Setting-up a Pipe Corps

Setting-up a Pipe Corps By Andrew Fuller The 78th Fraser Highlanders Pipe Band (from Ontario, Canada) competing at the 2007 World Pipe Band Champions...
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Setting-up a Pipe Corps By Andrew Fuller

The 78th Fraser Highlanders Pipe Band (from Ontario, Canada) competing at the 2007 World Pipe Band Championships with 30 pipers.

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Contents INTRODUCTION ....................................................................................................................................... 3 DEFINITION OF “SETTING-UP” ................................................................................................................ 3 UNIFORMITY OF EQUIPMENT ................................................................................................................. 4 SELECTING EQUIPMENT .......................................................................................................................... 4 Bags ..................................................................................................................................................... 5 Blowpipe/mouthpiece ........................................................................................................................ 5 Blowpipe Valves .................................................................................................................................. 6 Photo 1 ............................................................................................................................................ 6 Photo 2 ............................................................................................................................................ 7 Chanter Reeds ..................................................................................................................................... 7 Drone reeds......................................................................................................................................... 9 Chanters .............................................................................................................................................. 9 SETTING INDIVIDUAL INSTRUMENTS .................................................................................................... 10 Joints and slides ................................................................................................................................ 10 Bag .................................................................................................................................................... 11 Chanter.............................................................................................................................................. 11 Chanter & chanter reeds................................................................................................................... 11 Setting Drone reeds .......................................................................................................................... 12 SETTING THE “MASTER SET” ................................................................................................................. 15 PREPARING THE PIPE CORPS FOR ENGAGEMENTS, CONTESTS ETC ..................................................... 16 TUNING (AT PRACTICE, ENGAGEMENTS, CONTESTS ETC) .................................................................... 17 SUMMARY ............................................................................................................................................. 21 RECOMMENDED READINGS .................................................................................................................. 21

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“Bright tone” “Sparkling chanters” “Full-sounding drones” “Accurate note intervals” “Well set and balanced pipes” “Excellent harmonics” “Steady tone”

INTRODUCTION The above comments are the sorts of things that Pipe Majors want to see on their judging sheets at the end of a contest. Regardless of the grade a particular band is in, degrees of these descriptions can be achieved if some basic processes are implemented and followed. The intention of this article is to provide some information for all pipers. It also speaks directly to those who are either responsible for tuning the pipe corps, or to those who wish to take that responsibility on. Notwithstanding all of today’s gadgets - which in some instances can make life easier - the task of setting a pipe corps, in theory and practice, remains the same. It still presents a number of challenges and is often made unnecessarily difficult by a lack of system, maintenance and planning within a band’s framework. It is frustrating to see a pipe band deny itself a better sound (and overall performance as a result) when a lot of the problems it experiences can be easily avoided. For example, all the research and development that manufacturers do, all the claims they make about performance, the money that a band spends on products, and the practice a band does can all be wasted if the maintenance and management of the instruments is inadequate.

DEFINITION OF “SETTING-UP” Before beginning, it is necessary to define what this means when referring to a pipe corps. ‘Setting-up’ describes the process that begins with a focus on individual instruments and then goes right through to setting the entire pipe corps as one chorus. Some of this requires skill and experience (which can be developed over time), however a lot of the process is also about maintenance and due care of instruments.

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UNIFORMITY OF EQUIPMENT Every instrument in the band should receive close and equal attention, for they are all equal components that combine to determine the overall sound. Uniformity is the key. A pipe corps that is uniformly equipped (reeds, bags etc) stands a better chance of achieving (and maintaining) a unified and tuneful sound. This is because the variables have been reduced. In contrast, a ‘mixed bag’ of equipment is going to increase the number of variables and the potential of encountering unison-tuning problems. It is a challenge to make a group of individuals all think about and perform the music in an identical way, and also control their instruments in the process. By comparison, it is relatively simple to ensure they are all at least using the same equipment and maintaining instruments. To further illustrate this point, it is akin to the same reason why a band wears a uniform – in order to look the same. So, with this in mind, it makes sense that all pipers should use the same types/brands of reeds, bags and chanters in order to improve the likelihood of each component of the pipe corps sounding the same, in addition to looking the same. Bagpipe products will vary depending on what the manufacturer’s philosophies are on sound, quality and performance. Certain reed types and designs (for chanter and drone) have their own characteristics in terms of sound and performance. The tools and materials that are used in the production of products also influence behaviours. In addition to this, the characteristics and performance of products will vary according to the playing conditions (cold, wet, hot, dry, humid etc) that present, so it pays to have all pipers in the corps using the same types/brands of reeds, chanters and bags in order to minimise the risk of drastic variations in pitch etc. In short, before you even think about tuning instruments, elevate your starting point by using the same equipment.

