World Pipe Band Championships 2010 - Strathclyde Police Pipe Band Medley

Improving Your Piping

Not wanting to over simplify, but I think there is a formula, and it has to be put into practice.

1. The most important thing is a good sounding instrument. You can improve your playing by 100%, but play on a bad instrument and it still sounds bad! Get someone with an instrument you like the sound of to look at your bagpipes, make sure they are always clean and maintained in tip top condition and spend some money on reeds, a chanter, whatever is required. You can get away with a lot if you have a nice sounding pipe. There are a lot of tips in The Complete Pipers Handbook.

2. The next step is to establish a system of scalic exercises. Repeated to build strength of technique and stamina. Incorporate this into a solid and regular practice regime. Exercises, tune break-up (with a lot of attention to detail), playing on bagpipes. An article with examples is provided here.

3. Lessons concentrating on musicality are a great idea. Try to fix the technical issues before the lessons so you can concentrate on things you need to learn, not covering what you can fix yourself. many provide Skype lessons and face to face lessons, so there is now no excuse for not being able to locate a high quality tutor. Downloadable lessons are available at the school of piping website.



4. Play bagpipes like you are performing. Establish tuning times, how long it takes to settle the instrument and then play your contest pieces like you are performing. This will train your mind and teach you what you need to know about preparing your instrument.

I hope this helps a little toward steering those who have expressed a resolution regarding improvement. I am sure there are others with some good tips to share?

Thoughts on Drone Reeds

Over the years we would have trialled and tested nearly every drone reed on the market. There are a number of reviews posted on the School of Piping site, but it should be made clear there are a lot that have not reviewed. We will not, at this stage post reviews on products that simply do not work. (Some products we have not tested recently and to be fair to the makers we also will not post reviews on old products).

There have been a number of reeds that have been absolutely appalling. They either use so much air that they are unplayable (one set had tape stuck under the blades to keep them vibrating and used so much air that when they were set as efficiently as possible I still could not play the pipes for any length of time), or they just will not go. Some sets are impossible to balance and some are pitched badly or have aweful tone.

I think that there are so many of us willing to try whatever reeds are on the market that there are good sales even if your product is complete rubbish. There are always a number of people willing to jump on that type of cash cow. If they were not making drone reeds, they would probably be selling diet pills! One of the reviewers spoke to a reed maker who does not play the pipes. When asked if any quality players had tested his reeds before he put them on the market he said he didn't know any! I found this extraodinary particularly when his product was found the be seriously flawed and was not on the market for any more than a few months.

The other issue is the variance in bagpipes. Not every reed goes well in every bagpipe. You will see a few reed makers make reeds specifically modified for Naill bagpipes as an example, which are quite a flat pitched drone. Some other bagpipes are just difficult to reed and set up. Some are old and warped, cracked or just have bad bore designs.

I think many pipers have forgotten (or have never known) what drones with cane reeds sounded like. There are an infinite number of variances on how a cane reed could be set up, but if well set they had a "oneness", that most synthetic reeds are unable to replicate. They also had the ability to follow the chanter and if well balanced would tend to change in unison. I have heard a few lately that have been set up to be buzzy and sound like a synthetic reed (yes, that is possible).

Few synthetic reeds follow the chanter. Some are now so stable that they are producing a consistent pitch and have to be tuned to match a chanter that rises and drops in pitch with playing and temperature fluctuations. Some chanter reeds are more stable that others in this regard as well.

When testing reeds we look at ease of set up. Ease of balance and quality of tone and harmonics. We look at the ability to follow the chanter, by playing, putting the pipes down for a number of minutes and then playing again until they return to the point where they are again in tune with the chanter. We also comment on "oneness", where the drones sound like an overall umbrella of sound, not three individual drones. This is a quality that must be experienced to be understood. You can have three drones playing in unison, perferctly tuned, but you do not feel they are in sympathy and producing one overall sound. Volume is measured on a decibel meter.

We are not trying to say that one set of reeds is better than another in our reviews. Many pipers will prefer one reed over another depending on their taste in sound, much the same as the variances between quality players using cane reeds or different sets of drones. We do want to highlight what the differences are and how the reeds perform. They are also testing in a variety of bagpipes. We hope that this will give pipers a choice as to what sound they prefer and how they should expect a reed to perform. If we have to fiddle with a reed too much to get it to play well, then obviously it is not a good reed for an inexperienced piper.

We also try to test reeds in a variety of temperatures, as we have found some that do not perform in extreme heat. Obviously due to our location we are limited with testing in really cold dry conditions, however it does get cold here in winter to the point where it is uncomfotable to play and we trust that will suffice.

If the reed is receptive to variation in set up, we will make comment on our finding regarding any modification we have adopted. We often try different bridles, and a number of makers have adopted our recommendations over the years. Often getting the sound or result you want is a matter of experiment and trial and error.

Drone reed reviews can be found at the School of Piping website.

SO YOU WANT TO LEARN THE BAGPIPES!

