Published: May 02, 2019

Is the World’s killing the pipe band world? Part 1

The far-flung membership

Forty years ago, Grade 1 bands almost exclusively comprised players from within a certain geography. Pipers and drummers played almost exclusively with the nearest band, and bands were closely identified with their home town. Villages were proud of their community pipe band.

Over the years, notably coinciding with the rising popularity of the World’s, Grade 1 bands have looked further afield for members. Years ago the large majority of members of top-grade bands were from a 30-mile radius. A player who would travel more than 75 miles to practice was an oddity.

Clan MacFarlane in 1968. The band was now at 22 members.

Gradually the catchment area for players has grown wider, coincident with the move to larger numbers dictated by what succeeds at the World’s. Where top bands previously practiced twice, even three times every week, by necessity these bands must reduce their schedule of practices. With such a widespread membership, it is impossible to hold regular practices with a strong representation of the roster attending.

Many opt for monthly or even bimonthly practices, often lasting the entire weekend. The music is handed out in the fall, and all members plan to attend weekend practices prepared to play, so that the two-day affairs really count.

While such an approach may allow bands to produce the numbers to stay viable, it comes at a cost to camaraderie. The concept of a close-knit group of pipers and drummers, maturing together, enduring thick and thin, reaping the heartfelt rewards that loyalty brings, has become an increasingly extraordinary idea. The social benefits of a band that once went beyond winning are now almost entirely wrapped up in doing well in fewer competitions. And to them the competition that matters more than any other is the World’s.

Even the world’s “big-three” bands – Field Marshal Montgomery, Simon Fraser University and St. Laurence O’Toole – readily welcome talented players from hundreds or thousands of miles away. They’re after talent, of course, but the practice sends a message to others that this is the way that prizes are won. Just as lesser bands mimic the musical styles of the big bands (more on this later), they also emulate the questionable practice of accepting personnel from essentially anywhere.

The strong sense of community pride that used to accompany every pipe band is increasingly rare. Even a Grade 2 band like Burnett’s & Struth, which set out in 2009 to work with only local players, has had to suspend activity due to the inability to maintain numbers.

Is the World’s killing the pipe band world? Part 2

 

 

9 COMMENTS

  1. Great article Andrew. Certainly agree with you on the numbers game. My experience in Australia supports the view that a couple of what are effectively all star” bands sucks alot of the available talent out of the lower grade bands. It takes significant time

  2. The pipe band community” is now a “global” community and not a local one. The “Arabian Awakening” that has changed everything in totolitarian regimes in the mideast has its reflection in the pipe band world. Everyone talks on line

  3. Excellent work as always, Andrew. Appreciate the commenters’ thoughts as well. Me? I’ve always been more of a local” guy. But driving 3-5 hours each way to band practice for 20 years….even though those were the closest Gr I bands….? Was I a mercenary? Should I have tried to start a band locally? Played with a lower grade band? If you’re driving at the speed of light and turn on your headlights

