the ultimate

piping guide
piper’s mind
the portable piping workshop

THE

by Vincent Janoski /("

piping
guides
 All text and illustrations copyright © 2007 by Vincent Janoski

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Contents
PREFACE 5

Part I: You and your music 

the music is yours  8

Think Small  9
Expand Your Library  9
Study  10
Listen  10
Experiment  11
conclusion  11

Rehearsal tracking  12

Performance Tracking  15

Bagpipe Mind Games  18

Part II: You and your instrument

Piping T.L.C.  23

An open letter to
the bad bagpipe  25

the Chanter Reed  29
the
ultimate
synthetic drone reeds  31
piping
guide
Pipehacker  34
•
by Vincent
Janoski
 contents

Part III: You as musician

On Creating and Composing

for the Bagpipe  41

The Imaginary Piper  43

The Piper’s Breath  48

THE BREATH  49
EXERCISE  50
PREPARATION  50

ten piping things to

plan and do 54

the
ultimate
piping
guide
•
by Vincent
Janoski
PREFACE

If current brain research is to be believed, we

can literally rewire our brains based on our dedi-
cation and our desire for self-improvement, our
need for growth, basically develop any skill we
desire. Our brains literally grow to meet the chal-
lenge of pushing our artistic or emotional bound-
aries, and at any age! Whether it is learning a
new medley, progressing the next solo competi-
tion level, or learning piobaireachd, it truly is “all
in our mind.”
Is our passion and desire, or our level of artist-
ry on the bagpipe or drum only measured by the
number of Clasps or World Championships we
manage to, or not manage to accrue as pipers and
drummers? Comparisons will get you nowhere.
The world of piping and drumming is big enough
to contain many experts. It is really up to the
individual piper or drummer to set out on their
own personal path of growth and discovery. 
Just as practicing your gracenoting for a new
tune, or running through singles to build up the
sticking strength will cement the skills in your ultimate
body, what is really happening is that the skill piping
guide
is cementing itself in your head. Our thoughts •
and mental processes require just as much of a by Vincent
workout when building new skills or other things Janoski
that require large amounts of concentration and
 preface

effort—and bagpipes and drums require that in

spades!
It is your choice. You can choose to rewire your
brain with “dirty” thinking and negativity, or you
can rewire your mental processes with the positive
things that will help you on your path to becom-
ing a better piper or drummer. This guide contains
numerous exercises and helpful tips and activities
to get pipers of all ability levels thinking and acting
differently, as well as thinking creatively. If there
is one thing that can help you “build the piper’s
mind,” it is to break free of your habitual thinking
and introduce new ways to challenge known skills
and situations. New challenges to your piping will
help your “piper’s mind” build positive habits that
will help your music for the long term.
Happy piping!

the
ultimate
piping
guide
•
by Vincent
Janoski
 Part I:
You and your music
 the musIC Is YouRs
be a better performing piper

We can all admit it. The highland bagpipe has a

less-then-lofty image among the listening public as
compared to other instruments. While it may be
true that many in the U.S. are too used to hearing
bagpipes played poorly, is still doesn’t change the
basic truth that, as pipers, we are also musicians.
What if William Donaldson is correct, as he sug-
gests in his book Pipers, and the non-piping public
is not entirely at fault for their impressions? Then
the solution lies with us. Maybe we owe it to the
public to present the full richness and vibrancy that
we know exists in our music? It is easy to fall back
on the competitive music that normally demands
so much of our time. But maybe, as musicians,
we owe it to ourselves to develop a broader view.
Ask yourself: “Do I have a set of non-competitive,
non-band material that I can perform for 8 to 10
8 minutes at a stretch? Do I have a list of favorite
marches, reels, jigs, etc.?” If your answer is “no”
to any of these, then it is time you begin the pro-
the cess of constructing personal tune sets within your
ultimate
playing ability that you can rattle off on demand.
piping
guide Your personal music list provides you with an ex-
• pression of personal taste and style in a way that
by Vincent
Janoski
playing competitive material (band or solo) does not.
Building a personal repertoire of favorite tunes and
 the music is yours

sets is also both educational and rewarding. Not only

will your understanding of the various types of tunes
improve as a result, but so will your sight reading
skills and your overall artistry on the instrument.
So, how do you get there? If all you’ve got are
competitive MSRs, how do you go about building a
personal repertoire of music?