For those who have an interest and want to learn the bagpipes, there are a few things that you should know. The first is that is a difficult instrument to play and you should not proceed without a good teacher. On average a student will receive one half hour lesson a week, which may increase to a full hour after some time.

What will I need?
You will need a practice chanter and a tutor book to start. This is not overly expensive, probably around $100- $150 for a suitable instrument for a beginner. Your teacher can probably advise you where to purchase a reasonable instrument at a good price. The practice chanter is a quiet instrument similar to a recorder on which pipers learn new material.

What is the process?
The learning process usually starts with a series of musical exercises. The scale, moving on to various embellishments and then, probably some small tunes thrown in along the way. Initially you will run out of material after a few minutes practice, but you should play the routine you are taught several times. Put the chanter down and pick it up and go over it again at a later time. As you progress your practice schedule will increase. Probably 30-45 minutes a day for a learner on some tunes is adequate. You should not worry if you miss a day’s practice, but ensure that you do not do it frequently. The purpose of practice is to develop muscle memory, correct technique and to memorise and remember the material. Later, on the bagpipe you will need to work on blowing technique and stamina as well. As with any musical instrument, practice and playing the instrument regularly are a part of life.

When do I play a bagpipe?
After playing several tunes at a reasonable standard it will be time to progress to the bagpipe. The time this takes will vary from person to person. Some organisations provide a bagpipe for learner pipers; others ask that you purchase your own. A suitable learner’s instrument can range from about $1,500 second hand upwards. There will be maintenance items and other small expenses along the way. Ask your tutor about the requirements for a bagpipe. Do not just go and buy something, there are some traps for the unwary. Lots of Pakistani made instruments are misrepresented on the internet and many people sell second hand instruments they know little about.

How important are lessons?
Regular lessons are very important. To miss a couple of weeks dramatically sets back the progress of a learner piper. To miss lessons frequently is very disruptive and can significantly impede progress. This is a musical instrument. To learn is sometimes a chore, but to play is fun and that should be the goal. Some parents seem to look at piping lessons like school and think students should have a break for school holidays. This is not the case. Piping should be looked at as one of the fun/physical activities that is used as a break from school work etc.

How do I join a band?
Some bands run classes for learners and there will be a direct path to follow to become a band member. There will be specific tunes to learn so that you know the band repertoire and some bands have a juvenile band or a development group that feeds into a higher level band. Some students learn from a private tutor and they will be able to give advice on joining a band. It should be remembered that when you join a band, it is as much your band as anyone else’s. You should therefore help to assist the band in fundraising, group activities etc. This ensures the future of the band and helps to repay the more senior members for the time they put in to
assist you or your child that is learning.

What about solo competitions, certificates and seminars?
Once proficient with a few tunes on the bagpipe, you will have the possibility of entering competitions as a soloist. Competition forms a significant part of the piping lifestyle. It is a good way to monitor your own standard and to gain some feedback. Another useful tool is to complete examinations through the local Associations. Seminars are often run by the local Associations and are a great way to gain additional knowledge, alternate view points and meet some of the local identities.

What is so good about learning to play the bagpipe?
Aside from the pleasure of performing and enjoying music, the opportunities open to pipers are numerous. There are a number of organisations that offer full-time employment to pipers. There are numerous opportunities to compete locally, interstate and overseas. Festivals are run in most countries around the world as well as tattoos and other events of significance. The friendships made last a lifetime. The discipline, teamwork and skills learnt will flow on to all parts of the student’s life. What is most important however are the challenges and enjoyment obtained and sometimes the privilege to be a part of something very special.

There is more information to be seen at the school of piping website and “The Complete Pipers Handbook” is the ultimate guide for getting started on the bagpipe and as a useful resource for teachers. It is available here: schoolofpiping.com

Tune selection for lower grade pipe bands.

This is an interview that was conducted by Alvin Chung of the Hong Kong Pipers Society with Brett Tidswell. I thought it may be of interest.


Q: What general guidelines should band leaders follow, when it comes to setting up a band repertoire? (especially for learner or lower grade bands in Asia)

A: I have always been of the philosophy that music selected should teach the band something. Look at the basic idioms of piping and ensure that they are encompassed by tunes that will teach the band how to play these types of tunes well. They obviously have to be musical and entertaining, but there should be some sense of direction and a teaching plan behind the music selected at a lower level.

Q: Apart from marches, which most uniformed or youth groups in Asia tend to play for parades, what other sort of things should learner bands here be playing?

A: I think all bands should play a good selection of march tunes of various time signatures, but also basic strathspeys, reels, airs and maybe even some simple jigs and hornpipes. The suggestions that I made above apply here.

Q: When it comes to setting up medleys for lower grade bands in particular, what should leaders pay attention to?

A: I think with medleys lower grade bands need to be careful not to over reach and play music that cannot be controlled by the band. I think musical tunes, within the bands playing capacity, but still giving the members a challenge are important. Good key and idiom changes between tunes makes for a more interesting medley. Music may need to be re-arranged or modified to suit the band's capability.

