How to Hire a Piper
by Dave McKenzie
So, you want something unusual and unique at your event; something different
that will make the most memorable impression. There is probably no better choice
than the Highland Bagpipe, due to it’s relative novelty, and it’s alien,
“from-far-away” sound that inspires the imagination, moves the hearts that
really listen to it, and creates an indelible image not only aurally, but
visually as well, with all of the trappings of both the instrument and the
uniform that accompany the average working piper of today. People hire me for
many reasons: as on outward sign of pride in their Scottish ancestry or to
reaffirm an historical Scottish connection, as a surprise- a big entrance, or
exit. For Irish occasions, Celtic celebrations, British connections with
“Empire” affections, “games”, “Dames”, and “fames.” I’ve even been asked to play
the National Turkey Convention, a Turkish wedding, a Jewish wedding, for the
NRA, The Freemasons, and Guiness (the beer company, not the world record book,
although that would be cool), Roman Catholics, Presbyterians, and every
denomination present here in the South including Holy Trinity Greek Orthodox
Cathedral here in town, who were definitely the coolest church gig I’ve ever
had! Thanks, Father Nick! Efkharisto parapoli, Papa Nicko!
Remember that you are hiring a musician and; depending on what you are looking
for or what your budget may allow; hopefully a “professional.” You should want
to get the best player you can find and the most for your money. You would hire
a professional to do anything else worthwhile; yet often when it comes to hiring
a piper, the average consumer is totally lacking good information or, at least,
penny-wise and pound-foolish, making the mistaken assumption that one piper is
pretty much like another. So often, the average person doesn’t even know what
questions to ask or where to begin in hiring a piper. I am often struck by how
people just grasp for words to even describe to me what they want or are looking
for in relation to the bagpipe and there are pipers out there who take full
advantage of the general public’s almost total ignorance of the bagpipe and the
musical world that surrounds it, a virtual musical island unto itself. My goal
is to make every one of my clients an informed consumer.
Beware! There are many pipers out there who may
pass themselves off as one thing or another but you want to hire someone who
really plays the bagpipe and not “plays at” the bagpipe. It is too easy to make
a lot of noise and harder to really make music, with this instrument, in
particular. There are many beginner and amateur players out there who are
actively learning, practicing, competing in solos and working in pipe bands, who
are slowly and carefully refining their craft and are obviously in it for the
long haul but there also a lot of “hack” pipers out there for whom piping is
some sort of dodge, hustle, or misplaced, good intention and it is they, who do
the greatest disservice to an instrument with an already wounded reputation.
They are the scourge of the piping world and do nothing but dishonor to the
music and tradition of this majestic instrument. They try to teach, play, and
even be the local expert about the bagpipe with too little knowledge or
real-time experience to rely on. The United States, in particular, is replete
with such “would be” expert pipers, despite all of our collective effort and
relative success in the piping community at raising the standard of play in this
country over the last 20 years or so. Many an event has been less than
successful and even ruined because someone uninformed hired some inexperienced
amateur who didn’t show up or cancelled at the last minute or, if nothing else,
drove away listeners rather than drew them in because they didn’t know what they
were doing. Often it is a case of inexperience at troubleshooting the bagpipe,
itself. That is the Nature of
the Beast.
It has been my experience in doing this over the last several years now that I
have had to clean up after a lot of other piper’s messes. The biggest loser in
all this is the client, not to mention the more qualified piper who could have
done the better job, right, the first time. There, I’ve said my peace; you can
take it for what it’s worth.
As knowledge is power these days in the information revolution, it is important
that the consumer be able to ask the right questions to make an informed
decision about how to spend their entertainment dollar. The following are some
guidelines and questions to ask to get the best results for your event. Please
see the FAQ portion of this website, some of the questions are pertinent to
making a good decision. They will, I hope, help you to winnow the wheat from the
chaff.
Ask for References. It could be as simple as a phone call or a website but ask
for them. They may tell you everything you need to know.
Ask for Rates and Availability. These first two are all you really should have
to do.
As experience is most valuable in any profession, you should
ask for a resume
or, at least, some list of accomplishments from your prospective piper. Ask how
many years they have been playing; more is better but not necessarily so. I have
known players of many years who will never play beyond fair on their best day.
If you hire a piper for what seems to be a steal…you may be getting exactly what
you’re paying for.
Ask if they have any experience at playing for your kind of event, especially
weddings and funerals, as these can be the most sensitive, complicated,
time-consuming, “one-shot” events to effectively coordinate and execute with
music on cue and filling the time properly and adequately. If not, well, you get
the picture…
(If any of the following questions become part of the hiring process with little
or no feedback, you are probably dealing with a non-professional.)
