Peeves About How Tunes Are Played

In the playing of music, I’ve encountered those who gain speed in coming across a dotted quarter note such as in “The Dream Valley of Glendaruel.” After stopping a chanter practice at that point, to say that this note must be given two beats, I heard someone say, “a dotted quarter note has the value of one and a half beats.”

This was a wise answer, because that is what he had been taught. But, how does one count that extra half beat? The time given to the dot must fall into the next beat of course! Some will continue to have difficulty understanding the need to hold a dotted quarter note for two beats. With practice, everyone will eventually accept the right way, assisted by a teacher’s kind instruction. Beginners learn easily, knowing their teacher is striving to help them to improve. Long-time players on the other hand, are often engrained in sloppy habits and find it difficult to make the changes that will improve not only their playing but that of the band.

Some believe that to be able to play a tune fast causes them to be recognized for their excellence in playing. Inaccuracies because of speed can have the opposite effect. A tune such as “The Black Bear Hornpipe” for instance, should not be played fast, but instead, with clarity, articulation, distinction and precision of time. One should hear the introductory notes and appreciate the emphasis given to the two quarter notes at the beginning. From there on, there is a beautiful cadence emphasized by the drum section. The second part can become a jumble of notes if care is not taken to enunciate them. In contrast, when that part is well played it’s as if the music is being lifted into the air by the drum section.

And what is it that gives music its quality that makes a person want to listen? It’s a nice melody with excellent timing, on a well-tuned instrument, having notes emphasized, which are on the beat. If two pipers are playing together, then they should be listening intently to one another, to sound as one, being in tune with one another. Correct pressure on the bag assures that this is so. Insufficient pressure by one player will cause his notes to be flat and out of tune. This is a pet peeve, for I’ve played alongside pipers who are not inclined to keep proper pressure on their pipe bags or listen to the piper next to them, consequently losing quality in their playing and in their time. It’s not enjoyable to play with this kind of piper and less enjoyable to be a listener.

I particularly don’t like to hear pipers playing a six-eight march without emphasizing the beat notes, but instead, sliding downwards, always giving the third and sixth notes the emphasis that should be on the first and fourth notes. It would make all the difference in the world to hear the tune played with every beat sounding like clockwork. I have similar thoughts for the tune, “Highland Laddie,” which is a two-four march. In the second part, the tune is lifted up by emphasizing the beat notes rather than sliding downwards to give emphasis on the third and sixth notes.

Whenever I hear and watch the two retreats that are commonly played together, namely, “The Green Hills of Tyrol” and “When the Battle’s Over,” I am disturbed to observe the whole band out of step. These retreats and many more have been incorrectly written and adopted to begin with the left foot on the two introductory notes. Any suggestion that the band should play them correctly is met with the retort that all bands play them like that, so one band should be ready to play with another. Besides, I am assured by their pipe-majors, that the arrangements for side drum would have to be changed. However, the retreat, “Kilworth Hills,” has been written properly and adopted, so its drumbeats could be used for “The Green Hills.” There is another good reason to play these retreats properly and that is that when they are played properly in a medley, the next tune will fall naturally into step. It won’t otherwise.

I have another pet peeve about the playing of pipe music. It pertains to “The Flower of Scotland.” Arrangements are being played that detract from this beautiful anthem. I secured the composer’s permission to write it as he did, and it is in “More Songs of Scotland,” volume 12B of The Church Piper.” It should begin with three introductory notes. Then, “Scot-land” should fall first on the left foot and then the right, with the “turn-arounds,” falling on the right foot and the long-sounding notes on the left. Arrangers have done nothing but spoil this outstandingly beautiful piece of music, which is in actuality, one of Scotland’s National Anthems.

These are some of my pet peeves about the way in which pipers play carelessly. If you have pet peeves, they will be welcome, not for the sake of making negative comments, but to bring these weaknesses to the attention of pipers who will make a difference by helping those who need help. In a similar way, we can expect to comment positively on what we really enjoy about playing in the band.