In this age

The RSPBA recently “aged out” three of its judges. Dixie Ingram, Joe Noble and Ian Wood each reached the age of 75, so they can no longer serve on the Scottish association’s panel.

(I have no idea if any of these gentlemen wanted or thought it best to retire. They’re only this year’s examples and, by the way, to each of you, thank you for your long service to pipe bands.)

My understanding of the RSPBA’s rules about judges and age is that, once an adjudicator turns 70, he or she has met the official retirement age. But after 70 they can apply annually if they want to continue, confirming their health and continuing ability to judge. The application is considered by the association’s Adjudicators’ Panel Management Board and then approved by the Board of Directors, all young whippersnappers, I’m sure.

I don’t know how they assess. Perhaps the 70-plus judges have to show that they can walk around a large circle in allotted time period. Maybe they have one of those sound-proof beeping booths with the 1960s headphones, asking adjudicators to raise their hand when they hear various pitches and tones. (If not, please consider as part of the general accreditation exam, including a bit to recognize notes that are sharp or flat . . .)

It’s sort of like driving licenses for old folks, but far less a matter of life-and-death. One slip of the pen might bury a band, but that’s better than a four-thousand-pound automobile careening into oncoming traffic. As far as I know, after age 70 people in the UK can re-sit driving exams every three years until they can’t.

However, for RSPBA judges, officials and directors, at age 75 that’s it. No choice in the matter. Your career of standing out there, often in the horizontal rain, is over, no matter how young a 75-year-old you might be. No more cups of tea and watercress sandwiches for you. No more £75 daily fee. The powerful salad days are over, you ancient person!

Of course, there are different degrees of aging, depending on diet, exercise, financial situation and genes. You can lose hearing, of course, which would be a major detriment to judging if it can’t be adequately remedied with increasingly sophisticated in-ear aides.

You can lose mobility, making you less able to walk around a band to hear the one piper in the corner who’s blootering along. (Then again, there’s no requirement for a judge to move at all, and some able-bodied folks like to wear out one patch of grass all afternoon, some never budging from their wee hut.)

I’d be careful with the hard-and-fast age 75 deadline (as it were). People today are overall in far better shape than they were even 20 years ago. There are wildly different versions of 75. Our top pipers and drummers are successfully competing and performing longer than ever, often because their professional piping and drumming careers built on teaching and selling stuff depend on upholding their “brand,” and the best personal brand marketing in this particularly industry is playing well publicly. So they’re finding ways to keep going.

There will be more and more top exponents of the art who, like Bill Livingstone, ultimately decide to pack it in only when they’re well into their seventies, leaving just a handful of years for the world to benefit from their adjudication wisdom, even if they might be twice the physical fitness and an order of magnitude more knowledgeable and qualified than judges half their age.

The RSPBA might want to examine its ageist policy. Categorically sending still-spry judges off to the figurative glue factory is ill-advised, that is, in this day . . . and age.

 

#MeToo

I can only imagine what it’s like for female pipers and drummers to persevere in what is still a male-dominated – and often dominating – avocation. It’s a topic that has interested me for many years, going back to the 1990s when I worked to pull together a piece on females in piping.

It wasn’t easy then to get women to speak to the issue, and it’s still a difficult subject to discuss openly, many seemingly afraid of rocking a boat or jeopardizing their band’s or their own chances with judges and “authorities” – which are heavily weighted to males.

For sure, much has changed since the 1970s when women were still prohibited from competing at the major solo competitions until Patricia Innes (Henderson), Rhona MacDonald (Lightfoot), and Anne Stewart (Spalding) broke the gender barrier in 1976. Top-grade Scottish pipe bands disallowed female members until Ontario’s Gail Brown courageously stepped into the World Champion Shotts & Dykehead Caledonia in 1973.

It would take another 31 years before a woman would be awarded a Highland Society of London Gold Medal, when Faye Henderson broke the glass ceiling at Oban in 2010, not coincidentally following in the trail-blazing footsteps of her co-pioneering mother.

Back then, I wrote a blog post on the topic of pigeon-holing males and females, but the piping and drumming world remains a disproportionately male-dominated place, replete with its share of crass macho-shiteheads who continue to operate as if it’s an old-boys club. Only 20 years ago there were bands that not only wouldn’t allow women into their ranks, but would not even allow them to get on the bus. Maybe there still are.

The Royal Scottish Pipers Society only a few years ago voted to accept women as members, perhaps recognizing that they risked becoming a complete anachronism in addition to being hopelessly discriminatory. I don’t know how many women have been accepted as members, or have even been invited or applied. They might have jumped that shark decades ago.

If pipes|drums readership analytics are an indicator, about 25% of the world’s pipers and drummers are female, yet women are under-represented in associations’ executives, directors and judges, often woefully so. As far as I know, the RSPBA has one active female adjudicator. Of the Solo Piping Judges Association’s 52 judges listed on its website, a grand total of two are women.

The excuses are many. Well, there aren’t that many women who are qualified. Well, they just don’t seem to be interested. Well, they don’t have time, what with looking after their families. Well, they can’t physically blow a good instrument or carry a heavy drum. Well, their fingers are too short. Well, their wrists are too weak. Well, they’re moody. Well, they’re always complaining. Well . . .

The truth is, piping and drumming is still not the inclusive place that it must be. The challenges that women are faced with are systematic, insidious and, mostly, considered endemic. “Oh, well, that’s just the way it is,” I have been told by some great female pipers, resigned to having to put up with both blatant and tacit discrimination at practices and competitions. We males might not even recognize it, but it is there, often in subtly demeaning ways, and sometimes in quite awful insults – or worse – that probably force women to quit the scene altogether rather than put up with it.

And then we have the audacity to wonder why there aren’t more females who rise to the top.

The #MeToo social media campaign should be eye-opening to any sentient male. Personally, I have been astounded and saddened to see so many female piper or drummer friends of all ages come forward to divulge publicly that they have been the victim of emotional or physical abuse. I can safely assume that at least some or even many of those experiences have been around piping and drumming. Horrifying as it is, I know that there have been Harvey Weinsteins among us.

But, like thoughts and prayers, sadness and astonishment won’t solve anything on their own. We need to take action.

  1. All piping and drumming associations and pipe bands need to adopt a zero-tolerance policy against any member discriminating against any minority – female; non-white; LGBTQ.
  2. Members of associations must sign an agreement to uphold its zero-tolerance policy in order to become members and maintain membership.
  3. Associations must actively strive to reach and maintain gender parity between its leaders and judges and its membership.
  4. Associations must adopt a safe and private process to allow its members to report acts of harassment, bullying or discrimination.
  5. Members and leaders who have been found to breach the policy should be suspended or, if warranted, banned for life.

Some organizations might already have similar policies and rules but, given that it’s hard to agree on obviosities like teachers not judging pupils or family not judging family, I suspect not.

Piping and drumming comes from all-male military roots, but chalking up discriminatory behavior to “just the way it is” is no longer acceptable. It never should have been acceptable in the first place.

We’re a slow-moving and change-averse lot, but implementing these policies, and altering our habitual way of thinking, can no longer wait.

 

Remember empathy

Why do many judges forget what it was like to be a competitor?

This came up the other day in a conversation about judging, competing, and judges. The current flap by a vocal minority about the Solo Piping Judges Association and Competing Pipers Association’s policies against teachers judging pupils and pupils playing for teachers, respectively, in the face of the fact that almost 80 percent of pipers and drummers appear to feel that teachers should not judge their students, re-raises the centuries-old debate that we thought was finally put to rest several years ago.

  • Is there a competitor out there who feels equally good about winning a prize whether their teacher is or isn’t judging?
  • Is there a competitor out there who, when a fellow competitor wins a prize when their teacher is on the bench (whether comprising one or several adjudicators), has zero disdain?
  • In the history of piping and drumming, has there ever been a competitor who was 100% okay with those situations?

If you answered yes to any of those questions, I encourage you to comment, so that I can understand your rationale.

Considering that all credible judges were once competitors, how can it be that some of them suddenly forget what it was like to compete? They seem to forget that they once swore oaths under their breath, ground their teeth, or at least rolled their eyes when their fellow competitor got a prize with their teacher judging, or didn’t sheepishly dread collecting an award given out when their tutor was on the pen.

The forgetfulness extends to other annoying judging behavior, like distracting a competitor with tapping feet and excessive writing, sarcastic or overly negative comments on scoresheets, or otherwise putting a player on edge before or during their performance.

Perhaps it’s learned. As much as they dislike it, competitors see teachers judging pupils, so they think it’s okay to serve their own interests when they have the opportunity to “give back” and judge. Some players distracted by judges think it’s their turn to get their own back when they join the bench. They give as good as they got. It’s an unfortunate cycle perpetuated by a few – unless guidance, policies, and rules are finally offered and implemented to break the generational pattern of entrenched tradition.

There is a fundamental truth so often forgotten: just like associations, adjudicators are there to serve not themselves, but the competitors. A judge’s experience as a competitor should inform his or her behaviour as a judge. Remembering what it was like to be a competitor – recognizing the constant significant problems and minor pet-peeves that accompanied their competition experience – is essential to being an excellent adjudicator.

Is there an age that I haven’t reached when pipers and drummers forget what it was like to be a competitor and they look out for only their self-interests? Does some sort of amnesia set in at 55? 60? 70? If there is, please let me know and I will try to remember to give my head a shake when the time comes.

Adjudicators are there to serve the competitors. They render and account for their decisions based on their knowledge, experience and adherence to policies and rules. Those policies and rules are and should be informed by the collective interests of the competitors, not the judges. If almost 80 percent of competitors agree that teachers should not judge students, then that is their will, and it should be respected. Adjudicators should never forget where they came from and what they went through to get where they are.

Among an excellent judge’s skills is empathy.

 

Touch blackwood

“There’s plenty of time for despair,” a friend likes to say when playing golf after someone hits an iffy shot. Rather than assuming that the ball went into the bunker, he encourages you to err on the side of optimism and enjoy the moment.

After hitting tens-of-thousands of bad golf shots and competing in hundreds of piping and pipe band competitions, I’ve learned to take a different tack: assume the worst, because getting your hopes up inevitably results in having them crushed at the prize-giving. In other words, lower your expectations.

Some might see that as a “glass half empty” outlook. Far from it. It’s a line of thinking that’s as much about superstition as it is peace-of-mind.

When competing, I would actively disabuse myself of the idea that I’d be in the prizes, so that in the event that I or my band did win, it would be gravy. And, if we didn’t, well, then, that was no surprise. No matter how well I or the band played, I thought that it was a jinx to expect to win.

I have plenty of small superstitions in piping. Actually, it’s debatable whether they’re superstitions or an attempt at psychological strategy. You be the judge.

