Why are pipe sections so big? It’s the great question of this particular era of pipers and drummers, and there’s no sign of the issue going away any time soon. It’s a quandary that virtually every competing band in every grade faces.
Be big or go home.
In 1993 I interviewed the great Iain MacLellan, former pipe-major of the Glasgow/Strathlcyde Police Pipe Band and owner of 12 World Championships. This was just before the dawn of plastic or fibre drone reeds, moisture systems and synthetic bags. Back then it was still all cane and sheepskin, and the number of serious options for chanter reeds was maybe three – McAllister, Shepherd and Warnock, and with all of those a piper needed to know how to work with them. Achieving a sound was an art.
While he certainly had excellent pipers during his tenure, in the interview MacLellan spoke about the requirement that his pipers over all else had to be able to create, manage and sustain tone. So, the guys in his bands had to have a combination of excellence in tone and technique.
Twenty-one years on, the tone challenge has been made immeasurably easier to meet through advancements in the instrument. Anyone who has listened to an amateur solo piping event or Grade 4 band competition hears tone that two decades ago was the stuff of at least two grades higher. Their quality of technical and musical playing is probably about the same but, by and large, the sound of almost every competition piper or pipe band today is relatively pleasant.
Today, for pipe bands, finding pipers with a good-sounding pipe is not the big deal it once was.
I also hear amateur solo pipers who play in top-grade bands who, technically, never would have got a game in Grade 1 in 1990. They wouldn’t have had the technical ability and musical finesse to be accepted. If they had the temerity to ask to join, they would have been kindly told the band was “full up.”
I’d venture to say that there’s hardly a competition band today that would turn away a player who’s within the broad technical scope required. Chances are, they have a pipe and tone that can meet the grade. There’s no longer such a thing as “full up.”
Smaller bands demand tighter unison. A quartet can’t afford a slip or anything but perfect sync. With every piper added, the needed precision wanes incrementally. Iain MacLellan’s pipe section of 12 or 14 demanded precision of playing.
A pipe section of 24, 25 or 30 is not nearly as stringent. Some bands at the top certainly appear to have wonderful unison, but there are still pipers in even the best bands who never would have made the cut in the same top-tier band 20 years ago.
So, it makes perfect sense for a modern band of any grade to build as large a pipe section as possible. Not only is it impressive, but it’s naturally more forgiving in terms of unison lapses and even mistakes. An added benefit is that large sections are built-in insurance against collapse. Two or three pipers leaving in 1990 would mean hard times for a band; for many bands today, it’s hardly a problem.
Advances in bagpipe “technology” have produced better sounding and steadier instruments, easier to tune and keep in tune, opening the doors to playing in grades two decades ago that would have been well above a piper’s ability. A bigger pipe section naturally covers up technical problems that would have been glaring in 1990.
That’s why pipe sections today are bigger.