Q: “A band can only be as strong as its weakest player”
But playing easy tunes all the time may just bore seasoned players to death. How do we find a middle ground?

A: This is always a difficult problem, but can be addressed by having a tiered structure of music, where the upper echelon are learning some additional more challenging sets. The weaker players however should always be put slightly above their comfort level, so that they have to work and improve.

Q: “Picking tunes a level higher than what my band is will drive players to progress faster”?
Is that wisdom or rubbish? What are the pros and cons?

A: I think this is often a bad plan. Usually it just results in band playing technically inaccurately and out of control and serves only to have band members practising a lot of mistakes. Tune selection has to be challenging but also realistic. I rarely see it succeed and result in improvement.

Q: Could you name a few underrated tunes, which an average band in Asia should seek out and explore?

A: I am a big fan of some of the old favourites. Played well tunes like Cabar Feidh, Earl of Mansfield, Brown Haired Maiden etc. can be a delight to listen to. You should always mix it up with some more contemporary pieces to make for a varied and entertaining repertoire.

Q: Any concluding remarks? Any further questions relevant to the topic but not covered here?

A: I think the main point is to have a plan of attack, a purpose for the music and a direction in which to take the band. I hear far too many badly played "itchy fingers" and simialr tunes. Keep the repertoire simple, challenging but realistic. Aim to keep the playing technically accurate, with correct phrasing and expression and at a level that the band can control. I think this makes for better music, a greater chance of improvement and ultimately more enjoyment for the performer and listening audience.

PLAYING IN A PIPE BAND

Having played in Pipe Bands for over 34 years, with almost 20 of those as a Pipe Major, it strikes me that there is a very different art form to playing in a band, than being in a role that involves conducting and driving a performance.

Instrument.

Having recently played in a pipers role, it was essential that I attended practice with a bagpipe set up as the band wanted and in perfect condition. Why should the Pipe major spend time working with my instrument when obviously there are more pressing issues. Before each practice my instrument was given a short blow just to ensure it was sounding at its best and steady.

Personal practice.

Working on the tunes at home is important to ensure that band practice becomes a musical rehearsal and not a private lesson for one or two individuals. I do not know of any musicians who do not do private practice and still adequately perform at rehearsals.

Focusing.

When the band is playing, spending your time watching the Pipe Major (who is conducting the band) is essential. Instead of just standing and playing the tunes, it is important to watch the Pipe Major's hands and try to play as closely as possible to his style and example. This way you improve at a rehearsal without someone having to intervene.

Intonation.

Next it is important to use your ears. Listen to the sound of your instrument and compare it to the sound of the band overall and also to the musicians on each side of you. You need to blend as closely as possible with both. If there is an issue around you, it will be your experience and listening to the overall sound that will guide you and ensure that you contribute to the sound and not detract from it.

Be an anchor.

You must also contribute to the musical performance. watching the Pipe Major will help, but there are times when bands increase tempo and rush to the ends of parts or tunes. The experienced player will not be dragged along, but will hold back, still ensuring that they do not stand out as an individual in the performance.

Attacks and finishes.

Attacks and finished are all important. These are learnt through drilling and discipline. You should practice them and try to improve them every time they are undertaken. Good instrument maintenance, knowledge and understanding help tremendously.

Attend regularly.

Without all members present practices are difficult. It is not just you that is practicing, but the whole team that is learning to perform together. You would be surprised how ineffective a practice is in reality with one or two players missing.

Contribute.

Most bands struggle to raise money and attract new members. You should realise as a member of a band it is you that "owns" the band and as such you can contribute to recruiting, fundraising and the overall impression the band leaves on outsiders.

Enjoy the privilege.

playing in a band is a privilege. The senior members of bands put in huge efforts and sacrifice a lot to make the bands a success. Ensure that you contribute and you will enjoy your involvement and success of the band.

Upcoming Piping Events - Adelaide

The R U Brown Piobaireachd Society is holding its Silver Chanter Competition on 5th Nov 2010 at the Blair Athol Uniting Church.

A further Contest will be held on 1st April 2011 at the same venue.

The R U Brown Piobaireachd Society will be holding its Gold Medal Competition at Scotch College Adelaide (Carruth Road Torrens Park)on the 8th May 2011. There are normally over 100 pipers competing in various events throughout the school. International and local judges will decide the winners of the events.

The night before will see a recital held in the School Chapel where pipers of International renown will perform. Seminars and lessons will be conducted in the week following the competition. Keep an eye on the society website for further information.

Accomodation for adjudicators is provided at the Regal Park Motor Inn, 44 Barton Terrace North Adelaide and a bus provides transport to the events. Competitors are free to take advantage of the bus if space is available.

Generous travel allowances are available for competitors in the senior events as well as prize money for winners. Details are on the website.

We are looking forward to seeing everyone at the events again next year.
For further piping information visit The School of Piping Website.