SELECTING EQUIPMENT Economics can be a factor, however it is worth noting that unsuitable or ill-chosen equipment can also lead to additional and unforeseen costs. This is something to consider in great detail at the time of selecting equipment for the pipe corps. The theory of “false economy” can easily apply to piping as well. I strongly recommend that samples of products are tested over a period of time that is sufficient enough to allow for performance to be adequately assessed and measured before a bulk purchase is made by the band. Be sure to use controls and test equipment in various conditions (hot weather, wet weather, playing duration etc). It is also important to consult with peers who may have experiences with certain products. Not surprisingly, most manufacturers will claim that their products are the “best” on the market, so go for an external viewpoint from someone experienced with the product(s).

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Equipment selection should consider the following (in no particular order):

Bags o

Select a product that is suited to our climate. Sheep skin bags, for example, leak in hot and dry climatic conditions (like South Australia) and are not recommended, whereas synthetic bags do not need to be seasoned and are, on the whole, reliable in our climate.  Most brands of synthetic bag types are also fitted with/can adapt to moisture control systems. But note that a moisture control system is only effective when it is fully understood and properly maintained.  Ensure that you select products that have been tried and tested over a worthwhile period.  Consulting with an experienced and competent person is often more effective and informative than reading a sales pitch on a manufacturer’s/retailer’s website.

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Match the size of each bag to the size of each player. Pay attention to the arm length and height of each player when selecting bags. This is all about creating comfort by tailoring an instrument to a body shape and size. Don’t do things in reverse and ask people to play an instrument that causes poor posture, discomfort and straining e.g. head tilted back/forward, bag diameter too big for arm etc. The instrument should ‘measure-up’ to the player.

Blowpipe/mouthpiece Fatigue can be a problem for pipers. Sometimes it is caused by a lack of “piping fitness”, but it can also be caused by poor instrument set-up. In addition to ensuring that all pipers are conditioned to play for reasonable periods of time, endeavour to make the instrument as air-efficient as possible, starting with ensuring that the airflow into the bag is as smooth and effortless as possible. Some pipers complain that their reeds are too hard. Before you assume that the reeds are the issue, just make sure that all the effort isn’t being wasted on having to force air into the bag (through a blowpipe with a narrow bore), rather than out of the bag (through the reeds). It is a common problem caused by narrow bores in mouthpieces and blowpipes. o

Ensure the overall length of the blowpipe matches the player – i.e. that their head is level and there is no strain on posture whilst playing. Tailor the instrument and make it a comfortable fit for the player.

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Ensure the bore diameter of the mouthpiece and blowpipe is as big as possible. This will encourage a free flow of air with minimal restriction. Some generic ‘off-theshelf’ blowpipes and mouthpieces have very narrow and straight bores (not tapered/conical), especially some older models. Ideally, the blowpipe should be a slight conical bore that opens to a diameter that is about 0.5mm - 1mm inside the outer diameter of a rubber flap valve (see Photo 1). You will be amazed by how

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much a couple of millimetres difference can increase the rate and volume of air-flow into your pipes. o

Select a mouthpiece that has a wide bore and adjust the length of it to suit the player.

Blowpipe Valves o

Use a conventional/’old fashioned’ style of rubber flap valve. They are about the size of a 5 cent coin. (See Photo 1.)

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Avoid using small valves (see Photo 2.), often with an insert that goes into the bottom of the blowpipe. They reduce the diameter of the exit point. The selling point of such products is the ‘plug and play’/low maintenance aspects, however I would recommend you focus more on the efficiency of the air flow when making your selection because no matter how wide the bore of the blowpipe is, the exit point is what governs the degree of airflow restriction. Bigger is always better. (See Photo 2.)

