Well, what did you think was going to happen?

Prepare to smack yourself in the forehead: go read this, then come back.

Done?

Good.

I’m only concerned with the first half of the article, namely the woman who lodged this complaint:

“…the event was too noisy, there were too many people playing bagpipes and the park was far too busy.”

Um, hello? She was at the World Pipe Band Championship. Stands to reason there would be a few (thousand) people playing bagpipes (which are pretty loud), and a few (tens of thousands) of people attending and spectating.

Moreover, she had to buy a ticket to get it. Even if she didn’t know in advance what the event was, surely someone at the gate would have told her. The “World Championship” part might clue some people in; indeed, at the World Championship of anything you will probably find a lot of people, from all over the world, participating in the very activity identified in the name of the event.

So I have to wonder: what was she expecting would happen? I’ll have you know that I once attended an opera, and though it’s probably not an experience I’ll repeat, I didn’t go complaining that there were too many people wearing costumes and singing loudly. It was pretty much what I expected to find at the opera.

I also have to entertain the idea that this complaint never actually occurred, and the anecdote was invented by the author of the article to create a clever hook at the expense of a person who doesn’t exist. In fact, I’m going to go with that, because I really hope there aren’t really people dumb enough to lodge a complaint like that. If you know for certain that this event happened and this woman actually exists, please don’t tell me, because I have to maintain some tiny shred of faith in the human race.

Once again, a stunning lack of variety

I made a post the other day about the repetition of tunes in the final round MSR at the World Pipe Band Championship, and I sat down this morning and compiled a tune list from the qualifying event in the morning. There were 18 bands in the qualifying round, and here’s the breakdown.

March

  • The most popular march, by far, was The Clan MacRae Society, which was played by 6 bands, a third of the bands in the event.
  • Donald Cameron was in 2nd place, played by 3 bands, and Highland Wedding and Lord Alexander Kennedy were each played by 2 bands.
  • Only three bands played 4 part marches: Aukland & District played Brig. General Ronald Cheape, Tayside Police played Mrs. John MacColl, and Triumph Street played The Argyllshire Gathering.

Strathspey

  • There was another blowout here, with Susan MacLeod being played by 7 bands.
  • Dora MacLeod, Tulloch Castle, Blair Drummond, and Maggie Cameron were each played by 2 bands, the other only strathspeys to be repeated.
  • Blair Drummond and Atholl Cummers were the only tunes played of 6 parts; everything else was 4 parts.

Reel

  • John Morrison of Assynt House was the clear winner, played by 6 bands.
  • Mrs MacPherson of Inveran was played by 3 bands, and John MacKechnie’s Reel, The Smith of Chilliechasse, and MacAllister’s Dirk were each played by 2 bands.
  • Every reel was at least 6 parts long.

So by far the most popular tunes in each category were The Clan MacRae Society, Susan MacLeod, and John Morrison of Assynt House, and those tunes were played as a set by two bands: Canterbury Caledonian Society from New Zealand, and LA Scots from Los Angeles.

I’ll admit it is kind of fun to be able to listen to the recordings and name the tunes, but as I’ve said before (several times), I’d really like to see some more variety here.

Piobaireachd: Go long, or go home

This post is a few months behind the times, but I felt I should get my opinion on the topic out there. When this rule change was announced by the EUSPBA, there was quite an uproar, and at the moment there are seven pages worth of discussions on it at the Bob Dunsire forums.

So here’s the scoop: on April 29, the EUSPBA made this announcement on their website:

Grade 4 solo, Jr. and Sr.  Piobaireachd, requirements found on page 8 of the existing Rule Book will change.  The option for ground only to be sanctioned will be removed.  Effective January 1, 2011, only the full tune event will be sanctioned by the EUSPBA.

In other words, starting next year, there will be no ground only piobaireachd competitions. All competitors, including those in grade 4, must play the whole tune.

I was pretty confused when I first heard this, because I don’t remember hearing anything regarding this rule change until it was announced. I attended the association’s AGM last November, and I don’t remember it being discussed at all. There were many other issues and rule changes discussed, but not a word about this one. Did the Executive Committee and/or Music Board step up and decide to implement this without discussing it with membership?

That’s neither here nor there, and I’m not going to delve into the politics of the association because that’s a can of worms I would not like to open. This post is about the rule change, so I’ll stick to that.

My feelings on the subject are somewhat mixed. I’ve never really been a fan of ground only competitions, because it’s hard to get a grasp on the player’s piobaireachd ability from just a few lines of music. Part of the magic of a piobaireachd is how all the parts fit together, and a good player is able to carefully construct a tune to tell a story. Playing only the ground really makes it hard to get a sense of that.

Here’s a list of some of the effects that I see over the next few seasons, expanded upon below.