When submitting four tunes to a judge, say the one that you’d most like to play third. Why third? Well, listing it first automatically suggests it’s at the top of your mind, so you’re not getting that. Saying it second makes it an instant afterthought to the first. “What was the second tune again?” many judges will ask, proving the point. It takes a cruel judge to pick the last tune you say (of course after you paused to make it look like you can’t even remember it), and contrary to what you might believe, judges are nice people. Trust me, it’s the third tune that on average is the most likely to be picked.

In a draw at the line in a band contest, always pick the right hand. Most people are right-handed. They favour the right side. Chances are the right pick will be in the right hand. Did you know that the Latin word for “left” is “sinister”? Enough said.

Forgetting, or – much worse – consciously deciding not to take your rain cape means that it’s sure to rain. It’s all your fault. Yes, you can be all-powerful and control the weather just by thinking of or forgetting things.

Never wear sunglasses while competing. Okay, it’s not exactly bad luck, but unless your vision is impaired, few things communicate arrogance like sporting shades in a contest. Playing well should be cool enough. What are you hiding?

Prizes are better announced in order. People often think that announcing in reverse order builds suspense. It just creates more despair, since we all like to live in hope that, Hey, maybe I’m first! only to find yourself and 10 other competitors crestfallen. Vice versa can be true, but by the time they announce third or fourth I no longer care much. That said, I’ll never forget many years ago at the World’s when Grade 3 or something was announced in order. The band next to us got increasingly more agitated when their name wasn’t called out with each prize announced. After they were not even sixth, the lead-drummer screamed out an ear-splitting obscenity at the poor RSPBA Executive Officer that rhymes with Truck My Flock! But overall, announcing in order is better for everyone.

A perfect tune-up invites disaster. Warming up on the golf range or the putting green, hitting everything well or going in brings one thing: a terrible round of golf will follow. Similarly, tuning that seems to be flawless right out of the box inevitably results in a performance that craters on the field. Get out the flaws. Miss a few attacks. Fly around madly searching for that bad F. Get a bit unsettled. It focuses the mind at crunch time.

Eagerly checking the prizes results in your not being in them. Most solo competitions post the results somewhere. You can tell newbie competitors. They’re the ones hovering around, anxious to see their success. Experienced competitors hang back. Many never even look and instead wait for someone to say later in the day, “Well done on the prize(s)!” And then you say, “Oh, was I in? I didn’t even look.” Nonchalance is key to playing the part. Your bag might be bursting with anticipation, but under no circumstances should you actively seek out the result. Often, the only result is embarrassment.

When you believe in things that you don’t understand, then you suffer. Superstition is the way.

Are you superstitious? Carry a talisman in your sporran? A lucky tie? Idol thoughts? Feel free to share.

 

What judges want

Sitting adjudicating an amateur solo piping competition the other day, I got to thinking again about the competitors, so many of them so anxious and apprehensive.

Playing before a judge who’s going to judge your music is a weird thing to subject yourself to, but it’s what we do. It wasn’t until I was on the other side of the table that I appreciated that I had it all wrong for all those years as a competitor.

Competitors generally have the wrong idea about judges. I know I did, especially when I was younger.

I can only speak with certainty for myself as a judge, but I like to think that these things apply to any right-minded and decent adjudicator.

So here are a few tips for competitors as to what judges actually want when they’re judging you.

  1. Judges want you to play as well as you can. This is the most important thing to know. Any decent judge is rooting for you to play well, or at least to your personal best. I think many competitors mistakenly think that judges rejoice every time you make a mistake. Not true.
  2. Judges were once on your side of the table. Every adjudicator (except for a few anachronisms from a different era who still judge in the UK despite every competitor preferring that they don’t) has been a competitor. We know what you’re going through. It’s not easy. We can empathize.
  3. You will be given the benefit of the doubt. I know that if I wasn’t sure about something that I thought I heard, I will assume it was my mistake, not yours.
  4. Don’t tip your hand. If you make a mistake keep going. Don’t draw attention to it. If you played the wrong tune or got the parts mixed up, never assume the judge noticed or even knew, so don’t proactively confess to it. While I admire your honesty, I’d shake my head at you drawing attention to your error.
  5. Don’t start unless you’re satisfied with the sound. Unless there’s a tuning time-limit, don’t start until you are completely happy with the sound of your instrument. This happens a lot: competitors feeling like they have to start, and knowingly begin with their drones out of tune. True, labourious tuning for no real reason is irritating, but if you are struggling to get your drones in tune or your instrument isn’t quite settled, take the time to get it right. As long as it’s not against the rules, no decent judge will penalize you for tuning, but you will be criticized negatively for an out-of-tune instrument. The memory of long tuning evaporates with the actual competition performance.
  6. We want you to want to play. Connected with #5, judges can tell when a player simply does not want to play. They’ll tune for ages not because their instrument needs it, but because they’re procrastinating. If you’re going to compete, wanting to actually perform is the first step. Maybe you’re a masochist, but if you hate competing, don’t compete.
  7. It’s all about you. Judges are there to serve the competitor. We’re not trying to distract you, and we are (or should be) conscious of how we operate, when we write, tap our feet, or play along with you. My least favourite judges were the few who thought it was all about them, with histrionics designed to draw attention away from the performance, ticking off every mistake they heard just to show others that they heard it, too. (Did they count up all the ticks or something to decide their prize-winners?)  It should never be about the judge; it’s all about you.
  8. It’s never personal. Reacting to not being in the prizes, thinking that a judge must not like you as a person, can be an automatic human response. No, they just preferred other performances over yours. Judges are ambivalent as to who wins; they only care what wins.
  9. Judges want you to be happy. It’s music, but we so often are miserable playing it in competition because of anxiety. Make the music that you love. It’s something out of nothing and then it’s only a memory. Consciously making and enjoying music is a miracle that distinguishes us from other animals. Make a good memory. Enjoy yourself.

It can take many years for competitors to understand these things, and sometimes that understanding only comes when you’re on the other side of the table.

I hope they might positively change your perspective the next time you compete.

 

Quelle reprise

The now double-homage to the anniversary of the 78th Fraser Highlanders “Live In Ireland” concert in Ballymena in 1987 is much deserved and, evidently, attractive to many people who wanted to live or relive the event.

That music was made famous 30 years ago. Three decades have passed. In normal life, that’s a long time. In pipe band music life, apparently, that was yesterday.

Since then, what has changed musically? The popularity of the pipe band “suite” as a concept appears to have waned, since “Journey To Skye” seemed to initiate interest in such a concept. Today’s bands are of course tonally and technically better than ever. But musically? There’s not a whole lot truly new going on in terms of structures and time signatures or taking our music in a different direction.

Considering that mainstream music since 1987 has seen the rise and fall of Post-Punk, Grunge, Alt-Country, K-Pop, Hip-Hop, Acid Jazz and whatever else, our musical genre is relatively stagnant. To be sure, this is not necessarily a bad thing for those who like tradition and repetition.

Certainly pipe bands have done some neat things in bits and pieces. But when I try to think of a similar one-time musical event to the 1987 concert that might be as deservedly replicated on stage 10, 20 or 30 years later, I’m at a loss.

Again, I’m not saying that’s necessarily a bad thing or a good thing. I’m just saying.

The closest thing might be the Victoria Police’s “Masterblasters” concert. Or maybe Vale of Atholl’s “Live ‘n Well” show. But these, as good as they were, made nowhere near the mark of the 78th Frasers’ event, and probably would not attract the kinds of interest and paying customers we’ve seen in the last year with the Frasers Redux. (Maybe kids go around loving FMM’s “RE:CHARGED” or Inveraray & District’s “Ascension” concert recordings; I’m not sure.)

And consider, too, that much of the material that was considered so groundbreaking in 1987 was actually taken from non-pipe band sources. Alan Stivell, Horselips, Don Thompson. There were adaptations and derivations galore. So, a case can be made that, even in 1987, pipe bands weren’t innovating on their own, but innovating by adapting successful ideas from other musical domains – not quite on the poppy level of the Red Hot Chilli Pipers, but still derived and adapted. It’s still innovation, but, like just about all new art, it’s not totally original.

In those pre-Internet analog days, pipe bands doing such things were a novelty, certainly in the UK. The 78th Frasers had by 1987 been playing most of that stuff for years, some carrying over from the City of Toronto Pipe Band in the 1970s. But listeners further afield than Ontario hadn’t heard it in any big way, and certainly not in a pipe band concert.

(Let’s not speak of the of the odd Scottish pipe-major who came to Ontario to judge, cassette recorder attached to his belt, returned to Scotland and introduced new musical ideas to his band, allegedly not giving them due credit. But I digress . . .)

Even the same 78th Fraser Highlanders couldn’t quite tune in to a similar zeitgeist with their own following concerts, these built from material they had actually invented almost entirely from scratch. Items like “The Megantic Outlaw” and “The Immigrants’ Suite” were received well, but I doubt many people still have those recordings on repeat, at least to the degree of “Live In Ireland.” Then again, I have never heard any other pipe band play “Journey To Skye.”

The Toronto Police’s adventurous avant-garde medleys of the aughts were interesting and courageous, but not terribly well received by judges or the pipe band world at large. No one that I know of has played them since or even tried anything as adventurous, mainly because they were proven to be generally and admittedly detrimental to winning. The relatively outrageous music distinguished the band for being, well, courageous, and attracted personnel to a band that wanted to do musical things differently. In that sense, the music met an important objective, especially considering the group at the time was on the brink of collapse due to small numbers.

Is something as impactful as “Live In Ireland” even possible today? The groundbreaking, fearless attitude of it seems to have vanished, as bands and businesses have so much money wrapped up in competition that they dare not try to over-accelerate glacial musical change. Every time they do, some dickhead judge puts them in their place, which, come to think of it, I think was one the big reasons that the 78th Fraser Highlanders lost its musical fearlessness by the 1990s.

Three decades later, is there only one concert and one recording that can be held up as musically door-opening, that actually took hold of people in a major way?

In truth, that musical door is still open only a crack.

 

Browbeating retreat

Why are you out to get us? You seem to have it in for me. Why are you so unfair? You’re biased!

Watching the new US President going at the American intelligence agencies, the media and pretty much anyone or anything that he doesn’t agree with reminded me of how a few rare pipers, drummers and bands, almost always in the upper grades, can sometimes treat judges.

At least one of the President’s objectives in accusing people and things of being “unfair” or “biased” is clear: he wants them to doubt themselves and, he hopes, overcompensate the next time by giving him a more favourable decision or story.

Accusing journalists of under-reporting terrorism is designed to stoke fear by having media go out, research what they’ve reported, and publish a long list of terrorism coverage, thus achieving the objective of highlighting a long list of big and small terrorist acts, scaring the bejeezuz out of people. Mission accomplished.

