It’s déjà vu all over again, as Yogi Berra would say, after the Georgetown games and the latest musical-envelope-pusher from the Toronto Police. Just like last year when the band came out with it’s “Variations on a Theme of Good Intentions,” the comments are again flying around about the band’s “Idiomatica” entry.
I hesitate to call it a medley, since a musical medley, by Webster’s definition, is “a musical composition made up of a series of songs or short pieces,” rather than a cohesive single composition, which I believe “Idiomatica” is meant to be. You can’t call it a “selection” either, as that also involves, I think, selecting various existing tunes, much like a musical medley. Call it a piece, an opus or even an oeuvre.
Semantics aside, it’s bloody difficult to compare what the Toronto Police played against the more familiar formats of other bands in the contest. The pipe band “medley” has evolved more or less on its own, usually by bands dipping one timid toe at a time in the musical froth, trying a “different” tune here, an unusual rhythm there. Heaven forfend that a judge might react negatively.
There are actually very few musical requirements placed on a band in the rules of the world’s pipe band associations. The RSPBA has by far the most strictures, forcing bands to start with a “quick-march” at a certain minimum tempo and with the familiar three-paced rolls and a mandatory E.
The only musical requirement that I know for a Grade 1 pipe band medley under PPBSO rules is that it must be between five and eight minutes long. There are no stipulations as to what should be played or how many of the band’s pipers and drummers (or other instrumentalists, for that matter) can play at one time. In fact, there’s nothing to say that the band couldn’t just stand there, tacit, for five minutes, in homage to Chares Ives or something.
If the Toronto Police didn’t have the musical clean-slate that the PPBSO membership prefers, perhaps they wouldn’t compete with their new pieces, unless it were to make a one-time, “Thelma and Louise”-like statement. I gather they were fully prepared to go down in a blaze of glorious disqualification had they been able to play in the Final at last year’s World’s.
I like that bands are free to push musical buttons and boundaries. I can also appreciate those who feel that it shouldn’t be allowed, that such challenges to the familiar are too much of an affront to our musical “tradition,” whatever that is. It’s a healthy, difficult debate.
After all the talk of the Toronto Police’s “Good Intentions” piece, I was eager to see how many bands might follow suit with their own brave attempts to explore their own new musical limits. So far, I haven’t heard or heard of any other bands anywhere in the world making such an attempt. (Please let me know if there are.) In fact, I’m noticing the direct opposite: bands harking back to material, styles and structures of the 1970s and ’80s, particularly the once-hackneyed-now-retro seamless transition from strathspey-to-jig or jig-to-strathspey.
I might be wrong, but while a lone band is aggressively blazing new musical ground, others seem to be retreating into the past, with the old being new again. Whether that’s a conscious rejection, or just plain happenstance, again, I don’t know.
Let a thousand flowers bloom.