Ask for their competitive status. If they don’t compete or don’t have much to
offer in the way of competitive success or results, be suspicious of their
ability. Anywhere in the world, pipers are involved, more often than not, in
competitions and the competition system in their respective countries and this
allows them to establish and maintain a professional reputation. In the U.S. the
competition system starts with beginners in Grade 5 and progresses up through
the “Amateur” ranks to Grade 1, The “Professional-Amateurs” or advanced players
which is followed by the “Open” or professional class consisting of world-class,
and veteran pipers who mostly make some or all of their living as piping
experts, adjudicators, and elder-statesmen in the worldwide piping community.
A good guideline, as has been inferred to me by many “Open” players, is that if
a piper is not competing, and, at least placing if not winning in “Solo Grade
2;” that piper probably shouldn’t be out there playing solo in public at all,
whether pay is involved or not. “Solo Grade 2” represents 5-7 years of piping
experience on average, rarely less, and is the best minimum standard to take on
a piper for any occasion. “Solo Grade 2” means that they have demonstrated an
ability to play most, if not all, of the various genres of pipe music at a level
of ability that is beyond merely technical command of the music and the
instrument and that they are accomplished, growing musicians. This also usually
involves work in pipe bands. “Solo Grade 2” could be thought of as the point of
public consumption for seller or buyer.
Ask if the have any “Pipe Band” experience. This should be competitive
experience as well and not that they are simply a member of the “street band.”
What is the name of the pipe band they play with and what grade they compete in.
As with solo competition, Pipe Band competition is also graded in reverse order:
5 for the least experienced up to 1 for THE Premiere Pipe Band organizations on
the planet today. Ask for a website. If none, be suspicious.
Ask who their teacher is or was and education in the instrument. Ask if they
have ever attended any of the many piping schools and workshops offered
throughout the year all over North America. They should answer with something
like, ”my teacher was Pipe Major MacX, and I play/ed with the ‘What-its-name’
Pipe Band.” Ask for a website. If not, be suspicious.
What you’re paying for…
A bagpipe that sings! It should be in tune and have
a robust, resonant, full-bodied sound that fills the air around it. There should
be no wavering, wandering, or “wah-wah” sound coming from the drones- the pipes
that produce that steady hum- the constant harmony or background sound of the
bagpipe. The chanter should be in tune with the drones, it should have a bright,
clear sound without any noticeably distorted, sour, or screeching notes. Neither
the chanter nor the drones should over power the other in volume. A good bagpipe
reflects a piper who understands The Nature of
the Beast.
The music should reflect good technique. It should be punctuated by many
embellishments or “sound effects”- the gracenotes- which are to most ears heard
as that “chirping and barking” in bagpipe music. These should give the music
rhythm and a high degree of articulation in the melody, making it flow well and
not come across as staggered, stumbled, or labored.
A piper who looks comfortable and in command of the instrument. There should be
very little to, ideally, no physical movement in the drones while the instrument
is being played. A lot of movement indicates: 1) a leaky bag, 2) a bagpipe that
has been poorly set up in the selection of the right strength reeds and is,
therefore, too hard for the player, or 3) a piper who cannot blow steadily yet.
A piper should not look strained or “huffing-and-puffing” just to keep the pipes
going. In any case it indicates a far less experienced player with one or more
maintenance issues. Often in a case like this the chanter may cut in and out
leaving holes in the melody where only the drones are heard; another sign of
inexperience and poor play.
Time. A great deal of my profession is all about time and the application of a
fully qualified musician and music suitable to the occasion. Time learning, time
practicing, time rehearsing, time playing, time praying (at least a little bit
to the piping gods), time on the phone, fax, cell, pager, emailing, traveling,
dressing, “tuning-up,” and always striving to arrive at least an hour before
performance time. It all adds up to a minimum 1 ½ - 2 hours or more around any
engagement. I encourage clients to use me as much as possible for their events
since my time, and therefore my fee, devoted to an outing is essentially the
same whether I play only once, as is the case many times, or many tunes. As the
old saying goes, “time is money…” but more importantly, “You have to pay the
Piper to call the tune…”
All of my rates are available upon request. Serious Inquiries only, please.
Experience. Professionalism. Expertise. Knowledge. Availability. Flexibility.
I hope my website speaks for itself.
What you’re getting…
Music. Pure and simple. The majestic sound of the bagpipe from a piper in
authentic modern highland dress for your event or special occasion.