As a piping and pipe band judge I have been accused a few times over the last 15-odd years of judging by paranoid bands (and the rare soloist) of being somehow biased against them. I can remember a few frustrated competitors – almost always competing in the top grades – casually or even confrontationally accusing me of not treating his/her band fairly. “Why are you out to get us?” “Why are you so unfair?” “You’re biased!” “Why don’t you like us?” “What do we have to do to get a prize off of you?”

After the initial, WTF moment passes, I ask them to provide examples. Generally, they won’t or can’t. When they do point to a performance in which they think they were hard done, I ask them to refer to the scoresheet as an account of my decisions. It might also be a simple response: “Next time, play better than the others.” When I ask if they listened to the whole contest, invariably the answer is no.

To be sure, there are a few genuinely corrupt judges in the piping and drumming world, but, as I’ve said many times, I don’t care who wins or gets a prize as long as it’s fair and deserved. I’ve never asked to judge anything and never will.

But a few veteran pipers and drummers will take this passive-aggressive or confrontational strategy with an objective to have you doubt yourself or want to make amends, so that next time you might bum them up a bit to get them off your back and prove that you’re not against them. It’s a psychological game. Some perhaps sociopathic competitors have even made a career out of it. Why? It tends to get results with weak judges who, in actuality, doubt their ability to get the result right and account for it convincingly with credibility.

And then there are judges whose top priority is maintaining friendships through judging. Getting the result correct is secondary. They’ll throw an undeserving player or band a prize just to keep up appearances, keep friendships, get judging gigs. I guarantee that this happens. It drove me crazy as a competitor and it drives me crazy as a judge. The judge overcompensates and next time out put that whinging competitor up a few places so that they remain friends while at the same time shutting their yap for a season.

The browbeating competitor tries to suss out the less-confident or more pliable judges, and will be relentless in their accusatory lobbying. Why? Because it apparently works in our little world where some judges are less afraid of losing respect than “friends.”

Obviously there is little comparison between the level of bullying and intimidation that goes on in federal politics and our little piping and drumming world. The point is that, sadly, browbeating can get results. It’s up to the objective and confident judges among us to respond to these sorts of tactics with confidence and integrity, continuing to do the right thing going forward.

 

Counter-attack

What in the name of Tom McAllister Sr. has happened to the pipe band attack?

Goodness, at any top-grade competition of any size you’re almost guaranteed to hear at least two bands completely eff up what was once a benchmark of pipe band quality.

Early E’s. Early drones. Mushy intonation. Epic squeals. Roaring basses. False starts. Double- and even triple-dunts. Scrabbling hands searching for holes. And that’s just the piping. I’m no drumming expert, but I can hear the sloppy rolls and wandering tempos between bass and snare lines and pipers.

Why is this happening? In an age when pipe bands are playing more technically challenging material on more reliable instruments than ever, one would think that an excellent attack in Grade 1 and Grade 2 is a given. So what’s changed?

I’ve thought more about it over the four years since writing this Blogpipe post, which took a rather lenient view of the attack. Perhaps it contributed to the laissez-faire attitude towards attacks, but I’m prepared to make other guesses as to the reasons for sloppy openings.

  • Judges don’t care that much. Today’s typical pipe band judge is far more enlightened than he or she was 15 or 20 years ago. Judges now see the big picture. This is good. After all, the attack is a relative microcosm of the performance, and hitting a band hard for one piper’s mistake is probably unduly harsh. However . . . shouldn’t excellent bands be expected to execute an excellent attack? Seems to me that blowing one should be seen as a major error — certainly not a showstopper, but enough to determine an otherwise fairly close decision. A cause is also . . .
  • Easy instant reeds. Top-grade bands with 20-plus pipers no longer need every piper to have a high-impact chanter sound. Instead of that 1985 McAllister composed of two short planks strapped together that take weeks to blow in by large fellows, pipe sections today play reeds that go right away, which can be blown by any player of any age and size. With the easy reeds, just add a bit of adrenaline and early E disaster is sure to strike, especially for . . .
  • Inexperienced players. There is such pressure for bands to have large sections that playing standards and experience are inevitably compromised by all but a very few groups. In at least three-quarters of the world’s Grade 1 and Grade 2 bands there are players who never would have got a game 20 years ago. They’re ushered in to fill the ranks and essentially “core” with the rest. They have less control of their instrument and less experience, and . . . see adrenaline comment above and, importantly . . .
  • Attacks aren’t practiced. Every piper and drummer older than 40 can remember going up and down at the band hall or in the parking lot practicing attacks over and over and over. You knew exactly how to punch an E at full pitch. The pipe-major would stand in front of the pipers and listen like a judge, with the ranks taking turns at the front. If you blew an attack, the whole band would have to do 10 more flawlessly or you couldn’t go home.

A top-tier Grade 1 band at the 2016 UK Championships had no fewer than three pipers clearly, blatantly, visibly, audibly screw-up the attack. The band finished second. In the big picture, they might well have deserved their placing, and might have been first without the blown start, what with their otherwise sublime performance.

Then again, shouldn’t a band of such high calibre be expected to get the attack right? Is such a meltdown really excusable? Doesn’t such a multiplicity of basic mistakes warrant a hard penalty? It’s one thing having a blip in the fifth part of “John Morrison, Assynt House,” but quite another having at least three pipers wreck an attack that should be expectedly good in a Grade 3 contest.

Poor attacks are everywhere, though. In 1985 10-out-of-10 attacks in Grade 1 and Grade 2 were generally the case. An early E could essentially torpedo a band’s hopes of winning. I am glad that we’ve moved past that sort of judging, but it would be great to return general excellence in this impressive technical aspect of a pipe band.

Tom McAllister Sr. is credited with developing the two-threes-and-an-E pipe band attack from what military brass bands would do. Before his time in the 1930s and ’40s, pipe bands sort of eventually kinda-sorta got the tune going. With each passing year now pipe bands seem to be going back to those haphazard roots.

Are judges turning a deaf ear to crappy attacks?

 

Regarding regrading

It’s regrading time, and that means associations all over the northern hemisphere are considering results and making decisions as to who should go up and down the competitive ladder.

Some bands and soloists prefer to force the matter by proactively and publicly proclaiming their intention to move up to the next grade, seemingly daring their association not to respect their wishes, “stifling” their ambition.

Others are more discreet, making a case quietly to their association, thus allowing the competitor and the association to save face if it doesn’t happen. They want to let the grading committee know their ambition, but they’re not out to make a fuss.

Still other competitors stay silent, preferring and trusting that due process will take its course. If it happens, it happens, and they’ll deal with it if and when it does.

All too often we look only at competition results. We see a band that won an aggregate championship or was even undefeated in their grade and assume it’s an automatic upgrade. They won everything, so of course they should go up!

But it is not automatic or, rather, it shouldn’t be.

Prizes are ideally an indication of quality, but certainly not the only factors. Prizes are a guide, and regrading should be only about exceeding or not meeting a grade’s standard based on a much wider view.

We all know jurisdictions that are seen as having a better or lesser quality of competition. A band that is used to winning their grade within their association’s competitions goes to another association’s event and gets nothing. Why? Because the standard is higher. And of course the opposite is true, when a band that is used to getting nothing dominates on a trip elsewhere.

This is what often gives the RSPBA fits. A winning Grade 4 band from [insert country here] wants to compete in Grade 4A at the World’s. Ideally, the RSPBA would simply accept the entry, having faith that the other association administers the grade according to a world standard. But more often than not, the RSPBA hems and haws and gets recommendations from trusted sources, and then assigns the band to Grade 4B. The RSPBA should not need to do this, but unfortunately it often has to, and is then compelled to regrade bands that aren’t even their members.

And, worse, the non-RSPBA band that cleans up at home in Grade 4 winds up getting nothing in Grade 4B in Glasgow. But the band then goes back home and demands an upgrade to Grade 3 and it’s granted. Anomaly. Bad judging. Weather. It happens frequently.

I’ve written before about the need for grading committees to be good at much more than simply looking at spreadsheets of results. They should go beyond their region and know and have experienced and have a feel for a world standard. No amount of winning or losing should automatically mean that a competitor deserves to be regraded.

In fact, a re-calibration of a grade is required when an association’s standard is not commensurate on a world level. Do re-calibrate, an association must make the difficult and courageous decision not to upgrade anyone, despite their excellent competition year. Re-calibrating a grade might also mean sending a few contestants down. Associations need to understand that this sort of tough love is for the good of the scene, and not strictly about satisfying the band or soloist’s desire.

To be sure, not agreeing to an upgrade that a band or soloist has requested can be considered as stifling their desire. I can see that. But it is far worse to officially upgrade a band or soloist knowing full well that 1) the overall standard of the association’s existing grade does not meet a world standard, and 2) upgrading them dilutes the standard of the higher grade.

Upgrading bands and soloists when an association knows that its grade standards are not in sync with the rest of the world only compounds problems. If a band or solo player is disgruntled having to remain in a grade until they exceed a world standard, they’re just as or even more likely to be demoralized losing week in and week out in their new grade where their fellow competitors who do meet the grade wonder why the upgraded band or soloist is even in it.

By undeservedly moving up competitors, a grading committee might make everyone feel good for a short time but, in reality, they only making things worse for the band or soloist, the grade-standard and the association that they are supposed to serve.

When it comes to grading, sometimes tough love is best.

 

March pastiche

This summer I’ve had the pleasure of revisiting a part of that UK pipe band scene tradition at competitions called the “march past.”

For those who might not know, the march past is essentially this: at the end of the day of competitions, the six Grade 1 or Grade 2 bands that competed first in the draw take position about 20 yards from a “reviewing stand” in the middle of the park. Each band takes turns playing a set of 6/8 marches, while every other competing band in every other grade separately marches in step to the 6/8s.

When each band goes by the reviewing stand, the drum-major or pipe-major does a quasi-military salute to a designated “chieftain of the day,” usually a local dignitary or minor celebrity. The D-M or P-M shouts or, in some cases, shrieks, “Band! Eyes . . . right!” and all members of their band are then supposed to look lovingly to their right at the chieftain, while the D-M or P-M does his/her best Benny Hill-style open-hand British military salute. Each band looks at the chieftain for a few bars of the tune, and then looks forward as they indeed march past.

After you see 50 or so bands do this, it starts to get comical. I believe that every band that competes has to do it, or faces disqualification. Centre bands are not compensated for their extra time, musical performance or, since most of them have come straight from the beer tent after quaffing several pints in rapid succession, strained bladders.

At major championships in the UK, where there can be more than 200 bands, the march past ceremony can take literally hours. It is, in a word, interminable, particularly for the unfortunate centre bands, who are standing there for the entire parade, and then for the eventual announcement of prizes, which on its own can take an hour, with comments from the honoured chieftain, announcements of all manner of drum-major awards and at least nine grades of pipe band results.