  1. There will be fewer people entering the piobaireachd competitions.
  2. There will be less diversity in tunes played in competitions.
  3. There will be fewer people voluntarily learning piobaireachd.
  4. There will be some people who will always hate piobaireachd.
  5. The overall standard of piobaireachd playing in grade 4 will increase.

1. There will be fewer people entering the grade 4 piobaireachd competitions. This is pretty obvious and doesn’t need much commentary. It’s an imposing task to learn a full piobaireachd, but learning the ground isn’t that bad. Now it’s going to take a lot more work for the casual piobaireachd player to be able to enter a competition, and there will be fewer entries as a result. People who haven’t learned a full tune will either have to learn it or not play in the piobaireachd competitions.

2. There will be less diversity in tunes played in competitions. If you only has to learn the ground of a piobaireachd, there’s really no limit to the tunes you can choose. The ground usually has the most intricate technique (aside from the crunluath), but there are some really big tunes that have quite manageable grounds: two that come to mind are Lament for Mary MacLeod and The Desperate Battle. Requiring a full tune will effectively eliminate those tunes and a dozen others. I’m guessing the same five or six tunes will be heard throughout most contests: Lament of Alasdair Dearg McDonnell of Glengarry, Lament for the Old Sword, Sir James MacDonald of the Isles’ Lament, The Company’s Lament, and Clan Campbell’s Gathering. Those are some great tunes, but it’s also nice to have some variety.

3. There will be fewer people voluntarily learning piobaireachd. This ties in with #1: people won’t enter competitions next year, and some will settle into a mindset of “I don’t play piobaireachd.” It’s hard to shake that, and I see it lasting for several years.

4. There will be some people who never learn to like piobaireachd. This ties in with #3. I really began to appreciate piobaireachd when I started learning it, and those who don’t learn it won’t learn to like it. As a result, there will be some who never really gain an appreciation of the music. Some instructors though will continue to teach it to everyone, especially their most promising students.

5. The overall standard of piobaireachd playing in grade 4 will increase. But not in the way the EUSPBA is hoping. As I outlined above, there will be some people who either never learn a full tune or don’t learn any piobaireachd at all, and at risk of sounding callous those people probably weren’t going to be the best piobaireachd players anyway. The increased level of playing will be more a result of eliminating some players toward the bottom part of the group, thereby raising the average in an “addition by subtraction” way.

My overall opinion of this rule change is negative: the ones who learn and play full tunes will be the ones who were doing that in the past anyway. It’s true that many of those who won’t be playing piobaireachd likely wouldn’t have gone on to win any of the major prizes anyway, but piobaireachd (and all music for that matter) is not reserved only for those who play it well. Everyone should be able to take part, according to their interests and regardless of their abilities, and this rule change will create more disinterest in piobaireachd than it will improve the level of playing.

I’m in favor of a ground plus first variation, or ground plus first two variations, than the whole tune. Grade 4 competitions run this way in several other major pipe band associations in North America, including the Midwest USA, the Western USA, Southern USA, Ontario, and British Columbia.

I think that could have a greater positive effect on piobaireachd than requiring a full tune, and that’s my suggestion for the association.

Shaking up the MSR

I recently posted my analysis of the tune selection in the final round MSR of the World Pipe Band Championship, and my conclusion was that, once again, there were entirely too many tunes repeated.

The tunes that are often played in these band contests are excellent tunes: Highland Wedding, Clan MacRae Society, Lord Alexander Kennedy; Susan MacLeod, Blair Drummond, Maggie Cameron; Mrs. MacPherson of Inveran, John Morrison of Assynt House, MacAllister’s Dirk. They are all classics, difficult to play, and any band that can play them well certainly deserves to win a contest at the top level.

But I don’t want to hear every band play them.

Partly I think it sets a bad example for bands in the lower grades, encouraging them to pick tunes that might be too hard for them. This never ends well. More importantly though, I don’t want to hear the same tunes all throughout the competition.

Offered here is my humble suggestion for encouraging some variety in the tune selection without discarding the classic tunes altogether.

For these MSR competitions, the band must submit two sets, and they do this when they register for the competition. When the band comes to the line, a random draw from the chief steward determines which set they are required to play. I suggest that one submitted set from each band must not contain any of the most popular tunes for the last five years.

So a band is welcome to submit Set #1 as Highland Wedding, Susan MacLeod, and John Morrison of Assynt House, but Set #2 can’t have any of those more popular tunes; let’s try something like John MacDonald of Glencoe, The Shepherd’s Crook, and Major David Manson.

If we require that each band’s Set #2 have none of these more popular tunes, probability says that half of the sets we’d hear would have the tunes that aren’t heard as often, but we’d still have a chance to hear these popular tunes. That’s my thought. Any other suggestions?