Photo 1 – Wide bore at bottom of blowpipe with conventional flap valve attached.

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Photo 2 – Note the size differences between the “lil’ Mac” valve and the conventional ‘flap valve’. The difference in sizes of bores behind each respective valve (refer to Photo 1) represents a significant difference in airflow efficiency.

Chanter Reeds o

Where possible, buy at least twice as many reeds as you have pipers in the corps in order to ensure a better chance of getting the reeds you need for your pipers. Ordering a bare minimum number might see you being forced to issue reeds that are sub-standard and therefore create more problems.

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Select reeds that are robust enough that they will be stable once they have ‘blownin’. Reeds that are easy to blow straight out of the box tend to deteriorate a lot quicker and are not as stable. Unreasonable/regular reed ‘turnover’ will cost you more money and also detract from the overall sound/performance of the band (less stability and poorer tone).

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Avoid being directed by corps players in terms of what they think is the ‘ideal’ reed strength for themselves. Consult with them, by all means, but ensure that you have the final say. Strength is only one aspect to consider. It is surprising how many people can easily manage to play a reed strength that they initially had objections to. The reed should never be a ‘gut buster’ but it should be as strong as possible so that it keeps the player working to maintain the same pressure. If a reed is too easy it can allow too much scope for variations (over or under-blowing) because the reed has no clearly detectable optimum pressure. Reeds that can be blown by an

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asthmatic sparrow that has had one of its lungs removed are for straight out learners who are just starting on the pipes. They are not for corps players in your band. Your pipers need to be steered and progressed through to reeds that promote stability and better tone. Weaker reeds generally do not sound good, nor can they be controlled and blown steadily by the majority of players in all situations. They are also much more sensitive to temperature and moisture levels because they consist of weaker cane. Having an easy reed is not necessarily a worthwhile ambition and has a raft of downsides that far outweigh the ‘comfort’ factor. o

Where possible, deal directly with reed makers when ordering. This makes it easier to make enquiries and get to the bottom of any issues you might be having. Don’t be afraid of contacting reed makers directly if you have any issues or queries to discuss. In most instances, reed makers accept this as part of the caper and often appreciate the feedback. It is retail after all – i.e. the customer is the top priority.

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Use a ‘master’ chanter to test all reeds. This ensures that there is a control on all reeds that are issued. The chanter should be played directly in the mouth and attention paid to the balance of each reed being tested. A good reed will feel free and vibrant to play, have a strong “crow” (when blown outside the chanter), and have a bright and pleasant sound when played in the chanter. Pay particular attention to the positioning of the reed in the chanter. A reed that is pushed right down into the reed seat will make the chanter sound stifled and dull. The top hand will also be ‘thin’ and unsteady in most instances. This is also often the cause of a double-toning ‘F’. In this position, the reed is also being deprived of the chance to vibrate more freely because more of it is being encased and clamped by the reed seat. Ensure reeds are seated in a position that is regarded as the ‘sweet spot’ – where the reed balances and sounds free. This is where the reed wants to balance between High ‘A’ and Low ‘A’. Once this spot has been identified, ensure that all reeds are tested the same. Measure the height (how much of the reed is above the seat) and test all reeds the same. This will put another control in place regarding pitch and balance of each reed.

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NEVER allow pipers to squeeze, lick, shave or do anything else to a chanter reed. The less the reeds are handled or tampered with, the better. Oil from the skin will clog the fibres of the cane and make it dull, and elements in one’s saliva will break down the integrity of the fibrous material which will significantly shorten the lifespan of the reed.

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All chanters MUST be capped when the pipes are stowed away. Use a plastic cap – there are several on the market, some made locally. Note that certain types of wooden chanter caps will draw moisture from the reed because they are dry and porous, and should be avoided for this reason alone.

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Drone reeds When you think about it, the drones represent 75% of the tone-generating components on your instrument. With this in mind, it makes sense to be very particular and fussy about the type of reeds you select and how they are set-up.

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Unless the band is at a high level of performance and has expertise across the corps to effectively manage cane reeds, I recommend selecting a synthetic drone reed that has as few moving parts as possible. The simpler, the better.