During the two-plus hours of the march past some desperate pipers and drummers sneak off the field for a pee. They’re apparently not supposed to do this, but it’s better than the old kilted kneel-down to let it go in a puddle right there and then behind the bass drum while band mates stand shotty (something I have only heard about), so officials seem to look away from the ignominious parade of pishing.

One could die of exposure or boredom or muscle atrophy from these things. You don’t know what will come first: the end of the march past or the end of the world. It is mental and physical torture, worse by many magnitudes than any massed bands event, which are familiar to those in North America.

Massed bands are certainly no great hell, but at least there is some entertainment value in them for the non-playing public, who are often attracted to the grand finale spectacle of thousands of pipers and drummers playing “Amazing Grace” and counter-marching up and down the field en masse to “Scotland the Brave” or some other musical potboiler. What’s more, bands in North America understand that it is the massed bands more than the competitions themselves that please the paying public. If a band does not participate in massed bands it forfeits its travel allowance. There is a decent correlation between massed bands, the paying public and compensation for performers.

The massed bands ceremony of course could be improved, but it is miles better than the march past. I’ve participated so far in three march pasts at three championships in 2016, two as a member of one of the centre bands. I hadn’t done that since the 1980s, and nothing had changed. They were exactly the same somnambulant torment as ever, with the same crowd of confounded or dozing grannies on the sidelines who, by the thirtieth band, could not care less about the next Grade Whatever ranks of disinterested players doing their best (or worst) imitations of soldiers or Benny.

I recognize that the march past is a tradition borne of an era when pipe bands were either of the military itself or populated with veterans. Back then, the march past actually meant something and looked impressive and – maybe most importantly – in the 1950s and ’60s and ’70s would comprise a small fraction of the number of bands a major championship boasts these days.

Today, pipe bands have grown well beyond their honourable military roots. Bands and march pasts have nothing to do with the military, and is there any other musical hobby where civilians pretend to be soldiers?

If the lengthy march past was originally a way to buy time while administrators tabulated results, that too is history, since a database or spreadsheet today completes the task in a microsecond.

A march past is a pastiche, like a crazy nightmare, band after band inexorably coming at you, seemingly never-ending. It’s a zombie apocalypse. A trail of tears. A death march. Night of the Kilted Dead.

Okay, that’s an exaggeration. But can’t the custom be replaced with something else? For the pleasure of the paying public, the organizers of competition can provide better value. If not for the improved sanity of pipers and drummers, then there must be something else that will reduce the number of urinary tract infections caused by straining to hold it three hours after swilling multiple pints in the beer tent.

As with many questionable traditions, all it takes sometimes is someone to ask a simple and constructive question in order to evoke positive change.

So, here it is: Is the march past a relic that can be replaced with something more satisfying to all?

Right? Aye?

Aye’s right.

 

Fall out

David Murray’s reported (but as it turned out, incorrect) passing got me thinking again about the military and piping. Looking back, I believe Murray is the last of the pure military men who had a major influence on the judging of piping competitions.

This is no slight against great pipers like Gavin Stoddart, Brian Donaldson, Gordon Walker, Niall Matheson, Stuart Sampson, Michael Gray and others who combined a decorated military career with piping. Long after retiring from the military, they remain terrific contributors to the art, and there will continue to be great pipers who also serve in the military.

But Lieutenant-Colonel David Murray isI think the last of a long era when big piping competitions and military events were confused and even conflated. The Northern Meeting and Argyllshire Gathering until the 2000s routinely saw competitors currently serving in the military, actually on-duty at these events or even around the Scottish games. In some cases, such as with Pipe-Major Angus MacDonald and Major Gavin Stoddart in the 1970s and 1980s, soldier-pipers were ordered to compete, to go out and win medals to make the Scots Guards or Royal Scots or other Scottish regiment look good.

On-duty military competitors were commonplace and part of Scotland’s solo piping tradition for at least a hundred years. It was just the way things were. But as solo piping moved from being largely connected with the military, to being a thing mainly for civilians, the glorious sight of soldiers competing in the immaculate uniform of their regiment dwindled.

And the judges were almost all men who had served with the military, often as commissioned officers, such as David Murray. The UK practiced military conscription until the late 1950s, when the required two-year “National Service” began to be phased out. Anyone born after 1939 did not have to do their stint, and 1960 was the last year for the demobilization of National Service, or “De-Mob.” In fact, if my calculations are right, Iain MacLellan and Andrew Wright are the very last of the great pipers (and now judges) who went through National Service.

So, at solo competitions throughout the UK, judges on the benches very often did their service or were commissioned officers with a Scottish regiment. There would be a lot of talk with the competitors that so-and-so was with the Camerons or Scots Guards or Dragoon Guards or Seaforths, so anyone with [insert regiment here] might be listened to with a different ear – and not necessarily to their advantage. An officer judging a soldier when he knows the competitor is there to do well for his regiment? It’s a bit like the pipe-major judging his own pipe band and those competing against it.

The infamous “ordering off” in 1991 of the late and truly great Corporal Alasdair Gillies, Queen’s Own Highlanders, by (retired) Lieutenant-Colonel David Murray, Queens’ Own Cameron Highlanders, was a bizarre conflation of events. Was this a military exercise or a civilian solo competition? Was Gillies on duty? Did Murray have the right to order him or any competitor off stage? What might have happened if Alasdair were to have given Murray a two-fingered salute and carried on with his tune?

Alasdair being commanded to stand down in the middle of the Gold Medal competition has gone down in history as a permanent part of piping lore. In truth, this kind of confusion routinely happened in smaller ways. Military men who were competing were on some sort of different plane than the rest of us and, if anyone bothered to stop to think about it, someone might or should have called BS on the whole exercise. But, like so much in piping and drumming, it was just the way it was, and you’d better not ask questions if you want to get the benefit of the doubt, which is so crucial in contests that come down to slicing hairs.

At any rate, Lieutenant-Colonel D.J.S. Murray’s death this to me marks the end of a hundred-odd years at least, when civilian piping competitions and military events were confused. It’s for the better that we’ve moved on, but I will still miss the charm and pageantry of immaculately decked-out pipers strutting their stuff before their military superiors, providing a fascinating extra dimension to these events, holdovers from a bygone era.

 

Both ways

The current shemozzle between City of Whitehorse and the Pipe Bands Australia is another example of pipers, drummers, judges and associations wanting and even demanding to have things both ways.

Pipers and drummers have always grumbled about judges and results, and they always will. Except for rare examples of public outbursts, pipers and drummers and pipe bands for about 100 years kept their cranky verbal complaints within the band hall or the beer tent.

Then, along came the Internet. Now competitors could post comments and photos on public platforms. Wretched cesspools like the Delphi Forum or alt.music.makers.bagpipes were early places for libellous rants, almost always under pseudonyms. When Facebook and Twitter came about, they enabled players to publish photos and welcomed unmoderated and unfiltered comments.

(pipes|drums and this blog provide a platform for comments but, unlike Facebook and Twitter, comments are moderated. Regardless of whether the identity of the commenter is known or not, libellous or ad hominem comments can be edited or outright rejected before they appear. But probably 99% of comments submitted have been deemed fair, so they are published.)

“Free speech” is generally protected in western societies. People can say whatever they please (with the exception of hate speech, physical threats, things that might cause public harm, or the like), and the temptation to publicly criticize judges and their decisions on social media is great. There is a notion that there are “private” sections of Facebook, so postings on such areas are exempt from being considered “public.”

But that’s no different from thinking that a printed pamphlet in the 1950s exclusively for members of a group is “private” and thus exempt from the laws of libel. It’s fanciful to think that any part of the Internet is truly private, and it simply would not hold up as an excuse if libellous material is posted, even if the true intention is for these comments to be private. It is still public dissemination.

Pipe band adjudicators are routinely paid to teach workshops for bands that they have judged or will adjudicate. There are no rules against this, and it’s something of a tradition. There are bands that regularly have judges who assess them at the World Championships as paid instructors or outright guests on long expensive trips, even if a judge’s resume as a player or teacher is paltry. Everyone is aware of this game that some bands and associations play. It is perfectly within rules and policies, and the rationale goes that the best judges are also the best teachers, so therefore they should be permitted to teach and judge bands.

There are also adjudicators who have no compunction wearing merchandise, uniform parts, or even complete uniforms of bands that they judge. Pipe band judges must have played with top bands at some point. Amazingly, some haven’t even invested in a kilt other than the band they used to play with, the same band they might assess on the weekend. The judge might well have left the band on bad terms, but the immediate appearance is that there is some sort of bias.

Again, there are no rules against this. But whether teaching bands or wearing their gear, the optics are terrible. A judge is inviting criticism and contempt by being so tone deaf or provocative (or both) as to be publicly appearing to endorse one band over another. A judge’s decision-making might be as pure as Roddy MacLeod’s high-A, but going around wearing, say, a t-shirt of a band that they judge will inevitably tarnish their reputation in the eyes of some people or bands that they adjudicate.

The solo piping world is a little more advanced than the band world. Judges and competitors in major solo circuits like those in Scotland and Ontario are requested to divulge who their students/teachers are. Judges are asked to refrain from judging pupils, and vice-versa. It’s not always upheld, but at least there is an attempt to control the optics of bias, and entrust judges and competitors to police themselves. When pupils receive prizes from their teachers, even if they are well deserved, those who are aware of the relationship tend not to take the result seriously. A teacher-judge will often try to excuse it away by saying, “Well, I’m harder on my pupils when I judge them,” as if that self-correction is any fairer than being biased in favour of their student. Either way, it’s terribly unfair to the competitor and denigrates the result.

As always, the perception of bias is as bad as bias itself.

Pipers, drummers, judges and associations often want it both ways. Many competitors want to be able to criticize adjudicators “privately,” and can’t understand when an association or judge takes umbrage when they find out when things went public. They then more often than not try to explain it away when they are caught.

And many judges want it both ways. They want to be paid for workshops for bands that they adjudicate, and they get in high-dudgeon when other bands perceive them to be biased. Judges wear ties and ball caps and even kilts of bands that they judge, then protest greatly when competitors dare to insinuate that there’s something amiss. Some judges seem to think that it’s unfair that their results and decision-making are discussed publicly. Sorry, but when you sign up to judge, you agree to put yourself out there. You can’t have it both ways.

And associations are seen to be looking out for the interests of their elected and appointed officials and judges, rather than the pipers and drummers who comprise their membership. Associations often appear to take a default stance that “their” people are exempt from criticism, so dissension inevitably arises within the membership – the very people an association is supposed to represent.

Associations can greatly help themselves by putting policies and conduct codes in place that strongly advise judges not to 1) judge competitors that they teach, and 2) be seen to prefer one band over another by wearing their uniform parts or merchandise.