More variety in the MSR, but still not enough

I’ve posted before about how little variety there is among the MSR sets submitted by the top level bands. That particular post was just after the World Pipe Band Championships last year, and this year was about the same. I just went through the recordings posted on the BBC website of the 14 bands in the final MSR, and determined the following:

March

  • The march was where there was the most variety, with nine different tunes.
  • The most popular march was Pipe Major Tom MacAllister (4 times), with Balmoral Highlanders and The Clan MacRae Society being played twice each. These were the only tunes that were repeated.
  • Usual favorites Highland Wedding, Donald Cameron, and Lord Alexander Kennedy only made one appearance each.

Strathspey

  • Eight different strathspeys were played, with Susan MacLeod being played most often (4 times). Maggie Cameron and Atholl Cummers were each repeated twice, as was The Islay Ball, which hasn’t been very popular in years past.
  • Perennial favorite Dora MacLeod was only played by one band, as was Tulloch Castle.

Reel

  • There were only six different reels played, showing the least diversity
  • John Morrison of Assynt House was the most popular (4 times), with MacAllister’s Dirk next (3 times) and two appearances each of Mrs. MacPherson of Inveran, John MacKechnie, and Charlie’s Welcome.
  • Pretty Marion was only played once, and it was the only reel not repeated.

So there’s still an appalling lack of variety in the MSR tune selection, but there seems to be a bit more variety than last year. What can be done to shake things up a bit? Well, I have an idea that might appear here sometime in the next few days.

Piping is for the birds

I’m always amazed at some of the questions that people ask when I’m at a highland games or something. One that pops up from time to time is “I didn’t know they let women play the pipes.”

First, who is this “they” that regulates who can and cannot play pipes?

Second, just take a glance at any massed bands and you’ll find that women are certainly not prohibited from playing the pipes. When I played with Macdonald Pipe Band in Pittsburgh, my four best friends in the band were all women. In pipe bands these days women are certainly welcome, and make an important contribution to the band circle.

There are a number of women who are successful solo competitors as well: in 2010 there are six female judges on the EUSPBA’s judges panel, and four more in the PPBSO. Those who are able to pass adjudication exams and be on the panel must know something, regardless of which restroom they use.

Women have passed a milestone at the top levels of solo competitions as well. There was a big controversy about women playing in the gold medal events, and in 1974 two women were finally allowed to compete in the gold medal piobaireachd events at the Argyllshire Gathering and Northern Meeting.

Yesterday, Faye Henderson (whose mother was one of those first two women to play at these events), won the gold medal at the Argyllshire Gathering, becoming the first woman to ever be at the top of that prize list. She also won the medal the first time she played in the contest, and at 18 years old is one of the youngest to win.

This marks a great milestone for women in piping, and I’m sure there will be many others. I’m sure there are some crotchety old men sitting around and grumbling that women can’t play pipes as well as men, but this seems like a pretty solid proof to the contrary.

There’s one unfortunate thing about Faye’s win, which is that she won’t be able to win both gold medals in the same year. Due to a smaller number of players allowed in the contests, she’ll be playing in the silver medal competition at the Northern Meeting. I’m sure there aren’t many who have won a gold medal and silver medal in the same year, so she’ll have a chance to add her name to that list as well.

Perseverance of Pipers

A few years back I competed in a highland games in Kentucky, and I’m still on the email list for the competitions. I received an email a few days ago from the Central Kentucky Highland Games in which it was announced that the solo and band competitions were canceled because a low number of entries didn’t justify the expense of the contest.

I received another email yesterday from the coordinator, saying the competitions were back on, but with a twist: they would be unsanctioned. The judges (or more accurately the judges’ travel expenses) are the most expensive part of a competition, so they’re using local grade 1 pipers and drummers as the judges, and they’re still offering all of the events originally planned.

It’s easy to forget that competitions aren’t about placings, medals, trophies, or points: they’re about bagpipes, and the people who play them. Pipers compete for a number of reasons, and getting points is only one of them.

There could be some reasons for not allowing unapproved amateurs to judge since they haven’t gone through the training workshop required to be on the panel, but there’s one thing I’m going to say about that: the musical qualifications are in place in people who have moved up as high as grade 1. I don’t know what goes on in those judging workshops, but everyone who goes in already knows how to play their instrument, and play it well.

If it’s the difference between offering an unsanctioned competition and no competition at all, I say let them play.

The Worlds goes global

Try to think about what life was like before the internet. It’s hard, I know. The net is the first place I look for news, weather, and things I used to look up in the yellow pages. I also contend that Wikipedia is one of the greatest inventions in the history of humanity. Information and interactive content has filtered down to nearly every part of the globe, involving nearly every aspect of every culture.