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Select a brand that is well established and has been on the market and widely used for some time. Aim for a drone reed that produces a pleasant, full, rounded and bright tone.

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Consult with your peers and seek advice from experienced players. Most experienced players test new products as they enter the market and will have some insight across an array of products.

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Whatever reeds you select, keep it uniformed across the corps.

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Chanters MUST be tested extensively before any bulk purchases are considered. Most reputable manufacturers/suppliers will offer a sample chanter (or more) for testing.

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Chanters should be purchased as a “matched set”, where possible, or at least be the same make and model if purchased on an as-needed basis.

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The best brands are the products that are well known and widely played around the world today.

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Plastic chanters tend to be more suited to lower-grade bands. They need to handled and cared for like any other precious musical instrument. In some cases they are more fragile than wooden chanters and should be handled appropriately.

Chanters

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Auckland & District Pipe Band (Grade One, NZ) competing in the Street March element of the 2008 New Zealand Championships.

SETTING INDIVIDUAL INSTRUMENTS Now that we have selected bags, chanters and reeds, the next step is to set-up each instrument in the band to function at its optimum level. The bagpipe would have to be one of the most unforgiving instruments there is, so things like maintenance are essential. Every component on a bagpipe has an effect on the sound and performance of the instrument, therefore even the slightest problems can have big consequences. The steps below are basic things you can do to ensure your pipes are in order.

Joints and slides o

A wind instrument must not leak air from areas that should be airtight. This seems an obvious statement to make but loose joints and slides are a common problem. In addition to the 4 air outlets that produce the sound (3 x drones, 1 x chanter), there are another 15 junctions/connection points that can potentially leak air if not maintained. The drones need to be sealed tubes from top to bottom. Loose joints that rock or wobble back and forth will allow air to escape and cause instability and inefficiency. Firm and smooth joints that are airtight and glide up and down with ease are the goal. To test, cork one end of the drone and try to either suck or blow air through. If the air column shifts at all, it is likely that the joint is not airtight, or the bush (the sound hole at the top of the drone) is leaking/loose. Any leaks must be addressed as a priority otherwise you cannot hope for stability, much less achieve it.

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Bag o

Remove the drones and chanter, leave the blowpipe in and cork all the stocks. Fully inflate the bag to its absolute limit and test that it is airtight. Repair/replace if need be. This test should be undertaken regularly, especially before a band event. It only takes a few minutes to do and can save you from a lot of trouble. (Note: rubber sleeves, like the types fitted to the Ross bag, will shrink and expand in different weather conditions. The hose clamps must be tested regularly to ensure proper tension at all times.)

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Chanters are to be handled as if they were made of glass.

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Ensure chanters are kept clean and regularly checked for dust, grime and any other foreign particles. Such things will reduce the size of note holes and/or interfere with the air stream inside the bore of the chanter, and will therefore alter the note(s) in question.

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Clean any dirty note holes with a cotton bud or match stick. DO NOT use metal tools or any objects that are harder than the material of the chanter. The inside bore needs to be kept clean also. Use a feather to remove dust etc from the bore.

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Chanter tape must be in good condition, clean and securely fastened to the chanter (no loose ends or sliding pieces). Replace tape as it wears and/or loses its adhesiveness. DO NOT use common varieties of “sticky tape”. This product is made to be used once – it is not designed to be removed and then refastened, or handled regularly - therefore it is difficult to adjust because it tears and frays so easily. It is also cheap and therefore deteriorates quickly due to handling and oils from your skin. Use a good quality medical tape that is waterproof, or car detailing tape (available at most good auto accessory retailers).

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The joint on the chanter must be firm and airtight. There should be no rocking or wobbling, nor any chance that the chanter might come loose and fall out.

Chanter

Chanter & chanter reeds o

Purchasing reeds can be a raffle if you don’t know where or who to purchase from. Reeds do not come with an expiry date - when perhaps some of them should - and can therefore sit on a shop shelf indefinitely (and dry out). Go direct to the manufacturer where possible or deal with a reputable retailer who is primarily dedicated to selling quality products for pipe band instruments, not tartan tea towels, Loch Ness Monster dolls, “Up Yer Kilt” bumper stickers, shortbread etc.

