Why is it that highland bagpipers are so competitive? Does it have something to do with our heritage? We have some inherent need to prove we are the best. I can't think of any other type of music where competition is so important that it literally is the driving force for musical innovation. Irish pipers have, to a great extent, avoided this path and often speak of highland piping as "the darkside", snickering at the regiment that we put ourselves through to become slaves to the "unmusical" gracenotes and such.
I tend to laugh at these type of comments... but at the same time I see their point. As highland pipers we must always remember that we are musicians first, competitors second. The problem today is that so many pipers are taught to compete before they even come close to understanding the music. The strictness of competitive style piping can result in some of the most amazing music. (example)
http://www.youtube.com/watch?v=ErtFfLCNtz8
If we lose sight of the music we become fodder for bagpipe jokes and perpetuate the myth that bagpipes have to sound like this.
http://www.youtube.com/watch?v=JJm_bSTJI4U&feature=related
I tend to laugh at these type of comments... but at the same time I see their point. As highland pipers we must always remember that we are musicians first, competitors second. The problem today is that so many pipers are taught to compete before they even come close to understanding the music. The strictness of competitive style piping can result in some of the most amazing music. (example)
http://www.youtube.com/watch?v=ErtFfLCNtz8
If we lose sight of the music we become fodder for bagpipe jokes and perpetuate the myth that bagpipes have to sound like this.
http://www.youtube.com/watch?v=JJm_bSTJI4U&feature=related
Take the time to learn about the music you are playing. Learn the history and evolution of the different styles of our music. Learn about the great players of the past and how they contributed to the music we have today. Learn about music theory. Learn how to get the best sound out of your instrument. When you play in public be polished and professional and you will be regarded as a musician and not a novelty.
4 comments:
I really liked this post, John.
I think you've hit the nail right on the head about competition. If you don't put the competitive side of piping in its proper place, you end up with a joyless sound, even though it may be technically OK. (I suffered through hours of Suzuki violin "performances" when one of my children was enrolled in that program.)
On the other hand, if you understand that the edge of competing can spur you to technical excellence, and you understand what it takes to give a really musical performance, then you'll be well on your way to being a good piper, and one that people enjoy listening to.
I am always conscious of being an ambassador for the instrument whenever I play in public - even if it's just tuning my instrument at the highland games. I think pipers need to be taught to recognize when they don't sound right. Otherwise they embarrass themselves and damage the reputation of the instrument.
(Nice Blog John, by the way - I'm adding it to the links page on mine!)
Thanks John,
Your blog is well written, and I appreciate your time and efforts to teach and help us grow in the band.
Bob Jacob
A very good point is made in your post, John. I thought I may try to add, though a bit belated. It's funny that we were just talking over the phone along these lines the other day.
Unfortunately(but also fortunately) competitive piping has allowed greater technical prowess into the music we play, making the all around experience more enjoyable. (Yes, I know Marc said the same thing and I'm not really adding anything new.) I suppose, however, that as with anything else a strong technical foundation has to be set before getting to the music; it seems there's no point trying to interpret the music without knowing how to execute or manifest the idea.
Through the summer this came up a few times, but in regards to piobaireachd. If you've not heard Andrew Wright play you should immediately go out and buy one of his recordings. As a competitor he's not won either gold medal, though he is one of the largest piobaireachd authorities and greatest players alive. It seems odd then that he's not won anything, but he has a bad crunluath movement. This is the downfall of placing so much importance on "the boards;" when someone gets up with a beautiful instrument, phrasing, etc. but has a bad technical movement and doesn't get in the prize list. (Especially since his timing and treatment of short notes is so wonderful, and his bad crunluath does not detract from the overall musical experience!)
I was wondering if you've seens these recordings as well...
Roddy MacLeod: http://www.youtube.com/watch?v=XS9c9ggf0P4
Gordon Walker: http://www.youtube.com/watch?v=Q0kLt2H9pXo&feature=related
&
http://www.youtube.com/watch?v=Gk4LM6eFn68&feature=related
Stuart Liddell:
http://www.youtube.com/watch?v=bTjde9Bi6S0
I wonder though where piping would be without competition? It's certainly an interesting thought.
If I never compete again it will be too soon. Competition has improved technique, etc. By in MHO, it has largely stifled creativity.
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