No middleman

One of the worst traditions in solo piping (and occasionally solo drumming) is the idea of a “senior” or more esteemed middle judge on a bench of three.

Many will know what I’m talking about, but in case you don’t it goes like this: the judge who sits in the middle is often deemed to be loftier or more important. It’s often predicated on age or experience, but it can also be by having won bigger prizes in competition or being seen to know more than the others.

Sometimes it’s none of that and one judge simply has a massive ego that the other two can’t be bothered battling over.

Whatever it is, the practice should be stopped.

Why? Because it tends to put a false sense of importance or priority into the minds of the competitors and judges, and that should never be true. Every judge has an equal say, so has equal importance, and the perception of a “senior” judge communicates the wrong thing.

I’m not easily intimidated, but I cannot remember judging on a solo bench of three when I felt that all three weren’t equal, and have been fortunate to work with folks whose egos don’t get the best of themselves, much less try to throw around their “senior” weight. I have been on benches (none recently) when I and/or another judge have, attempting to be polite and respectful, offered the middle spot to the older fellow. I have served on benches when that gesture of politeness has been declined, and my esteem for those people rose even higher. Sometimes placement of judges is pure happenstance.

The last two times I served as a judge for the George Sherriff Amateur Invitational something excellent happened: there were three events, so we swapped places for each, one of us taking a turn in the middle. It helped to communicate to all that no one judge’s opinion counted any more or less than another’s.

I’m not sure how the tradition started, but I would guess that it’s another holdover from the age of “society” folks like “Kilberry” or “Rothiemurchus” lording their opinions as near-non-players over accomplished competing pipers whose playing ability they could only dream of matching. It was probably the guy with the most money or titles or letters or land who got the position of “authority” in the middle. The richer they were, the more power they had, even when they couldn’t tell a darado from their own flatulence.

We’re so past that sort of thinking today it’s not funny. All competitors are considered equals before, during and after an event, and the judges should be equals, too. Yes, on an odd-numbered bench someone has to be in the middle, but it’s time to stop assuming that that person is “senior.”

The new rule to follow for benches: alphabetical by last name, left-to-right as the competitors face them.

Done.

 

Memories

I was reminded to remember a topic I’d forgotten to write about: memory. Specifically, the unwritten rule or tradition that pipers and drummers must memorize music.

As far as I know, there is no specific rule with any association that competitors must play from memory. But I often wondered what might happen if I walked up at some piobaireachd competition, plopped down a music stand with the score of the tune, and proceeded to play from it.

Would I be disqualified? I don’t think so, since there’s no rule that says it’s not allowed, let alone that I could by rights be DQed. Would the judge mark me down for reading from music? Again, no rule so that’s questionable. But anyone who would try it no doubt wouldn’t get the benefit of the doubt.

There were times in my solo competing piping life when I’d have 15 piobaireachds on the go, most of which were tunes that were set for competitions that I would never have learned otherwise, mainly because I thought they sucked. Every piper who’s had to learn four or six or eight tunes from a list in which maybe three are truly attractive compositions knows what I’m talking about.

It’s a particular battle of will to memorize music you don’t like when practice time is short and the memorable melody is scant. You have to will yourself on, tricking your mind into memorizing the notes and phrases that come next, using mental cues – a bit like schoolkids making up acronymical sentences to help memorize obscure facts that will be on the test, e.g., A-B-D-B, A-D-B-B – “Anyone But Donald Ban, Agony Donald Ban Ban.” I’ve played tuneless tunes at Inverness or Oban that I would have a hard time today telling you how they start. (Ahemsobieskissalute.)

I admit that there was the rare time when I had a piobaireachd picked where my memory was a bit sketchy. It would be one of those dreadful obscure tuneless tunes that the judge also didn’t know well, so he’d be watching the score closely with his head down, which was a perfect opportunity to take an upside-down peek at the manuscript on the table.

There. I said it. Was that cheating? Not by the rules as they are written, so I still sleep well.

I noticed in a few photos of the recent Live In Ireland In Scotland concert that the snare drummers had the manuscripts to the scores in front of them. At last, I thought, common sense prevails, and good for them for putting the audience and the show before, in this case, a rather useless tradition of being expected to memorize music. It’s a mountain of material for musicians to squeeze in among their own band’s stuff, so of course play from the scores. I’m surprised the pipers didn’t as well.

I’ve poked around the rules of other music events. The International Tchaikovsky Competitions require material to be played from memory. But I couldn’t find many or any other examples. Even Drum Corps International, as far as I can see, expects memorized performances, but there doesn’t seem to be a rule. “The memorization of music is usually a matter of pride for the marching band, however bands that regularly pull from expansive libraries and perform dozens of new works each season are more likely to utilize flip folders,” according to a the Wikipedia entry for marching bands.

As pipe band music becomes increasingly complex, and the demands on top solo pipers rise, the tacit expectation that all music will be played from memory comes into question. Is it necessary? Will the performance improve when the score is there for reference? The old reliable memory lapse as a means to knock out a competitor might go away, thus making the judge’s task harder, but so what?

If I remember correctly, it’s more about the music and less about the memory.