Top Ten reasons why not to stand next to the Pipe Major

One evening on my way home from a grueling sweaty summer pipe band practice I found myself thinking about standing and playing next to our band’s Pipe Major. In the church where we practice, the narthex is used for both its space to form a band circle and has somewhat less reflective sound than the main church. It’s tight, it works and I have found myself standing at times either next to or near the Pipe Major (PM).  Seems like when I have practiced the ‘right’ tunes for the evening I find myself standing across from him, my sound mixing with all pipers. On other nights, when I’d practiced ‘other’ tunes I found myself next to the PM, or Pipe Sergeant, or, in between both! You can guess how those evenings’ turned out (insert nervous laugh)… So I thought about the top ten reasons why not to stand next to the PM.

10. When standing next to the PM, I may get a stiff neck from craning my neck left or right depending which side of the PM I stand. - This is the only one of the ten that does not rely on the PM hearing me play. In a piping circle, everyone should stand facing the center, with only our heads turned toward the PM to follow his fingering and feet. My blow pipe is perfect for standing facing forward, but when I turn to the left the blow pipe feels too long. Getting used to playing in different physical piping circle positions makes a piper more confident, versatile and useful in the band.

9. The PM hears my chanter or drones are out of tune – We spend a lot of time tuning at practice and before competition, always seeking that ‘one sound’ from the band. Tuning at practice or before a performance I may match the PM perfectly. And yet during competition when the adrenaline is coursing through my veins, my pipe’s pressure may elevate and both drones and my upper hand 'D', ‘E’, ‘F’, ‘G’ or ‘A’ may quickly go out of tune. It take practice, confidence and control over my own emotions and physical excitement to play steadily with the group on the march or in the circle.

8. The PM hears my pressure waver as I play – A band’s sound depends on both a solid drone and chanter sound, as well as volume.  Maintaining pressure through the tune to its cut-off is important. Knowing that my arm can maintain pressure through that last birl and until cut-off should be part of my practice routine, always listening to the sound (how about recording your solo practice?). Without confidence and concentration you will (not may) lose focus. When that band ‘one sound’ occurs, you no longer hear your own playing. Practicing helps, but practicing your breathing and arm pressure technique properly is key. 

7. The PM hears my chanter drops out – Maybe the reed is too old that over blowing finally killed it, or it is too stiff and not properly broken in (“Sorry, but I just changed my chanter reed the morning”), or lips are shot to hold blowing pressure at end of a performance. Then I’m reminded why I practice. The chanter may stop in practice but on the day of a competition may end up with me being cut from the field, or the band losing a placing.

6. The PM hears my drones cut out – The band needs the drone sound of every piper. Maybe they worked perfectly at home, but because I’m now over blowing or drone reeds are damp, one (or more) drones cut out. Controlling my instrument and having ‘nerves of steel’ to drop out and re-start my drones and chanter is a difficult task in performance or competition. I should practice this at home to be prepared for performances.

5. The PM hears my drones strike in early or late – Controlling my pipes is equal to correctly playing music. Striking in IS part of the music. Both music practice on pipes and bagpipe maintenance must be part of my practice regimen. A band depends on producing one sound so striking in together is key. No early drone sounds allowed! Proper strike in sounds solid from the start, not wavering and is maintained. This takes concerted effort, confidence and practice.

4. The PM hears my fingering mistakes, both tune and embellishment – “Question: What’s similar between lightening and a bagpiper’s fingering? Answer: Neither strikes the same place twice.” The old joke holds some truth. Have you ever been ‘encouraged’ during band practice to revisit your music before the next band practice? I have, and on music I have played for years! How could I even mess up on a tuning sequence? Everyone, from the PM on down to the neophyte piper makes mistakes. Rushing embellishments or ending phrasing? Or "The 'D' in D-throw is to be heard but not held." When mistakes happen, play through, not wincing or making eye contact with the PM. Make like it never happened, then go home and correct with practice. If asked in practice 'Who played the note errors in bar 27?" Just owe up to it and move on to perfecting your music in practice at home. In performance, as a band, we must play to the PM’s foot and fingering, and as an ensemble with the drum corp.

3. The PM hears my ‘E’ strike in, early or late – Even more pronounced than ricochet drones is a band with ricochet ‘E’ strike in. As a band we practice this many times. That crazy strike in exercise of repeating the roll-off, strike in, ‘E’ and first four bars of a march then repeat makes sense to do, but I don’t have to enjoy it. The almighty ‘E’ depends on the confidence of each band member controlling their pipes and striking in together. Practice at home on the march and with a metronome will make a big difference.

2. The PM hears me cut-off late – OMG! If practice teaches me nothing, it is controlling my instrument. Ending the tune solidly together is as important as starting together. Cutting off late, or having trailing drones after everyone else cuts off will cost a band. Using drone valves may help (I’m in favor of these, but that’s just me), but learning to be present in the moment of the tune ending, anticipating its end is key. Keeping enough air in the bag to complete the tune with proper drone and chanter pressure is paramount. Cut-off together should be the norm. To hear the PM say “Nice cut-off” should be a rarity.

And the #1 reason not to stand next to the Pipe Major is:

1. The PM wants to hear me play solo so he volunteers me to lead out on a build-a-band tune. We play a very loud instrument: at home, in a park, and certainly before band practice to warm up. Why is it that I become so nervous when asked to play solo in front of fellow band mates and PM? My friends are probably just breathing a sigh of relief that they were not picked, or, are concentrating on practicing fingering technique while I play. Learning to play in any situation builds your confidence and makes you a better piper.

Nine out of the ten points has the Pipe Major hearing me play. I am truly amazed that the PM can hear what is happening while concentrating on tempo and playing correctly for the pipers to follow. It’s not walking and chewing gum that may cause me to stumble, but… roll off, marching, arm swing, dress right, strike in, ‘E’, one beat ‘E’ (or two?), playing the tune to the PM’s beat, mark time, turn into circle, stop, continue playing focused on the PM’s fingering, transitions between tunes, cut off, then breath once again.

I value the PM’s constructive criticism (most of the time) and his praise and support (all the time). I also feel comfortable speaking to him about what I observe or think about practice, competition, band matters, etc. Whether my PM implements the ideas is secondary to the communication line being open. I may sometimes prefer not to be in the PM’s watchful gaze, or him being in ear shot of my playing. But playing next to the Pipe Major is to play with a better player than me, and can only improve me as a piper and musician. I think I see a mantra: practice and control improves confidence and performance. Next practice, I’m standing next to the PM.