Keeping score

Scoresheets or crit-sheets have never been a regular thing at UK solo piping competitions. I remember arriving at Montrose Games in 1983, an awestruck 19-year-old from St. Louis playing at the “senior” solo competition on a brilliant, sunny day at the links.

My bass drone stopped while tuning for the Strathspey & Reel (cane, sheep, wet, overplayed), so I slunk off, too frightened to take it out and flick it in front of Old Jimmy MacGregor, who might have been too, um, under the weather to notice. Never mind. I thought that I played pretty well in the March, and keenly waited around for the result.

Nothing for naïve me. But I remember being surprised that, not only was there no ranking order of finish past third, there weren’t even scoresheets. I was told that such things weren’t done in Scotland. I eventually got used to it, but always had a sense of miff as to what I did right or wrong, or why I was in or, more often than not, not in the prizes.

Thirty-one years later and, but for a few experiments with CPA B- and C-Grade events, there is no system of feedback for solo competitors in the UK.

That is truly ridiculous.

As with pipe bands, every solo competitor deserves to know how an adjudicator accounted for his or her decision. They don’t need or even want a “lesson,” or to be given helpful hints for the next time, as I have heard scoresheets reasoned away by many UK judges. Instead, competitors should at least come away from an event knowing that each judge’s decision was more than arbitrary.

The lack of feedback and accountability in the UK has at times propped up truly shallow, and even nonexistent, piping pedigrees from not a few adjudicators over the last century who, if they had to account for their decisions by providing constructive and informed criticism, would have been exposed as the frauds they were. The aristocratic “society” types who didn’t or wouldn’t know a phrase from a pheasant could simply draw up a prize list and go home.

Today, even, the best a competing solo piper in the UK can do is ask and hope for feedback from the judges. I once did that after I got nothing for what I fancied was a really good tune at the Northern Meeting. Days after the event I emailed one of the judges (who was someone who had never competed himself), and he responded with comments about how my taorluaths from D weren’t good. That might well have been the case – with another piper. The tune I actually played had no taorluaths from D.

In every other piping jurisdiction, not only are scoresheets mandatory, but judges only become judges after amassing a long history of competition success, learning feedback techniques, and proving that they can produce accurate and constructive scoresheets. It works. And if a judge were to write on a scoresheet criticisms about technique that didn’t even exist in the performance, he or she would be held to account.

Over the next few weeks many of the world’s greatest solo pipers will converge on Oban and Inverness. Some will come away with a prize or two. Most will get nothing. But the majority of those competing will receive no accounting for the result from the adjudicators.

The old world of piping should join the new world order, where formal feedback and accountability aren’t just nice to have, they’re essential aspects of a well-run and fair competition.

And not only do they account for judge’s decisions, scoresheets weed out the judging imposters.

Post-World’s-Week

World2014_Saturday_ (182)_smallA week has already gone by since Piping Live! and the World’s wrapped. It was another terrific week of piping, drumming and musical (and other) excess. The planning involved to put on the Festival and the World’s never cease to astound, and every year each event seems to improve.

A few impressions of the week:

Timing: it’s everything, and the RSPBA is the Rolex watch of associations. Even with, um, challenging weather, events run like clockwork, down to the second. If you consider that a single grade at the World’s is usually bigger than the entire number of bands at a Highland games in other parts of the world, and the RSPBA flawlessly executes eight of those events (plus finals) on the day, I, for one, am left awestruck.

Timing: the Friday experiment was worth trying, but the day was flat and many people were failing to see the need for holding a Grade 1-only day to see which bands would qualify. Many said that it seemed feasible simply to have all bands compete in MSR and Medley events on Saturday, and then decide the prizes from that. No more qualifier. One and done. Get on with it.

Calum Ian Brown: this 14-year-old won Pipe Idol with sets of tunes played effortlessly, on a sweet instrument, and, most importantly, beautifully and faithfully on the beat. The last skill is elusive to even some of our best pipers. This kid has it.

Shotts: won the drumming. Finished fifth overall. Could have been as high as third. 2014 marked a remarkable and welcomed comeback for this historic band. Here’s wagering that Shotts will pick off a major in 2015, and the World’s within three.

Family judging family: again there were several examples of judges adjudicating bands with their direct family within the ranks. This is not to say that these judges were not fair, only that it looks terrible, and people talk about the optics. Just about every judged thing there is has rules preventing family judging family. It’s time that all associations around the world did the same.

