes


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Submitted by Dreama Powell One's ancestor's actions sometimes cast dark shadows and cannot be forgotten. Thus, Clan Ruthven (pronounced rivven) has their shady motto “Deid Schaw” (deeds show) to haunt them forever. Many Scottish Clans have certainly had their share of ambition and cunning, some of which met with success. If overstepped, however, there are high prices to be paid. Ruthven, in spite of their past, are survivors and hold places of honor in the world today. This clan’s name in Gaelic is Ruadhainn or Dun Upland, a reference to land in Perthshire near Loch Rannoch. The lineage hearkens back to Norse origins with Thor, son of Swein in the 12th century Angus area. His son Swan soon acquired the Perthshire lands.(1) The name is akin to Roedven Island in Norway, where a famous stave church from the 12th century still stands.(2) There are 2 branches of the family; Ruthven of Gowrie and Ruthven of Freeland. Ruffin and Gowrie are both septs. The first aristocrat was William Ruthven, Hereditary Sheriff of Perth, an important position which he won from providing support against the English in 1313. Ruthven Castle was built in the 15th century and was their family seat until the 17th century, when it was seized and given to the Murrays, who renamed it “Huntingtower”. The castle is now in the hands of Historic Scotland and open for tours but tourists should beware of the ghost "My Lady Greensleeves," as she is a form of a banshee foretelling death in the family. (3) Between 1424 and 1427 a descendent, Sir William of Balkernoch, was held prisoner in England for the ransom of James I. Although his great grandson was Lord of Parliament in 1488 his eldest son William, Master of Ruthven was killed at Flodden in 1513. The 2nd Lord Ruthven was Provost of Perth by 1528, a judge of the Supreme Court in 1539, and acquired Dirleton Castle through marriage to Janet Halyburton (which also included land in East Lothian). By 1556 the 3rd Lord Patrick; (who was active with the early Protestant movement that removed Queen Mary's Catholic mother in 1559) with his son, William, got involved as leaders in the sad plot that murdered David Rizzo, Queen Mary's musician servant in Holyrood Palace. Having escaped retribution he lived to escort Queen Mary to her imprisonment at Lochleven Castle. Growing in prestige and power, he became the Treasurer of Scotland during James VI's reign in 1567 and was later named Earl of Gowrie in 1581. Here, the intrigue thickens when he led yet another conspiracy to kidnap the young king to his castle (the Ruthen Raid) so the country could be run by noblemen. After 10 months in captivity the young king was returned to his rightful place and promptly had the Earl of Gowrie lose beheaded. His title and lands were handed to his sons. However, in 1600 his grandsons John and Alexander were killed in their town house in Perth, an incident known as the Gowrie Conspiracy. After this Parliament banned the surname, eliminated the title, and seized the castles and lands, giving them to other clans. However, some restoration was granted to a descendent of the Freeland branch in 1651. (4) There was a long wait for restoration of the title Lord Gowrie, which was bestowed in the 20th century to Alexander Ruthven (of the Freeland branch) who had won the most honorable Victoria Cross for his service in the Sudan in 1898. He served as Governor General of Australia in 1936 and earned the full title Earl of Gowrie in 1945. The current Rt. Honorable Earl of Gowrie lives in London. (5)

Clan Report: Clan Ruthven


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(1) Coventry, Martin. Castles of the Clans. Goblinshead 2008 (2) Clan Ruthven. http://en.wikipedia.org/wiki/Clan_Ruthven. Accessed October 2012. (3) Bletherskite: Scottish Clans Blog from Scotland. www.bletherskite.net. Accessed October 2012. (4) Squires, Romilly and George Plean of Way. Scottish Clan & Family Encyclopedia. Harper-Collins 1994 (5) The Highlander Magazine 50.2 (2012). For further information see www.Perthshire-Scotland.co.uk

Harp arrangement by Mary Umbarger, 2012


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Formed in 1982, the Scottish Harp Society of America (SHSA) is dedicated to promoting the small harps of Scotland throughout North America. We are a 501(c) 3 non-profit organization. Membership is open to all.

Name: ____________________________________________________ Address: ___________________________________________________ City, State, Post code: ________________________________________ Email: ____________________________________________________ Phone number: _____________________________________________ You may list me in the Directory? Yes No I am New Member Renewing Member I am Teacher of music Performer Recording Artist Harp Maker (Luthier) Author and/or Composer Seller of Harp related Material and Services Dues: $18 per Calendar year (1 Jan – 31 Dec) ____________________ Life Membership: $300____________________________ Contributions:

Dr. Herbert P. MacNeal National Scholarship Fund:___________ Non-Designated Gift:_____________________________

Please make checks or money orders payable to SHSA: PO Box 681, Mechanicsville, MD 20659 (this is the new address!)

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Documents

KH12 summer/autumn