  4. Andrew, this is a great (and timely) article/editorial. It won’t change anything (but you know that, too). There’s simply too much to reflect on because you’ve covered so many bases. But overall you are on the money, in my opinion. What concerns me is the numbers at the top flight. We are starting to see a mirror image of all pyramid competitions and organisations outside of what we do. Take the English Premier League, for example. Those who have the money, thrive and dominate each and every year. In pipe bands, if the upper echelon open their doors to 20+ pipers, they become destinations and ‘tick the box’ ventures for the good players who may have previously adorned the ranks of lesser bands (and been of benefit there). There is a draw on the lower grades as a result, but we never see more than about 20 grade 1 bands at the worlds each year. They’re just bigger in size. One thing that seems to get lost on some is the amount of money required to bankroll the ‘modern’ pipe band. It seems that many people forget we are still on the fringe, whilst at the same time aiming for so much more. It’s ok for the few bands that have secured ‘sponsorship’ (aka someone in the band – usually high on the pecking order – supplies the band as a ‘loss leader’ for their business, or a corporate who will hang around for a few years at best). But the rest of us are out there selling raffle tickets and paying our own ways and dressing ourselves. And maybe people who spend thousands on a one-off contest like the worlds want greater satisfaction and return on their ‘investment’, so they pursue the apex bands. Look at the ‘composite’ bands that assemble in a truly ‘global’ sense – they never last because it’s a simple matter of not being good enough and the novelty wearing off. This is a direct result of aspiring to do well at one contest – the worlds. On a more local level, some bands take on new leadership, and the regulars that have underpinned the band are then pushed aside for the ring-ins to achieve expensive short-term goals. Do bands ever recover from those sorts of situations…? The one thing I do not like is the attitude that is starting to emerge where the ‘mercenary’ piper/drummer sees themself as a someone that can expect everything on a platter……in return for 11 minutes of (good!) music from them (hopefully!). I am starting to tire of the “what’s in it for me” attitudes and the diva-like whining that I hear from some people who are merely setting out to hunt trophies for themselves and who believe that pipe bands own money trees. I know several people who have played in 10 bands in as many years. And they continue to turn up and expect a full uniform, reeds etc to be ‘on tap’. Where do they think it all comes from..? It’s still coming from the hard toil and pockets of supporters and regular members in most cases. Personally, I think the world PBC’s are getting so big that they’re almost out-of-reach for anything but the ‘super bands’ – that are now destinations for good players who need to ‘tick the box’.

  5. I think overall this very comprehensive report could benefit from a little more balance. It is not all bad in my mind as the current movement within pipe bands obviously has many good points as well. It is probably also wise to remember the pipe band world is a very dynamic place, which has, and always will change. There are certainly many problems and there always will be! Incidentally has there ever been a time when the pipe band world could be described as perfect? Folk will always do what is needed to enjoy music and reach the highest standard possible.

  6. From my perspective, limiting the size of the band is paramount to maintaining the integrity of band competition. Why should a band need to recruit? This competiton was established to find the best local band in the world. if recruitment is from many miles away just to establish a large band, then local communities lose theri pride in their band. Hopefully the RSPBA will take the time to establish band size soon.

  7. Band caps should help the situation to come back under control. Right now, as was pointed out, GrIII players go to GRI and generally hold water bottles (there are exceptions). With the exception of the thirsty, how does that help anyone? Wouldn’t it make more sense to gain experience and a proven track record in GRII before moving to GRI? Caps would help in this case by limiting the number of open spots available in each band thus allowing for a more even (and proper) distribution amongst the grades? A cap of , say, 30 max on the roster should help. Stay with the minimum of 8P-3S-1B and allow the bands to add up to 18 more players of any type at their own discretion. If they want 18 more tenors, go for it! If they want 18 more sides, so be it. Or maybe an ideal mix might be 18P 7S 1B 4T? Your choice… The other benifit would be the reduction in expenses to the bands since they don’t need to buy 30 chanters, 11 side drums, 19 tenor drums and 2 bass drums in addition to the associated uniforms, airline tickets, etc…. Trouble is, how do you get everyone to agree on any sort of cap? And are we infringing on freedom of expression/creativity? But then again, that’s what rules usually do.

  8. Andrew, Here is an analogy that fits with your interest in Major League Baseball….. Would you rather sit on the bench for the New York Yankees and probably win a World Series or play every day for the Toledo Mud Hens? Most young people I deal with of the mellenial generation want it all and want it now. Cheers, Doc

  9. I read again this wonderful piece and fell I could add another tuppence to the talk. I think capping the sections would be hard, yet capping the roster would prove impossible. And also, unnecessary – if a band’s pipe section capped at [say] twenty would travel with a roster of thirty pipers, it’d be down to each one of those putatively benched ten surplus men to decide whether they wanna actually play the Worlds in a Gr2 band [or even in another Gr1 one] or be at the sidelines holding water bottles and offering friendly ‘well-done’ nods. Also there is no way of disagreeing with Pipe Major Somers when he stated, ‘visually speaking (…) it’s hard to compete with an eight-wide swath of pipers four rows deep’. However this description fits more [in my auld heid] the massed bands parade than a competing single band entering the tee.

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