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o

More often than not, it is better to select reeds for individuals in your pipe corps rather than have them tell you what they want. A trap that some fall into is focussing on reed strength (where as easy as possible is the ambition) rather than quality of tone. In lower-grade bands, it is often better to guide people towards the reed strength you believe they can handle in order to achieve the best possible chanter sound. Too many weak reeds in a pipe corps will cause additional stability and tonal problems because they are less stable and more susceptible to pressure and climatic variations.

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Reeds should be selected considering the following criteria:   

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Balance – the “trueness” of the scale. Note intervals, up and down the scale, are relatively accurate without any glaring problems. Tone - clarity & brightness. The top and bottom hand notes should sound (and feel) bright and vibrant. Strength – stability & life span are also key areas.

Set your pitch (seat the reed) where High A and Low A want to balance with each other. At this point you have an accurate octave interval. Use a tuning device if need be (both A’s should register the same reading on the meter when they are matched). Ensure you are blowing as steady and consistent as possible. Then do whatever you have to do to the rest of the notes in order to get them harmonic and in-tune with the drones (e.g. taping or undercutting the tops of the holes).

Setting Drone reeds o

Consult the manufacturer’s instructions.

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Apply waxed hemp to reed seats. Remove any rubber sleeves that may be on the reed seats – they have too much ‘give’ and promote too much movement when the reed is vibrating/being played. Also replace any thick-gauge hemp that is sometimes provided on certain reed types - this does not allow for minor seating adjustments. Bind hemp on firmly (so there is no room for it to compress and therefore allow the reed to come loose) and tie-off the loose end by looping through the previous loop that went on.

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Firmly seat reeds in the drones. The reed needs to be set in the seat with no chance of it coming loose. There should be no wobbling or looseness of the reed when it is in place. Once the reed is seated, place your finger on the top of the reed and test for any looseness or ‘give’.

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The aim is to have all drone reeds balanced in terms of air consumption (strength) and tone. The tenor reeds can be balanced to match each other; the bass will naturally take a bit more air – due to a bigger blade and aperture - but can still be matched quite closely to the tenors.

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o

Drones should run as efficiently as possible without tending to stop with pressure variations. Careful trial and error via minor adjustments of the bridle will achieve this. It may take time but be patient and keep trying. Test drones against each other (by mouth) after every adjustment to ensure they are balanced – strength and tone.

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Drones (tenors) should be matched for tone. Test by blowing air through each individual drone (in your mouth) and listen for discrepancies in tone, pitch and also feel for strength variations between the tenor drones. Bridles and also the tuning plug (if applicable – depends on reed type) adjustments can be made to match the reeds. Naturally, you want drone reeds that are balanced together so they all move as one when/if the air pressure varies. You also want similar tones that will compliment and blend together, not compete, and both tenors tuning in the same position on the tuning pin. Differing strengths (demands for air) will send drones in all directions when someone’s playing pressure varies. This is about reducing the variables. Practice, persist and LISTEN.

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The tenor drones should tune above the hemp line on the tuning pins (when played with the chanter). This maximises the size of the chamber above the pin (inside the top section of each drone). This chamber acts as a resonating chamber. The bigger you can make this space, the bolder and more ‘full’ the sound will be. If the tenors tune low on the pins it means this chamber space is small and therefore the sound will be stifled or ‘thin’. Stability will also be an issue because it also means your reeds are set flat and are probably taking too much air.

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The top tuning pin on the bass drone should always be on, or about 1mm – 2mm above, the hemp line. Look at any of the top bands or solo pipers and you will see this is a ‘golden rule’. If the pin is shorter you will suffer ‘striking-in’ problems and also severely compromise the tonal quality of the bass. Make it a non-negotiable rule in your band - on or above the hemp line at all times.

o

Remember, the drones represent 75% of the tone-generating components of your instrument. They are just as important as the chanter, and have a big say in the quality of the overall chanter sound (and the overall band sound). Being extremely fussy about drones, as a minimum, is recommended and encouraged. They provide the “umbrella” of sound for your band. Aim for quality.