Judges can greatly help themselves by picking one or the other: if they want to judge, they’ll have to give up accepting paid workshops for the bands that they adjudicate, or, if they continue to teach bands they should recuse themselves from judging that band for at least a year. And judges should choose to wear things that don’t blatantly appear to endorse a particular band. If they insist on doing those things, they’d better strap on their asbestos kilt because they will be flamed in band halls, in beer tents and, of course, on the Internet.

Competitors can help themselves by using common sense. Judges judge. They make judgement calls. Ultimately, after a contest only one competitor will be truly happy with a judge’s decision. A strong majority of adjudicators are simply doing their unbiased best, and judging is a lonely, thankless task. Contestants should default to the side of accepting and learning from results and moving on. If there is a real reason with accompanying evidence to be concerned about an adjudicator’s perceived bias (as in the behaviours above), then competitors should use official channels to file a confidential complaint. There are processes in place. That’s what an association is for. If members are worried about repercussions on the contest field when they raise a real concern, then they should work to change their elected leaders.

Pipers and drummers and bands are the associations, not the judges and administrators. Associations represent the competitors first and foremost, and if there is just cause for concern – such as a breach of a rule, policy or code of conduct – then the matter should be heard accordingly and in confidence. If the judge is an administrator or executive within the organization then, again, the adjudicator should recuse him/herself from the investigation.

Too often we want things both ways, expecting to be pleased both ways. This is impossible. Impasses occur, and we get away from what we’re all supposed to be doing: having fun in an equitable, fair and collegial atmosphere.

And that is the only way to want it.

 

Setting free

Maybe it’s time to change completely how competitors, judges and planners approach piobaireachd competitions.

A hundred-thirteen years ago the Piobaireachd Society was formed. Before 1903 the music was scattered around in multiple settings by various visionaries and pioneers. The publications were expensive. They were hard to get. There was no such thing as a photocopier, much less an Internet, so, if the art was going to be judged and “promoted,” it made certain sense to create standard versions of the music.

Right or wrong, the Piobaireachd Society (or maybe more accurately Archibald Campbell and his allies) attempted to come up with agreeable single settings of tunes, releasing every few years a new edition of its Collection. The music contained notes about alternative settings, which we can read today, but very few pipers dared to play those alternatives in competition.

The Piobaireachd Society promoted, or certainly encouraged, adherence to their settings – and thus promoted the sale of those printed books – in the major competitions. The judges expected them. If you played anything else, the judges would almost certainly chuck you out. You might not get even a listen.

It didn’t help that many, if not the strong majority, of the judges were aristocrats – “society” folk who couldn’t play their way into a juvenile band, never mind out of one.

In essence, the onus was on the competitors to prepare pretty much what the judges expected. There was no expectation that judges should be prepared with anything but the PS Collection or the Kilberry Book of Ceol Mor.

In about 1994 a thing called the Internet hit the piping world, and in 2000 a thing called the Set Tunes Series broke new piobaireachd ground. The piobaireachd scholar and nine-years pupil of Robert Nicol Dr. William Donaldson approached pipes|drums with an idea.

He recognized that here was a far-reaching online publication available for free to all who wanted to read it. The Internet presented a readily available platform for all these piobaireachd manuscripts that heretofore were only available to those rare few lucky enough to possess the printed books, or who might live near the National Library of Scotland.

And these old collections are in the public domain. That is, there are no restrictions as to reprinting them in digital form. As genius ideas are prone to be, it was obvious.

So each year Donaldson and pipes|drums worked to put together the Set Tunes Series. His thoughtful analysis considered all known published settings of each tune set each year for the major gatherings. Suddenly, it was all there at a keystroke. Pipers had access to all settings. They could easily pick and learn. There was no real need to adhere to the standardized Piobaireachd Society setting just because it was the one most readily

Now, 16 years after pipes|drums and Willie Donaldson recognize the opportunity and actually made it happen, the Piobaireachd Society itself and things like Steve Scaif’s digital republishing of the old piobaireachd collections provide an online library of these public domain collections.

Judges, players and contest organizers have access to all of it, for free. Not only that, but today’s piobaireachd judges are vastly more musically sophisticated than the non-playing toffs who once lorded their ignorance over musical geniuses who needed a standard setting of a tune in order to determine who best stayed on the prescribed track.

The onus has just about shifted away from expecting competitors to adhere to a single printed setting, to the judges, who can today be reasonably expected to come prepared with all of the settingsof piobaireachds on their iPad. Whatever the competitor throws at them, they can be ready with the score.

Is the very notion of the Piobaireachd Society encouraging pipers to play settings from their Collection severely outdated? Is it time instead simply to come up with a list of tunes, and supply the names of and links to the collections where settings can be found?

Competitors can then learn whatever setting they want without fear. Judges with their iPads loaded with all of the public domain collections can be well prepared to assess the musical rendition put forward, bringing the contests in many ways back to the thriving, musical cornucopia that they probably were before 1903.

It’s all there to take in. We are no longer encumbered by inaccessible collections. We have knowledgeable, enlightened and tech-savvy judges well capable of accepting and interpreting renditions that have been tamped down – largely by necessity – for more than 110 years.

Is it time to simply stop this boring business of seeing who can ape the exact same notes and style and phrasing of the other guy?

Time to set the settings free.

 

A non-Scots guide to Scotland

As the summer gathers steam so too do the plans of North American, Australian, Kiwi, South African, European and other non-Scottish pipers and drummers making their pilgrimage to our musical Mecca . . otherwise known as Scotland.

Some of us have been there many times, even lived and worked there for extended periods, playing around the Scottish games and with bands. Most will be relative newbies to the wild and wonderful home of Highland piping and pipe band drumming. For them in particular, here’s a brief list of well-intentioned tips to help get what you deserve musically and avoid receiving the judging equvalent of a Glasgow kiss.

Shut up about the weather. Yes, it rains. A lot. It can also be gloriously sunny. Scots generally like to complain about their own weather, but they hate to hear you brag about how hot and sunny it was when you left Podunk, Iowa, and your ruminations about why you left behind your wonderful summer for “all this rain.” Instead, convert your dank misery into bright optimism. Think of being battered down by horizontal rain at your pre-World’s band practice as the authentic Scottish experience! Bagpipes were made for the Scottish weather. Embrace the wet.

The food: shut it! Scottish cuisine is what it is: delicious! Contrary to 25 years ago, Scotland is full of wonderful restaurants serving exquisitely prepared food and drink. But they are often too expensive for the average travelling pipe bander. Most will subsist on cheap pub food and fried whatever from the chippy. Live a little. Ignore your diet for a week, and for God’s sake keep your lip buttoned down about your disdain for the deep-fried “Cheese-and-Burger” surprise.

Never, ever ask a Scot, “How can you live here?” It’s a small island nation, and in general things are more expensive than where you’re from. But the Scots live good, fulfilling lives and their standard of living might actually be better than yours in many ways (universal health care, majestic scenery, bike lanes . . .). And their standard of piping and drumming is positively better. No one is interested in your bragging about how gas costs half as much where you’re from or that you can buy a bunch of broccoli for a dollar back at home.

Stop with the lame Scottish accent. For some reason North Americans in particular like to put on a Scottish accent when they’re visiting Scotland. They’ll even say things like “aye,” and “ya ken,” and “pure dead brilliant.” Would non-Jewish folks go on holiday to Israel and make attempts at Yiddish? Oy vay! Enough with being such a putz. Speak normally, whatever your normal might be, and keep the Gardener Willie impression to your inside voice.

Watch what you wear. This one is tricky. Some residents of Scotland enjoy wearing shorts, shades, flowered shirts and flip-flops (standard Majorca holiday attire) when the sun’s out. But even though that might be the official state uniform of Florida, you as a visitor wearing that stuff in Glasgow will look like a goof. Stick to a more conservative ensemble, otherwise it comes across as slightly disrespectful.

Scotland rules. If you are competing in Scotland you are implicitly accepting their rules – or lack of them. You won’t always like that you don’t get scoresheets at most solo events, or that the guy judging your band at the World’s didn’t ever play at anything better than a Grade 3 standard, or that your band was disqualified because the pipe-major didn’t say “Quick March” at the command, or that the march past comprises two hours of bladder-busting boredom, or that . . . well, you get the drift. It’s their house so you accept their rules and customs.

Flagism. Since “overseas” bands started competing in Scotland in the 1960s, for some reason they often like to wave their flags. Pipe bands are – or should be – neutral. You are no more the national pipe band of America or Australia or Brittany than, say, Shotts & Dykehead is of Scotland, and you don’t see them with a saltire adorning their bus. These music competitions are only about music, not bragging rights for a country. If nations were ever to assemble pipe bands comprising their very best players for a Pipe Band Olympics, then that might be the time for flags. Until then, leave your maple leafs, stars and bars and tricolours at home.

Be humble. You might arrive acting like you’re going to open a big can of whoop-ass on the Scots, but, if you do, you’re going to get schooled big time. There’s a fairly well-known non-Scottish piper who’s earned the acronym nickname around the Scottish solo circuit of “CTHB,” or “C^&% Thinks He’s Burgess.” This is not the sort of name you want. Be quiet and let your playing do the talking.

In short (but not in shorts and flip-flops), you’re a guest. Imagine a guest coming to your home and telling you how much better the weather, the food, the rules, the whatever are at home. You wouldn’t want them back.

Happy, respectful travels.

 

A gap with teeth

The demands on pipers, drummers and pipe bands become greater every year. So do the requirements of association executives, administrators and volunteers.

And as those demands become greater, the two sides grow further and further apart, creating more and more tension every year.

Let me explain.

Piping and drumming – especially at the higher levels – is increasingly the domain of the young. To support these hobbies to the extent needed to excel, complications like, say, a job or family are simply not conducive. Add to that the demand to maintain larger and more complicated repertoires, and most Grade 1 bands are rich with teenagers.

Where once the wiz-kids of Dysart & Dundonald of the late-1970s were the exception, and the Strathclyde Police of 40 and 50-year-olds the rule, the exact opposite is the case today.

Competitions and associations are more complicated and time-consuming than ever. With very few exceptions, executive and administrative roles are unpaid. Those who volunteer for them will be out-of-pocket financially, spending evenings and weekends to pursue their extraordinary passion to help. Pretty much the only people who can fill these roles are the retired and well-off – usually 55 years or older.

The younger playing-members side loves change, they embrace technology, they want things now and they want to move on to the next today. Allegiances to brands and customs are not yet established, and might never be. They communicate and interact in ever-new ways, and just as easily abandon one band for the next like they change social media platforms or smartphones.

And then on the association side these older folks are – in general – change- and risk-averse. They don’t want to deal with gizmos, learn social media, or adapt to new things. They dig in and some of them work tirelessly to preserve the past, the familiar and the safe – even though that’s exactly the wrong approach to take if they are to represent the will of the members, which is of course their core function.