Stuart Highlanders: Solid Grade 1. Nuff said.

GGPSPB: credit to Pipe-Major Duncan Nicholson and Leading-Drummer Eric Ward and the whole Greater Glasgow Police Scotland Pipe Band for delivering almost three hours of complicated Ceolry content, and then two/three days later finishing just behind SFU at the World’s.

The crowd: the main arena was a bit awkward on Saturday. The stands were not full or even close to it for much of the day, and all but deserted during the (kudos there, too) Grade 2 Final. Yet, the gallery to the side was mobbed, 30-40 deep. Why not just relax a bit, let them in, fill the seats, and create some atmosphere for the bands and the cameras? After all, these are hard-core pipe band fanatics.

Grudgy judges: those who seem to allow some ancient slight to cloud their objectivity are out there with a clipboard at the biggest event of the year. Everyone knows who they are. Their eyebrow-raising results are as predictable as a crowded beertent. They think they’re slick. They are not. Time to monitor these people and remove them from panels if their results continue to be out-of-kilter.

Last major: making the World’s the final RSPBA major championship of the season is a good move. Finish at the pinnacle. No more restarting the motor to drag to another championship. Like this.

Ian Embelton: people should remember that it has been under his watch that the World’s and the RSPBA in general have made huge strides forward. Sure, they can do more (see above), and not everyone will ever be happy all the time, but Embelton has overseen everything. He has a board of directors to answer to, of course, and they should take due credit, too, but Embelton deserves acknowledgement for often exceeding expectations in a job that is generally thankless.

Just a few thoughts from the week past. There are plenty of others not mentioned — live stream, excellent beertent, FMM, IDPB, ScottishPower . . .

What are some of your pros and cons?

Ivory trade

The ivory debacle currently impacting pipers has taken the piping world by storm, with pipers everywhere wondering if they should travel with their ivory-mounted drones for fear of them being confiscated by an over-zealous border dude looking to ramp up his quota of seized contraband.

I support an all-out ban on elephant ivory for anything. I don’t like the fact that ivory is featured on the 80-year-old pipes that I play, which were made when early plastic or Bakelite was more expensive than the seemingly endless supply of cheap tusks from far away Africa, so there’s a lot of it on a lot of sets of older pipes.

I don’t know of a serious piper anywhere who ever salivated over anything but the sound of vintage drones. Ivory? Silver? Nickel? Whatever. Give me tone over anything, and, if you think about it, pricing vintage drones by adornment is sort of misguided. If they sound equally good, there should be no more premium placed on ivory than on yellowed early plastic.

Safe to say, this situation will not improve. This is about making ivory socially unacceptable to use or own in any form. No exceptions. The theory goes that, simply by having an antique chess set with ivory pieces, or wearing an old coat made from Russian snow leopard fur, or owning a set of 1936 silver and ivory Lawries, one is implicitly condoning the exploitation of endangered species for frivolous consumption.

I’m no fan of fur, but I have one of those musquash or muskrat sporrans mainly because I like the traditional look and am led to believe that it was repurposed Highland roadkill. Seems sensible to me to let that poor dead critter live another life on my crotch. (Wait, that didn’t come out right . . .)

But, back to the point, a piper who has only a vintage ivory-mounted instrument – unless he or she plans to never leave the country – has three choices: retrofit the pipes with imitation ivory or silver, or acquire another instrument. The first option is abhorrent and gives me the heebie-jeebies. It would be like turning a mint 1965 E-Type Jaguar into a hybrid to save fuel, or sawing the legs off a fine Chippendale table to make a stool.

Buying another set of pipes would be easy, by comparison. But if I knew of a pipe maker that I personally thought could exceed or even match the long-term quality of what I play now, I might have gone for them already. The ideal would be sourcing another set of vintage pipes, but which do not feature ivory, but these pre-1950 sets of all-silver Hendersons or Lawries are endangered species on their own.

If I were a bagpipe maker I would be all over this. To be sure, there’s not a self-respecting maker who likes to see any pipes lost, but as business people they should be gearing up marketing campaigns to woo those affected, who are now considering their options. There will be a growing need, and those who are already in the business of duplicating vintage drones I would think are in a particularly advantageous position.

I’m one of those people affected. I don’t plan to travel outside of my home country with the pipes I play now. It’s simply not worth it. Like hundreds of other pipers, I’m suddenly considering my options – and saving up for what I might have to purchase.

This unfortunate situation has one bright side: it is good for the piping and drumming economy.