Apply the above process to EVERY instrument in the pipe corps. You should be happy with every set of pipes in the corps, to the point where you would enjoy playing them yourself. There is a huge difference between a set of pipes that has merely been assembled and a set that has been properly set-up to perform at their peak. Check instruments regularly and discourage corps members from making their own ‘adjustments’. Ensure you have total and autonomous control over what is happening to all the instruments in the corps. You can never be too pedantic in this regard. The importance we place on the quality of the

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instrument’s sound and performance needs to far outweigh the importance that is placed on the mere spectacle of playing it.

Pipers of “SFU” (Simon Fraser University Pipe Band – Vancouver, Canada) tuning-up at the “worlds”. Note how all the tenor drones are tuning on, or above, the hemp lines here. We can also see that the top pins on all bass drones are fully exposed - as they should be.

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SETTING THE “MASTER SET” It is recommended that a “Master Set” of pipes be used to tune all instruments in the corps. Ensure that every note on the scale harmonises with the drones. The scale must have correct harmonic intervals for the overall instrument to be truly ‘in tune’. Once the drones are in tune with the Tonic (Low A) the remaining 8 notes will need to be assessed for trueness. This is easier than it may seem, as each note will either be:   

SHARP (a ‘shrill’, ‘strained’, ‘piercing’ sound) IN-TUNE (harmonic/in-tune/complimentary with drones, ‘tuneful’ & ‘pleasant’ to the ear) FLAT (a ‘dull’, ‘sagging’, ‘tired’ sound)

If all else fails, trial and error and the process of elimination will show the way. Move some tape and see if the note improves or gets worse against the drones. This is where the challenge to ‘set’ each chanter in the band begins. There is quite literally no room for interpretation here, each note is either in tune with the drones or it’s not, so ensure every note is given your full attention. No other musical instruments are afforded room for interpretation regarding tuning on notes. The pipes are no different. All nine notes on the chanters must be together and also compliment the drones overall.

Strathclyde Police striking-up during their contest build-up.

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“SLOT” (St Laurence O’Toole Pipe Band) warming-up (PM Terry Tully on the left), checking drones before competing at the 2007 “Worlds”.

PREPARING THE PIPE CORPS FOR ENGAGEMENTS, CONTESTS ETC This process starts at least a fortnight out from the event in question. Use any lead-up time you have to stabilise the pipe corps and get the instruments settled, reliable, consistent and sounding their best. o

Focus on the music you will be playing and do your best to replicate the ‘running sheet’ you will be following (including your tune-up procedure). Endeavour to always have the same tune-up procedure for everything the band does, whether at practice, or out in public. Condition the pipe corps players to follow this process.

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Ensure that all instruments are played regularly in the lead-up and that playing sessions go beyond the length of the performance you are preparing for. The stamina of your ‘average’ corps player needs to be sufficient enough to last for at least double the duration of the upcoming performance. This will ensure that people are not on their ‘limit’ when the band goes on to perform (after tuning-up etc). Sometimes nerves can exacerbate poor stamina and bands often leave their best

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performance in the tune-up park, so the analogy here is to train for the 10,000m running event even though you are only running in the 5,000m. You want to be at your best when you go on to perform, not on a downward spiral caused by poor stamina. Preparation will help to avoid problems arising on the day of the event in question. Any problems experienced on the day – avoidable or not - are always at the band’s expense, as everyone else is made to wait while individual instruments are addressed. Attention to detail per instrument during the lead-up will help to spare you from some headaches or unforeseen issues on the day of the performance. Be prepared.

TUNING (AT PRACTICE, ENGAGEMENTS, CONTESTS ETC) There are variations on some fairly basic tuning techniques. o

Fine detail: one-on-one tuning between two instruments.

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Big picture: overall corps tuning while the whole band is playing.