The kids meanwhile can’t understand why new things can’t be tried. They get royally pissed off when they are told that an obviously good and generally harmless idea can’t be test-flown, while those in power try to suppress them, for reasons hard to fathom. Make a critical comment about the association or its people on social media and you risk being suspended. That totalitarian tactic might cool the comments, but it just creates more resentment and divide.

The old folks like their little paid trips and sandwiches at the games. They like being in charge. They like keeping these kids in their place. The old ways are the best ways. Don’t complicate things. Prop up the past. Long live “Corriechoille”!

So, we have two groups often at odds with one another: the kid competitors and the ancient governors, and while the members storm the technology gates, the “leaders” listen to 78s on the Victrola.

I exaggerate and, as with everything, there are exceptions, but exceptions are ever-harder to find.

The division between younger members and older officials will only become greater. It is not going away. The demands on each side will not become any easier or less time-consuming.

What can be done, then?

Keeping in mind that pipers and drummers are the associations, then it is the responsibility and role of the officials to respond to the demands and ways of the members, regardless of how old, young, intransigent or open-minded they are. The officials should work to adapt by at least appreciating and even embracing the new, and, most importantly, realize that they – the officials – are not the association.

An association is the pipers and the drummers, and the executives, directors, administrators all serve them. Members must demand that association leaders present a plan for the future and commit themselves to at least appreciating and respecting new ideas. Smart change is hard work. It takes courage and conviction, but it can come with great rewards. Doggedly adhering to the safe and familiar might seem easier, but it only widens the gap.

If anything is going to change, the members need to control their fate. If you are a competing piper and drummer and you are ever made to feel that you are serving those in power, then something is dreadfully wrong. Oust the fuddy-duddies and the conflicted. Force them to change through action. Attend meetings, vote out the laggards and suspected money-grubbers and bring in those who are more in tune with the times.

If that fails, then band together, and vote with your feet. If not reform, then revolution.

 

No middleman

One of the worst traditions in solo piping (and occasionally solo drumming) is the idea of a “senior” or more esteemed middle judge on a bench of three.

Many will know what I’m talking about, but in case you don’t it goes like this: the judge who sits in the middle is often deemed to be loftier or more important. It’s often predicated on age or experience, but it can also be by having won bigger prizes in competition or being seen to know more than the others.

Sometimes it’s none of that and one judge simply has a massive ego that the other two can’t be bothered battling over.

Whatever it is, the practice should be stopped.

Why? Because it tends to put a false sense of importance or priority into the minds of the competitors and judges, and that should never be true. Every judge has an equal say, so has equal importance, and the perception of a “senior” judge communicates the wrong thing.

I’m not easily intimidated, but I cannot remember judging on a solo bench of three when I felt that all three weren’t equal, and have been fortunate to work with folks whose egos don’t get the best of themselves, much less try to throw around their “senior” weight. I have been on benches (none recently) when I and/or another judge have, attempting to be polite and respectful, offered the middle spot to the older fellow. I have served on benches when that gesture of politeness has been declined, and my esteem for those people rose even higher. Sometimes placement of judges is pure happenstance.

The last two times I served as a judge for the George Sherriff Amateur Invitational something excellent happened: there were three events, so we swapped places for each, one of us taking a turn in the middle. It helped to communicate to all that no one judge’s opinion counted any more or less than another’s.

I’m not sure how the tradition started, but I would guess that it’s another holdover from the age of “society” folks like “Kilberry” or “Rothiemurchus” lording their opinions as near-non-players over accomplished competing pipers whose playing ability they could only dream of matching. It was probably the guy with the most money or titles or letters or land who got the position of “authority” in the middle. The richer they were, the more power they had, even when they couldn’t tell a darado from their own flatulence.

We’re so past that sort of thinking today it’s not funny. All competitors are considered equals before, during and after an event, and the judges should be equals, too. Yes, on an odd-numbered bench someone has to be in the middle, but it’s time to stop assuming that that person is “senior.”

The new rule to follow for benches: alphabetical by last name, left-to-right as the competitors face them.

Done.

 

Memories

I was reminded to remember a topic I’d forgotten to write about: memory. Specifically, the unwritten rule or tradition that pipers and drummers must memorize music.

As far as I know, there is no specific rule with any association that competitors must play from memory. But I often wondered what might happen if I walked up at some piobaireachd competition, plopped down a music stand with the score of the tune, and proceeded to play from it.

Would I be disqualified? I don’t think so, since there’s no rule that says it’s not allowed, let alone that I could by rights be DQed. Would the judge mark me down for reading from music? Again, no rule so that’s questionable. But anyone who would try it no doubt wouldn’t get the benefit of the doubt.

There were times in my solo competing piping life when I’d have 15 piobaireachds on the go, most of which were tunes that were set for competitions that I would never have learned otherwise, mainly because I thought they sucked. Every piper who’s had to learn four or six or eight tunes from a list in which maybe three are truly attractive compositions knows what I’m talking about.

It’s a particular battle of will to memorize music you don’t like when practice time is short and the memorable melody is scant. You have to will yourself on, tricking your mind into memorizing the notes and phrases that come next, using mental cues – a bit like schoolkids making up acronymical sentences to help memorize obscure facts that will be on the test, e.g., A-B-D-B, A-D-B-B – “Anyone But Donald Ban, Agony Donald Ban Ban.” I’ve played tuneless tunes at Inverness or Oban that I would have a hard time today telling you how they start. (Ahemsobieskissalute.)

I admit that there was the rare time when I had a piobaireachd picked where my memory was a bit sketchy. It would be one of those dreadful obscure tuneless tunes that the judge also didn’t know well, so he’d be watching the score closely with his head down, which was a perfect opportunity to take an upside-down peek at the manuscript on the table.

There. I said it. Was that cheating? Not by the rules as they are written, so I still sleep well.

I noticed in a few photos of the recent Live In Ireland In Scotland concert that the snare drummers had the manuscripts to the scores in front of them. At last, I thought, common sense prevails, and good for them for putting the audience and the show before, in this case, a rather useless tradition of being expected to memorize music. It’s a mountain of material for musicians to squeeze in among their own band’s stuff, so of course play from the scores. I’m surprised the pipers didn’t as well.

I’ve poked around the rules of other music events. The International Tchaikovsky Competitions require material to be played from memory. But I couldn’t find many or any other examples. Even Drum Corps International, as far as I can see, expects memorized performances, but there doesn’t seem to be a rule. “The memorization of music is usually a matter of pride for the marching band, however bands that regularly pull from expansive libraries and perform dozens of new works each season are more likely to utilize flip folders,” according to a the Wikipedia entry for marching bands.

As pipe band music becomes increasingly complex, and the demands on top solo pipers rise, the tacit expectation that all music will be played from memory comes into question. Is it necessary? Will the performance improve when the score is there for reference? The old reliable memory lapse as a means to knock out a competitor might go away, thus making the judge’s task harder, but so what?

If I remember correctly, it’s more about the music and less about the memory.

 

Covered classics

I like k.d. lang’s version of “Hallelujah” the best. There’s Jeff Buckley’s, and I recently heard a great rendition by Francesco Yates, and of course there’s Leonard Cohen’s original, but, for me, it’s got to be k.d.

To riff on U2, it’s even better than the real thing.

The upcoming “Live In Ireland 87 In Scotland” concert got me thinking about the pipe band habit of being original, at least when it comes to medleys and concert material. Pipe bands of course play the same 2/4 marches, strathspeys and reels for set events as a matter of course, but have pipe bands ever – in competition or not – “covered” another pipe band’s work? I can’t think of an instance.

Sure, bands will take single tunes introduced by other bands and put their own spin on them, at least with a new percussion score, but entire medleys or suites first brought out by another pipe band? Never.

Even the reunion of players and some extra-special friends from the 1987 78th Fraser Highlanders’ concert in Ballymena, Northern Ireland, won’t be truly covering material, since you can’t cover music that you came out with originally.

But, it seems to me, it’s high time that pipe bands started to break down that unwritten rule that they can’t play creative material done by other bands. I would think it’s the next big step or trend for pipe bands: make a classic medley of the past new and exciting once again with a new arrangement with different harmonies, bridges, even subtle time signature and tempo tweaks to celebrate it again by, to use the American Idol cliché, “make it their own.”

To revisit the jazz composer Don Thompson’s “Journey To Skye” by the same group that did it first is fine, but I’d love to hear, say, Inveraray & District make it perhaps even better, with different harmonies and tempos, with a modern bass section arrangement. Or how about the medley that Victoria Police used to win the 1998 World’s updated and reinterpreted by, say, St. Laurence O’Toole? Or a 1980s Vale of Atholl concert suite done by Field Marshal Montgomery? Or go way back and take a selection from the 1960s Invergordon Distillery (“Old Woman’s Lullaby,” anyone?) and give it a modern makeover.

Or could a Grade 3 band of today take on the “Detroit Highlanders” Strathclyde Police medley of the 1980s? Why not? It’s excellent fundamental music that is eminently within the grasp of many modern mid-grade bands. It’s not sacred and untouchable; it’s music that deserves to be appreciated again in a new way.

I have heard people wonder often why some pipe band suite or other isn’t heard again. “If ‘The Megantic Outlaw’ was any good, then why do we never hear it today?” is a thought I’ve listened to not a few times. Whatever your personal opinion of that or any other piece of music associated closely with a particular pipe band, the reason their music isn’t heard again is simple: there’s an unwritten code that pipe bands don’t do that, that they always have to be 100 per cent original.

To be sure, it’s fun and challenging for a pipe band to create whole new medleys, but it doesn’t have to always be this way. There’s tons of room to be original with existing content, to resurrect well-kent classics, to make them your own.

In fact, if I were a band hoping to be noticed, or step up in the ranks, I would take a cue from budding pop stars. More often than not, they get noticed by doing a great cover of a well-known song. They eliminate the burden of having to rise up with their own material, knowing that songwriting can come, after they are discovered via their covers. Originality can come in many forms.

k.d. lang’s version of “Hallelujah” does not diminish Leonard Cohen’s song one iota. She celebrates and honours it, just as Jeff Buckley did, putting a personal and fresh complexion on it, bringing it to another generation, and Francesco Yates does it again.

It’s all good, and it’s all possibly even better.

 

New rules

I’m a moderate fan of Real Time with Bill Maher, and really like his “New Rules” segment. Spending two days judging an assembly line of competitors at Maxville, there’s hardly time enough to think about anything else between performances, but there’s enough collective moments to come up with a few new rules that we should apply to what we do.

New Rule: any solo piping or snare competitor who elects to warm up within 50 feet of a contest area should be given the choice between immediate disqualification or a public shirtless flogging by a fleet of tenor drummers wielding mallets dipped in Branston Pickle. I mentioned this in 2009, and it still astonishes me how apparently vacant-minded some players can be, oblivious to their surroundings and Competing Etiquette 101.