The bagpipe world has been involved in this as well. I can list a dozen pipers who have blogs and YouTube channels, and there are hundreds of others out there. Videos of band competitions, especially the ones involving the top bands, appear on YouTube within a few hours of the contest, offering people half a world away the chance to be armchair judges.

And speaking of armchair judging, I spent Saturday morning doing just that. Courtesy of the BBC, live coverage of the World Pipe Band Championship was available to anyone in the world with an internet connection. Being unable to make it to Scotland is no longer an excuse for not catching the performances.

Coverage included the entire grade 1 contest, starting with the qualifying round. I’ll admit that I’m not hardy enough to catch the qualifying round (it started at 4 am here on the east coast of the U.S., but I do know people who got up to watch it), but I did see the entirety of both the MSR and medley rounds of the finals.

This also suggests a great party event: “Hey, let’s get together and watch the Worlds!” The BBC recognized this would happen and asked people to submit photos of their Worlds parties.

The really nifty thing is that all of the videos from the day are still available at the BBC website. Even being busy on the day of the Worlds is no longer a valid excuse for not catching the performances. Videos from 2009 are actually still up on the web, so you can go back and compare.

Oh, and in case you’ve had your head in a bucket for the last 36 hours, it was the St. Laurence O’Toole Pipe Band that came out on the top in grade 1, winning the Worlds for the first time in their history.

Working up a sweat

It’s summer here in the northern hemisphere, which makes for some pretty hot piping. Here in the mid-Atlantic region of the United States, temperatures for the last week or so have been well above 90 (that’s about 33 degrees for those of you who speak metric), which, when combined with the high humidity, is less than ideal for piping outside. I just finished almost of hour of playing and looked like I had just jumped in the pool, and I was inside in the air conditioning.

This got me to thinking about the physical demands of playing the Great Highland Bagpipe compared with other instruments. I couldn’t think of anything that was nearly so demanding to play; I certainly never got anywhere near this exhausted as a trumpet player, except for marching band.

Now before you laugh at that, watch this video (which is my old high school band, though about a decade after my involvement) and tell me that you wouldn’t be out of breath at the end of it. A marching band show is basically power walking for 8 minutes and blowing all of your air into an instrument. To say that you’d be exhausted after a 6 hour practice in the August sun doesn’t quite do it justice. Imagine two weeks of those 6-hour practices and you’ve pictured the last two weeks of my summer vacation every year I was in high school.

So just how demanding are the pipes? Well I’m not sure. I’ve been intending to hook myself up to a heart rate monitor while I practice just to see how high it gets. I’ll plan to do that this week, and I’ll be sure to post the results here.

Stay tuned.

New beginnings

And another chapter in the life of the Keydet Piper has come to a close. As of yesterday, after submitting my students’ semester grades and attending the final faculty meeting, I am no longer employed by Fryeburg Academy. It’s been four years since I moved to Maine, and I’ve really enjoyed my time here, but it’s time to move on.

I’ve received many comments and compliments from my students and colleagues over the past few days, and many of them have said they’re going to miss my bagpipes. My piping has come a long way since I moved to Maine actually, in spite of the fact that there’s not a very high concentration of pipers in northern New England.

When I moved here, I was competing in grade 3 solos with no real intentions of moving up. I won piper of the day at the New Hampshire Highland Games in 2006, then again at a very small indoor contest at the end of October, and at the recommendation of the judge there I decided to apply for an upgrade. My initial request to move to grade 2 was denied, but I appealed and was moved up. I had no intention of moving beyond grade 2 at the time, until a judge at the Maine Highland Games in 2008 made a rather casual comment that I wouldn’t be in grade 2 for much longer. I set the goal of moving up after 2009, and I achieved that goal.

I also joined a band not long after moving, the newly-promoted grade 4 Graham Highlanders of St. Johnsbury Academy in Vermont. I played with them for 2007 and 2008, then left to focus on my solo competitions. I met some good people in the band, and have a few very close friends from that experience.

Enough suspense already: where am I going? I’ll be moving to the Washington, DC area to start a graduate program at the University of Maryland in College Park. I’m pursuing a master’s degree in nuclear engineering, with the intention of working in the nuclear industry. I’m pretty excited about that,

I’ll still be actively piping, and will be competing with MacMillan Pipe Band at the following venues in 2010 (there may be some others I have missed). Hope to see you there!

  • Glengarry Highland Games, Maxville, Ontario, July 31
  • Virginia Scottish Games, The Plains, VA, September 5
  • Ligonier Highland Games, Ligonier, PA, September 11, 2010
  • Celtic Classic, Bethlehem, PA, September 24-26

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