Follow these steps below. Given the relatively small-sized pipe sections we have here in South Australia, 45 minutes is ample time for this tune-up process, including the 10 minute warm-up time everyone has alone. Over time, and with some effort, more efficiency will develop in all areas. 1. About 45 minutes before performance time, send all pipers off on their own for a 10 minute playing session. Make sure all pipers play non-stop for all of this time. (Note: Ensure that the band is tuning in an environment that is as similar as possible to the one it will perform. Avoid a situation where some pipers are playing on grass while others are on bitumen, or some are in the shade and others are in the sun etc. Also be aware that wet ground, especially grass, will flatten the pitch of chanters and cause moisture issues. Also make sure that your pipers avoid playing near brick walls if the weather has recently been hot (retained radiant heat is still present), even if the weather may be cool at the time. Make sure all pipers are within eye sight of you at all times, not drifting off behind trees or around corners.) 2. While everyone is off playing on their own for that 10 minute period, tune the master instrument’s drones and then get around each individual and tune his or her drones to the same pitch as the master set (with a tuner) while they are playing by themselves. (This will enable you to better perform step 3.) Important – ensure the pipers are playing a tune when you are tuning their drones, NOT Low A. (More on this later.) 3. During this 10 minute warm-up, and after all the drones have been set, do a walk around and ensure that you listen to each piper playing on their own. Check that there is nothing drastically wrong. With all the drones in the corps now tuned together, or as close as possible, it is easier to listen to individual instruments and identify any problems. Always endeavour to have drones collectively in-tune as early in the process as possible. Do not

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train/condition people to play with (and tolerate) discordant sounds by allowing un-tuned drones to be played for any length of time. Their ‘ear’ needs to be developed. 4. Call the corps back together and start playing a warm-up set as a group. Play tunes that everyone is comfortable with. This will help to minimise mistakes and blowing variations (which can often unsettle the corps). You want everyone feeling confident and comfortable at this point. 5. Move around the circle (inside and out). Sometimes it is better to move outside the circle – to avoid some pipers seeing you coming their way and getting nervous and, as a result, changing their blowing pressure. Listen for any major issues in terms of chanter balance and blowing discrepancies between you (or the master set) and the others. Deal with these issues first before going any further. 6. While the band continues to play, pull individuals (one at a time), about 5-10 metres from the circle, and tune chanters one to one against the master instrument. Start at one end of the circle and then go in order from there in one direction. As people return to the circle they should send their neighbour over to see you - the last thing you want here is being forced to get people’s attention and wasting time as a result. This is about teamwork. Note: this is a critical stage of the process. Some bands try to tune chanters by playing scales, and/or try to tune drones whilst playing Low A (rather than a tune). This method is flawed. First and foremost, it is important to make clear that the effectiveness of tuning is greatly improved when you can replicate what will happen during the performance. Tuning chanters by playing a scale and/or tuning drones while Low A is being sounded does not simulate what will happen when the band is performing (playing tunes). Attempting to tune this way simply defeats the purpose of trying to tune-up in the first place, unless of course the band intends to play long Low A’s or scales as part of its performance. There are arguments in support of this method – i.e. that it seems easier to listen to individual notes. However, the reality is that it does not realistically represent what each piper will really do when the band plays as a whole. Steady blowing is a rarity in most bands, and even less likely if pipers are asked to hold one note for long periods of time while someone else checks their pitch or tunes their drones. It is a recipe for false readings and tail-chasing. There is no point trying to tune a bagpipe in this fashion, as it brings too many variables into play. Put simply, if the band is going to play tunes during the performance then, logically, the tuning should be done while playing tunes. The goal here should be to create the best representation of what each piper will do during the performance, good or bad. At least then your tuning methods have factored-in what is more likely to occur during the performance. It can be easily proven that most pipers will not play a sustained note, or a slow scale, at the same pressure/pitch that they’d play a tune. Hook them up to a water meter (manometer) and test them. Generally speaking, lower grade pipers vary ©schoolofpiping.com