New Rule: every band competition should have an announcer who introduces the contestant, provides background, informs the crowd about what’s going on, and so forth. Graeme Ogilvie, who announces at the arena at Maxville each year, should give workshops. He’s a master of providing just the right amount of detail without boring people or insulting the competitors.

New Rule: any piper in a piobaireachd contest who tunes to a slow air will be required to play “Farewell To Nigg” 1000 times over without mistakes before he/she is permitted to compete again. Stop, stop, sweet fancy Moses, stop the slow air insanity.

New Rule: once the competitor starts, shut the ^&%* up. I can understand the occasional uninitiated loudmouth who doesn’t know protocol the first time at a contest, but the number of pipers, drummers and even association officials who yap away at volume within 10 feet of the person or band competing is appalling. Those caught doing this get to choose between paying a $200 fine payable to the impacted competitor or having their mouth washed out with 10-year-old Airtight Seasoning.

New Rule: for any piper who’s played more than three years, no more tuning your drones while sounding D. I understand the theory about tuning with D: it is the truest note played with one hand. But it sounds horrible. A good piper tunes to high-A and shows off his/her control and mastery of the instrument. Penalty for tuning with D: must administer one-handed thigh massages to heavy athletes in afternoon.

Those are a few new rules that I thought of over the weekend. You must have more, so fire away.

 

Hard

An unwritten rule of competition: no one is rewarded for difficulty. There are no bonus points for playing hard tunes. There are points for playing hard, medium or easy tunes well.

There are points taken away for playing hard stuff poorly, and on a related note, no judge is going to let you off easy for making a hack of a tough tune, just because, well, it’s so hard.

I remember some years ago playing in a band. In the winter someone had the idea that we should play “Eileen MacDonald.” It’s a clever and relatively obscure, jig written by Charlie Williamson. It’s a whole lotta handful for a top soloist, let alone a whole pipe section.

We toiled away at the four-tentacled thing through the winter and spring, chanters getting slapped relentlessly with marveslously syncopated combinations. We worked and worked at it, because, aside from it being a good tune, it was so impressively hard. Goddamit, we’d show them!

The contest season carried on and the band did well, but it seemed like we weren’t getting much attention, let alone extra credit, for the amazingly difficult four-parted jig.

We played the medley with “Eileen MacDonald” at the World’s. I can’t remember the result, so it must not have been a memorable prize. What I do remember, though, is after we played, the late great Pipe-Major Angus MacDonald had listened to the performance, and a few of us spoke to him afterwards.

Angus, in his famously surprising-for-a-big-man high-pitched voice with one slightly raised eyebrow remarked, “Aye, ‘Eileen MacDonald.’ Tough tune.”

One comment from one solo piper. All that diligent practice to play a very difficult tune well came down to one comment. That was it.

“Aye. Tough tune.”

And I can’t remember a judge ever writing anything to the effect that he/she was impressed or that the tune was even positively noticed. I’m certain there were comments about the tricky passages not being quite together. Easy pickings for a piping judge.

Was it the right thing to do? In hindsight, I would say it wasn’t. It’s a clever jig, and the composition itself is unique. But is it so musically brilliant that it’s irreplaceable in a medley? Do people pine for a band or soloist to play it? Don’t think so.

In solo competition, we all submit tunes that might be deemed difficult. I admit that as a competitor and a judge I know what it’s like to submit or have submitted to me three or four tunes, and the one more difficult tune gets picked – not because it’s the musically superior tune, but simply because, Well, it’s your funeral, buddy.

If the idea is to win the competition, why put yourself at a disadvantage? I remember a lesson with Captain John MacLellan. We were discussing what light music to put in for solo events. We were trying to determine tunes that might suit me better than others. Since he said I had a stronger top-hand, I suggested “Mrs. MacPherson of Inveran.” In his rather straightforward manner the good Captain said something that always stayed with me. “Why play six parts when four will do?”

Now, I readily admit that that comment was made 25 years ago, and to me, an American going round the Scottish games trying to “get in.” I wasn’t playing in the Silver Star. But I think the message was clear: Why make it any harder for yourself?

As a judge a few weeks ago a young piper submitted “Lament for the Viscount of Dundee.” Nice tune, but no more technically difficult than the other three he put in, so I picked it and he played it. There were enough problems with it by the crunluath variation that he wasn’t in the running, but he then commenced to play an unexpected open fosgailte variation. I say unexpected, because most pipers wouldn’t do that. The tune is far more often played without one. Unlike a few remaining piobaireachd pedants who insist that this is “wrong,” I’m fine with anyone playing it if they want. It’s music.

But why play it? In competition, why would you tack on a very difficult variation at the end of the tune when it’s completely optional? Is it an attempt to get extra credit? Do they steadfastly believe that the tune is incomplete without it? As I said, I don’t think bonus points exist in piping and pipe band competitions, and insisting that it must be played is as pedantic as someone insisting that it should not be played. It’s optional.

Rather than help, the open fosgailte variation was not played well this time, so it actually made matters worse for the competitor, again supporting my argument that there are no potential positives that I can think of, and only probable negatives.

Unlike diving or spelling bees or freestyle skiing, there’s no reward for technical difficulty in what we do, and nor should there be. One person’s “hard” is another’s “easy” in our music. But the question – or perhaps debate – remains: Why play six when four will do? Why play “Eileen MacDonald” when another jig is just as compelling musically and less demanding technically?

I’m sure there are flaws in my argument, so feel free to point them out. In the meantime, I’ll keep slapping my chanter trying to get the syncopation right.

 

Haves and have-nots

There are those pipe bands that have and those that have not. And increasingly there are competitions and Highland games that have and have not. The size and success of bands and competitions are linked.

June 23rd was one of the more ironic and remarkable days of piping and drumming news that I can remember. Within hours of one another, the Virginia Tattoo folks proudly announced that two “have” bands – Inveraray & District and ScottishPower – would be flown in to the April 2016 event in Norfolk. Big, successful, wonderful bands that are having all expenses paid to the sunny and warm southeast USA to play in the first annual big extravaganza.

Nice news. What’s not to like?

An hour or so later came a rather different message from the good people who organize the 150-year-old competition in northern California, referred to fondly as “Pleasanton.” This somewhat dire announcement outlined that hoping for top-grade bands to get to their event, each bringing upwards of 40 members, has become unrealistic for the bands to pay for, and impossible for the contest to underwrite. So, Pleasanton’s solution is to reset their own rules. Three invited Grade 1 bands would be limited to competing with no more than eight pipers and seven drummers total.

Interesting, but not a little sad.

Thanks to the proliferation of the numbers game – not just in Grade 1, but really across all grades – larger bands have to be far more selective about where they travel. If their way is paid, as with Inveraray and ScottishPower, or the event is a must-attend, many  simply can’t get to most events. Unless a competition like the World’s or Maxville has built up its stature, events have to find the money to attract bands with prizes or travel subsidies or both to get them out.

The irony is that when bands have size enough to be competitive, they can no longer get to events to do what they want to do: compete.

John Biggar, with the cooperation of the Western United States Pipe Band Association, has created a new event: the small band competition, which is pretty much a step back to 1975 or so when bands of eight, three, two and one were not only acceptable, they were common.

Pleasanton used to have it all, attracting full-sized Grade 1 bands to finish their season in northern California. Today, this very successful event is left having to not just reinvent itself but reinvent pipe band rules to continue its success.

It’s a ridiculous state of affairs, but that’s what it has come to.

Because so many bands prepare for the World Championships, it will take the RSPBA to evoke positive change. Otherwise, we will see competitions like Pleasanton take things into their own hands by creating events that more bands can attend, that the event itself can afford. But those events will need to work with associations to bend their rules, and, as we saw in Northern Ireland with the Spring Gatherin’, that’s not always possible, or even likely.

I’ve written over the last 15 years (for example, here, here, here, here, here) about the dangers of allowing band sizes to expand unchecked. For sure, large bands make for interesting sounds and sights, but it invites situations like we’re seeing now, where there are not only have and have-not bands, but there are have and have-not competitions.

Twenty years ago, most Scottish pipe bands would compete at about 15 contests a year. Now most get out to maybe eight, five of those the major championships. The larger size of bands makes it difficult to get to an event with a full complement of players, so they pick and choose. I see top-grade bands scraping for players to boost numbers, bringing in pipers 15 years retired, fielding kids with experience no higher than Grade 4, pressured to feature at least seven across the front at virtually any cost.

I think the majority of bands would support reasonable limits of section sizes — not tiny bands of eight, four and one, but maybe 18, eight, four and one for Grade 1; 15, seven, four and one for Grade 2; and so on. There would be better quality bands. There would be more bands. There would be more bands to attend competitions. Bands could afford to get to more competitions.

Other than hurting a few feelings for a few days when lesser players are cut loose (to become better players in other bands), I can’t really think of a single good reason not to limit section sizes.

The situation is capitalistic. Survival of the fittest and all that. But, to me, the piping and drumming world needs a more social approach. We need to level the playing field by putting a reasonable limit on numbers across all grades, so that we can continue doing what we do and make the business of competition sustainable.

 

Easy prizes, or challenging fun?

Play easy and boring music well, or play harder and interesting stuff and have more fun?

It’s an age-old quandary for lower grade pipers and pipe bands. Almost every judge would say (over and over again), play tunes that your hands or your pipers and drummers can manage better.

For time immemorial, judges will sit or stand there at virtually every competition and wonder, usually several times throughout the day, why oh why that piper or pipe band is throwing away the competition trying to play a tune or tunes that they simply can’t manage. Or, perhaps more accurately, wondering why they don’t play far easier stuff to get better results.

You would think that after a hundred-odd-years of competition, competitors would learn that playing easier stuff better would more likely produce better results. So why is it that season after season pipers, drummers and pipe bands come out playing stuff that’s too difficult?

The answer: it’s more fun.

It’s more fun because it’s a bigger musical challenge. I would venture to bet that many lower-grade bands recognize that if they were to play easy tunes all year long, they’d lose their members’ interest. Practices would become monotonous, and bored members would pressure the pipe-major to make things more interesting by engaging members with more challenging stuff.

But, but . . . the name of the game is to win, right? Why risk sacrificing winning for the sake of a few musical challenges?

It’s counter-intuitive, but that kind of sacrifice (the prize for the musical experience) is exactly what we need more of – pipe bands most of all. Producing engaging and interesting music – even if it’s not played to the competitor’s potential – is better for the art than interminably cranking out boring, repetitive tunes that no one, but no one, really wants to hear again.

The choice of playing easy tunes for better results or harder tunes for more fun is one of the great strategies of our competitive game. Allowing pipers, drummers and bands the freedom to make that choice adds spice and variety to our contests. Associations might think they’re practicing tough love by prescribing tunes for lower grade competitors, but they’re not.

