In the doldrums of the Midwest’s summer competition break (do you want to spend all day wearing a wool kilt in the Midwest heat in July?), I like to take some time to prepare for future performances, as well as to reflect on what it is I am doing with my piping time. Today, I’d like to talk about competition, why I find it valuable, and why I do it at all. I also require all of my students to perform in competitions, and though I explain to them why I find competition valuable, it never hurts to retread that ground.
Competition as Deadline
One very common explanation for why pipers choose to compete is because it provides deadlines for learning new music. You can’t change a competition date, so all of your preparation needs to be finished before your first contest. When the earliest contests begin in January (Kansas City’s Winter Storm event), that makes it particularly imperative that your new material is completely worked out in the fall prior to the competitions. Competition generally is the reason many pipers learn reams of new tunes per year. Myself personally for solo competition must learn 15 new tunes per year – three of them being large piobaireachd pieces! A Grade 4 piper needs to learn a minimum of three pieces. That doesn’t even include band competition sets, which can be upward of 10 tunes for a Grade 4 band, and over 20 for a Grade 2 or 1 band.
By setting deadlines on music preparation, competitive pipers build up a formidable repertoire in only a couple of years. Planning out how to tackle your tunes strengthens your ability to learn tunes quickly, read tunes with ease, and refine tricky fingerwork. You can do all of these things without the deadline of a contest to face, but very few people have the self-motivation to accomplish it.
Competition as Community
Competition isn’t all work, though. Competitive pipers travel quite a lot. The travel schedule for a competing piper features at least three or four contests within the piper’s home region, and typically also includes at least one contest outside of their home region. Occasionally, an international competition makes it onto a competition schedule. Traveling frequently, usually to the same places year after year, builds up relationships with pipers in other parts of the country and the world. That travel broadens a piper’s horizons, both musically and socially.
Former principal of the Army School of Piping, Gold Medallist, and former Pipe Major of the Scots Guards Brian Donaldson once said that the special thing about being a part of the piping community is that you can go anywhere in the world, and you have friends. He’s right, too. Those friends can be folks you already know and have built relationships with, or folks who you can reach out to when you show up in a city, and by the end of your trip can be called friends. There is a vast support network everywhere – from South Africa, to Malaysia, to Scotland, to New Foundland, to Indiana. All of them compete, and they all have common ground.
While I was growing up in the Sir James McDonald Pipe Band – a youth-only band hailing from Portland, Oregon – I liked to compare the piping world to the wizarding world in Harry Potter. We had our own celebrities, our own “sports”, or own annual calendar of events, our own common language of terms and ideas, and a whole structure of living life which no one in our day to day lives knew anything about. During the weekdays, I was a high school student in suburban Vancouver, Washington. On weeknights and weekends, I was a bagpiper, and I traveled to Alaska, Scotland, and New York.
Today, I have close friends from coast to coast, places to stay if I’m ever in the area, and even friends in other countries. These are friends who are not going to be limited to just one stage of my life – coming and going as I grow older, or change jobs. Because they’re in the piping world, I’ll always be in touch with them. I’ll always be in touch with them because we’ll always have the bagpipes and the pipe bands in common, and each year we’ll maintenance those bonds. Competitive pipers and drummers have extremely durable and deep life-long friendships.
Again, you can do all of that without competing, but it’s a lot harder to justify without the demands of the competition schedule pushing you along.
Competition as Personal Challenge
This is pretty closely related to “Competition as Deadline.” Though competition gives a deadline, it also provides many layers of personal challenge.
One such challenge is the challenge of improving entirely new tunes each and every year. This is important, because the more tunes you learn, and the more you really dig into, the more you can play other tunes which you will never compete with well. Competitions are no more or less important than your paid performances (or nonpaid ones) – the big difference is there is a judge present to see how you stack up against other similar players, and give you some feedback. It’s pretty easy to settle into a performance repertoire and never change those tunes out – but when you’re learning brand new tunes each year to compete, you’re more likely to find learning music easier.
Another is to bring yourself out of your comfort zone. The number of people who fully enjoy competition, and are comfortable doing it, is very near to zero. The bit of stress you have to deal with in competition benefits the rest of your piping life. What happens if some popular band contacts you deciding they want to feature a bagpiper on their tour, and you’re the first name they pick out of the hat from the local piping scene? Competition may be stressful, but playing with a band which makes tens of thousands of dollars – or more – in a single evening is significantly more stressful. Take my word for it – I’ve done it. Playing on a stage with Rowdy Roddy Piper, or with the Chieftains, is a far higher level of stress than competitions. But competition can prepare you in methods to deal with that.
This very easily could become a small book. I do not argue that competition should be all you care about in your piping life – it certainly isn’t. We play for the sake of the art, and for those who live the instrument and its music. We play for those who love and identify with Scotland – no matter where they are from or if their family came from Scotland back in the mists of time. We play because bagpiping is first and foremost about the music, and not the number of medals or trophies you win.
However, a well rounded piper competes. The piper doesn’t have to compete their whole life, or even a lot, but to truly benefit from everything the piping world has to offer, one must compete at some point.
So why do I compete?
Because it’s fun, and it makes the music I play for everyone else better.