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pressure more often than not because they do not have the necessary degree of control over their instrument. They are often more stable when playing a tune they are comfortable with, rather than when they are asked to sustain a note for a long period of time whilst their drones or chanter are being tuned. This invariably results in ‘fishing’ for tone because they are more likely to misrepresent their true individual pitch when asked to do something that is not part of the performance. Tune chanters to a melodic, slower type of tune like Green Hills of Tyrol, for example. This tune covers all the notes on the scale, especially the second measure (good for checking top hand notes). It also allows enough time per note for any discrepancies to be heard. If at first it doesn’t allow enough time, PRACTICE until it does. This will help train your ear and, in the long run, make the band sound a lot better. Shortcuts always fail because there are none with this instrument if you are looking to get good results. Practice is the only pathway. When tuning one-to-one with someone, increase or decrease your pressure to see what brings on an improvement between the pitch/unison of the two chanters as you play a tune. All the other person needs to do is focus on playing the tune, not waver on long, sagging notes and ending up not knowing what is what. Many will try to match their chanter to yours by ‘blowing up’ to your chanter. This creates a misrepresentation of what is actually required. If they play a tune, that is what they will focus on, and you can be more assured that you are hearing the chanter ‘in state’. Blowing steady is as much about mindset as it is physics. Listen and over time this will get easier and more effective. 7. When all chanters have been checked against the master chanter, re-tune the master set’s drones as necessary. (The chanter is likely to have become sharper in this time.) 8. Corps plays a tune/set. Re-tune all drones (based on master set reading) while the corps plays. 9. Do a final sweep of circle, checking for chanter/blowing issues while the band is playing. (Note: quite often an issue can be dealt with by asking the piper in question to either increase or decrease pressure in subtle increments. When the sound improves be very specific and let the piper in question know which way they had to alter their blowing in order to be more in-tune with the rest. Pipers can often alter their pressure when playing as a full band. The sooner they can learn to hear and maintain the right pressure and sound, the better the overall band sound will be.) 10. Ensure that the band plays regularly through to the time of performance. A couple of minutes rest here and there is ok but overall the reeds need to be kept warm and stable. When the band marches to the step-off line or stage, whatever the performance may be, ensure that pipers keep both hands on their chanter and that they are gently blowing air ©schoolofpiping.com

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through their pipes, especially in cold weather. This will keep the chanters and reeds warm for the interim. 11. Performance. Make a mental note of what happens through the performance(s) so you can provide some feedback to your players. Continuous improvement should be the goal here; therefore one of the outcomes should be discussions about what happened and why.

The more this process is repeated, with consistency, the better equipped people will become. The objective here is not only better sound quality and improved tuning skills, but also conditioning your pipers to follow a procedure and learn as they go. When this starts to happen, you will notice significant improvements in all areas. A pipe corps is only as good as its weakest player – bring everyone along together. The act of playing Bagpipes, and the processes around it, should always be the same whether you are playing in a contest, at a band engagement, or in the band hall on a weeknight. Aim to practice as you perform and perform as you practice. Tuning should follow the same path. Tune the pipes as they are being PLAYED, not when they are merely being sounded (like playing Low A on its own to tune drones).

The World Champions, Field Marshal Montgomery Pipe Band (Northern Ireland), tuning-up at a contest in Malahide (Ireland). Once again, all tenor drones are tuning on, or above, the hemp lines. We can also see all of the top pins on all bass drones - the ‘Golden Rule’ in effect. ©schoolofpiping.com

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SUMMARY Remember that you (the PM or band tuner/’sound person’) are just one part of the pipe corps. Regardless of how well your pipes sound, they are not really any louder than those next to you in the circle, and are just one component of the entire band. It is the collective quality of ALL instruments that will determine the overall sound of the band. There is no point working to the idea that a few good sets of pipes will hide a few bad ones. Poor sounding bagpipes cannot be swept under the mat. One poor instrument will spoil a good sound, regardless of the size of the corps. Anymore than one poor set will annihilate the sound altogether. Every instrument in your corps needs to be treated the same - as a top priority. Weaker and/or developing players need all the help they can get, starting with an instrument that gives them the best chance to do the best they can. Start them off with an instrument that is well maintained, especially when you consider that maintenance requires no talent to do well. Furthermore, think about what sort of induction they are receiving if proper maintenance is not preached and practiced from the beginning. The processes covered in this article might appear to be technically daunting and timeconsuming in places, however they are basic processes that can be built into your current band practice routines. Everything will become easier over time and the reward is a better sounding band. Always remember that you are toiling for a good cause – being the best you can be. Once the band sounds better, it is often the catalyst for better playing as well because people can hear more detail. Good luck and always remember........

SOUND IS KING. RECOMMENDED READINGS “The Complete Pipers Handbook” - PM Brett Tidswell, The most comprehensive guide to setting up a bagpipe that has ever been written. Available here: http://www.schoolofpiping.com/handbook.html

More articles are to be found at www.schoolofpiping.com

©schoolofpiping.com

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