When I was a kid, one of the first four-part 2/4 marches I was given to play was “Abercairney Highlanders.” The late Gordon Speirs said I would get far more out of that technical challenge than playing some boring, easier thing that would lose my interest. Yes, I wouldn’t make a great job of it, but it would help my hands and give me an opportunity to expand my horizons. And, I think it worked.

After years of the RSPBA’s MAP restrictions for lower-grade bands, the dividends, if in fact there are any, are difficult to see. Lower-grade “overseas” bands still regularly come to the World’s and do well. Requiring kids to play “Corriechoille” ad infinitum for a year I suggest drives more of them away than retains their interest in the art.

And, I will say it again: requiring contestants to play certain tunes is far less about the art and learning than it is about making judging easier. And that is no good for anyone, except of course the judges.

Pipers, drummers and pipe bands need to learn to challenge themselves, expand their horizons, take musical chances, and understand that there are things far more important than winning. “Play simple better” might work in competition, but, in reality, it goes only so far.

Toeing a fine line

Pressuring bands to compete only in sanctioned contests makes some sense. The RSPBA’s most recent alleged request – some use the word “bullying” – that bands not compete at the new Spring Gatherin’ has brought the topic to the fore. Should bands toe the line for their association by competing only in events that adhere completely to the association’s rules and regulations?

My answer: it depends.

It depends on whether an association is truly looking out for its members’ wishes, by demonstrating a willingness to bend when it makes sense. An association that summarily rejects any event that wants to try something new for the enjoyment and benefit of the competitors and the audience will rub most member-bands the wrong way. And when the association’s rationale isn’t communicated to members, it causes further ill-will. Silence is always met with contempt.

Associations today face many quandaries. Chief among them is the dilemma of representing both the interests of their members and adapting to the interests of the events that they want to sanction. A pipe band association is, to some degree, a union. They are unions of pipers and drummers so that their interests are represented; so that they can expect to attend contests and not be blindsided by unfair rules or unqualified judges; so that there is continuity from contest to contest.

But there is a big difference between solidarity and protectionism. Associations need to tread very carefully when they are faced with events hoping to do things a little differently, but with the cooperation of and supervision (to some degree) by the association. Non-standard contests certainly want meaningful and equitable competitions that pipers and drummers take seriously, but not at the cost of diluting the attractively different nature of what they’re trying to do.

The RSPBA isn’t the only association that apparently pressures or even requires members to compete at only sanctioned competitions. The Western United States Pipe Band Association is said to have it in their rules of membership. The Pipers & Pipe Band Society of Ontario has been heavily criticized by some of its members for not getting together with events that refuse to play by their rules. The PPBSO has not pressured, much less suspended, any bands for participating in these events, but the inference is there that, every time a member band competes at one it weakens the union and slackens the association’s leverage to negotiate. I get that.

There’s no clear solution. The hard line is disliked by most members, and the softer approach makes members wonder why these non-standard events can’t be fully sanctioned for aggregate points. The current pipes|drums Poll shows that about 90% of readers agree that pipe bands anywhere have the right to compete anywhere without threat of suspension by their home association.

The key is partnership and patience. Summarily rejecting with no explanation contests that try new things is certainly the wrong approach. Associations have to maintain an element of partnership, working with people – most of all their own members – rather than being perceived to be obstinately unwilling to change.

In short, every association must somehow always represent the wishes of its members, and never be considered wagging an authoritative finger at them, telling them that the association knows best. Intransigence and inflexibility have no place in the modern piping and drumming world, which risks burning down completely if it doesn’t adapt and change.

Associations are the pipers and drummers. The church is the congregation; not the preacher or the elders or the building. If an association loses sight of that truth, and is seen to act only in the interests of its leaders and officials, it’s in big trouble.

It’s time for Scottish solo piping reform

The Scottish solo piping scene is a singular beast. While Scotland invented the idea of Highland pipers competing with subjective music judged by “authorities,” there’s really no other country on earth that still uses its system.

And, famously like the old TV show Seinfeld, the Scottish “system” is no system at all.

There are no rules that are applied to more than one competition, let alone a whole circuit. There are no defined grades from contest to contest. There are no training or accreditation processes for judges. There’s frequently not even an order of play on the day. Goodness – judges don’t even have to be accountable to competitors for their decisions and guys who never competed and wouldn’t win a prize in a Grade 3 contest in Arkansas are entrusted to assess performances that they could only dream about delivering.

There is the Competing Pipers Association, run by active competing pipers, almost all of whom are afraid to upset the hierarchy of acclaimed judges, for fear of repercussions on the boards. Borne of the Joint Committee for Judging (or associated with it, I’m still unclear), there is the new Scottish Piping Judges Association, which seems to be trying to do what’s best for judges, but appears to be detached from the competitors in the CPA. The first move of the SPJA is to create milquetoast conflict of interest “guidelines” that appear to say, Declare your conflict, but, well, go ahead and judge if you must.

Um, okay.

Unlike all other piping areas, and pure pipe band organizations like the RSPBA, the solo piping competitors in Scotland have little if anything to do with judging or rules. In Scotland there is almost total separation in the solo piping scene of the powerful from the masses. It is anything but a democratic or member-driven process in Scotland. Everywhere else, the members – the pipers (and drummers) – make the rules by electing or appointing the leaders, by putting through motions, and by voting on rules and policies.

Scotland does none of that essential democratic work and, as a result, it’s a largely haphazard and often inequitable scene. The absence of rules are part of the charm and tradition of solo piping in Scotland, which is okay for tourists, but alarmingly frustrating for those competing in it. The rest of the world’s piping scenes long ago created and opted for something better.

Twenty-five years or so ago when I last did the Scottish games circuit, I knew the drill. After realizing the “system” is no system, and navigating the scene by making connections, playing the game, and, for lack of a better phrase, working it, I thought then that by 2015 reform would have occurred in the shape of amateur grading, criteria for and accreditation of judges, and continuity of rules. In essence – a format adopted by almost the entire rest of the world.

Instead, virtually nothing has changed in Scotland. It’s stuck in a time-warp. Calum Piobaire would fit in comfortably if he came back from the dead to compete at Luss or Lochearnhead or even the Argyllshire Gathering, but he’d also be grumbling still about the familiar inequities and those with power pushing around the pipers.

There are certainly faults and problems with piping and drumming associations around the world. But the key difference is that those faults and problems are in the control of the members – the competitors. They can affect change. The only religion I practice is the religion of piping, and the congregation ultimately changes the church. The congregation is the church. Or it should be. If it isn’t, it’s time to reform the church.

The judging side in the UK seems to want to affect change. The pipers definitely want change. But the fact is this: until there is one association that brings competitors and judges and administration under one roof (with competitors by virtue of their large majority determining their own rules, policies, guidelines and structures), the Scottish solo scene will be stuck in that charming, traditional rut, that few but the tourists seem to think is ideal.

Wipe the slate. Combine the CPA with the SPJA and JCJ and the still fledgling CLASP amateur competing pipers effort and create the Scottish Highland Pipers Association or the Highland Pipers Association or Bruce Og or whatever you want to call it. Allow the members – the large majority of them the pipers themselves – to govern the judging and the rules, as they are set by the members through voting and via the leaders whom they elect and appoint.

The man or woman to lead that reform could well earn a place in the Top 20 Pipers in History.

Until then, the antiquated Scottish system of no system will just see more and more disconnection between judges, competitors and organizers, while the rest of the world continues to do things better.

 

Forward

The 2015 World’s format is backwards.

It’s hard to fault the organizers for having another go at the 2014 format: Friday only Grade 1 qualifying; Saturday is the Grade 1 Final and everything else.

It’s an opportunity missed. But in a few years it will go like this – guaranteed:

On Saturday, all bands compete at Glasgow Green in qualifiers and/or finals, except all Grade 1 bands entered competed in two heats in Medley and MSR events to determine a final round of 10 or 12.

All winners and Grade 1 finalists are announced at a wonderful march-past.

Then, on Sunday, those 10 or 12 Grade 1 Finalists compete in an afternoon MSR (if they insist), and a Medley at night at a ticketed indoor venue like the Glasgow Royal Concert Hall or SECC.

Charge £25 for the MSR. Clear the packed hall, and then £40 for the Medley and announcement – or £55 for the combined deal. At an average gate of, say £60, with a certain packed hall for each event of 2,800, that’s approximately £175,000 in ticket sales. People pay £30 for one Grade 1 band for two hours; they will pay at least that for four-plus hours of a dozen bands.

The Sunday event is hosted by Bob Worrall and A. John Wilson, tag-teaming in their inimitable styles. When one is not on stage, the other is in the broadcast booth with Jackie. BBC Scotland (or whatever broadcaster bids the highest amount for the valuable broadcast rights, which would be on the order of £50,000-75,000, given the overall value of the event) mounts at least seven cameras in the hall, and conducts behind-the-scenes shots and interviews as bands tune and leave.

The RSPBA can take, say, £10,000, the hall gets maybe £5,000, the stewards and compilers get £1,000, each judges gets his/her usual £75 and a Jaffa cake, and the remaining £180,000 or so goes to the bands and the composers and arrangers – those whose terrific music is the valuable product being sold.

People will argue that there’s not enough room at these venues to handle 10-12 bands tuning. That’s incorrect. As with top-flight solo competitions, there will be two designated tuning areas. Each band has exactly 40 minutes to tune in the building, and that’s bags of time for these elite groups in a controlled, indoor environment.

Sunday might be problematic for some religious people, just as Saturday is for some others, and perhaps Friday is for even others. I completely respect those with religious beliefs, but if they conflict with the quasi-religion of pipe bands, well, they’ll just have to choose which is more important. The shops are open on Sunday, after all.

I’m confident that this format will eventually happen. It’s the obvious thing to do.

The benefits of Saturday outdoor World’s and a Sunday indoor Grade 1 Final World Championship are obvious to me:

  • The Friday is freed up again for Piping Live!
  • All of the bands get to compete on Saturday.
  • Those not competing on Sunday (and maybe also those who are) can celebrate Saturday night.
  • Nearly 4,000 total enthusiasts can enjoy the indoor Grade 1 Final nirvana on Sunday in cozy comfort.
  • The world’s greatest bands can show their stuff without the threat of being drenched with horizontal rain, equalizing the conditions.
  • Bands compete in concert formation.
  • Judges hear and see everything.
  • Audience gets the pipe band listening experience of a lifetime.
  • The broadcaster can create an even better production (and sell pay-per-view, if they like) for those who prefer to watch the stream.
  • The bands and composers can share in the substantial licensing rights.

And the Grade 1 World Championship can have the venue and conditions and spotlight that it truly deserves – finally.

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