Think Small
Small reels, strathspeys, two-parted quick marches
and jigs, they are the true core of the piper’s rep-
ertoire. And there is a gazillion of them, and some
really exciting stuff too. The potential combina-
tions of tune sets are endless, and spending time
learning these types of tunes and constructing new
sets is a creative exercise that will make you a bet-
ter musician. And let’s face it, these tunes are easy
and more fun to play!

Expand Your Library

Build a strong personal library of music collections.
Get in the habit of acquiring tune books—new and
old. The expense is worth it. If you buy books over 
time, before you know it, you will be surprised at
the breadth of material that is suddenly at your fin-
gertips. In the days before the competition boards the
took control of our repertoire, pipers of old played ultimate
and composed small tunes to play for entertain- piping
guide
ment. These tunes found their place in the old
•
collections such as Ross and Glen, and these are by Vincent
starting to see “print” again thanks to publishers Janoski
such as Ceol Sean.
 the music is yours

Study
Spend time with your books. Once you’ve amassed
your library and are “thinking small,” spend study
time with your collections armed with a practice
chanter and a pad of sticky notes. Work through
humming, singing, or playing the first few phrases
of random tunes. A tune will probably “click” with
you in the first few bars. If something does click,
work through the whole piece and decide if it is
a “keeper” or move on to another. By the end of
your study session, your book or books should be
flapping with dangling sticky note flags. Spend
enough time doing this, and any difficulties you
have with sight reading music will vanish. As your
skills build, you will be able to digest and rattle
off the basic melody of any tune when seeing the
music for the first time. Not only that, you will be-
come more familiar with the phrase patterns and
rhythyms found in various types of tunes.

Listen
As you flag tunes, listen for similarities in the
melody lines or rythym patterns. Pay attention to
10 similarities or compatibilities in major key notes
and pulses. Mark some of these tunes for possible
combination and experimentation in a future set.
the
ultimate
Listen to your personal CD or tape library—tradi-
piping tional celtic music, straight bagpiping—and notice
guide the tune types these bands are putting together. Do
• you hear a string of reels? Jigs into reels? Ask your-
by Vincent
self: Why do these tunes sound so good together?
Janoski
What is exciting about them? Melody, rhythm, key?
 the music is yours

The answers will condition you to think along the

same lines so that you will instinctively combine
compatible tunes.

Experiment
Once you have a handful of small tunes, start play-
ing them together in different sequences on the
pipe. Experiment with different phrasings and ex-
pressions. Stick with them and work through any
difficult fingering. Eventually, you will give up on
tunes that are not working and adopt others that
suit your personal style. Keep at it. Make the tunes
your own.

conclusion
Bagpipe music has a lot of character. One can spend
a lifetime immersed in it and still find something
new and interesting. There is a wealth of music out
there to enhance your personal enjoyment of the
Highland bagpipe, and your enjoymnet can only
make your public peformances that much better
for the audience. The more exposure people have
to the richness of our music the more the image
of the bagpipe and bagpipe players in general will 11
benefit. The music is yours, make it so.

the
ultimate
piping
guide
•
by Vincent
Janoski
 ReheARsAl tRACkIng
record and measure your progress

Time is a valuable thing. Given the demands of

everyday living, it is often hard for one to fit in the
full amount of time needed for one’s rehearsals.
An active solo competing piper can reach a point
where he or she is developing and polishing 15 or
more separate pieces of music. A band player can
also find themselves working on 25 minutes worth
of performance material for competition alone. Put
the active solo piper in a band, and that is quite a
list of music to prepare and keep fresh.
Very few of us have the good fortune or lifestyle
that will allow full run-throughs and detailed work
on all of one’s repertoire at every rehearsal session.
Breaking up your material and alternating music
session to session is a good approach, but how do
you keep track of your musical progress? Active
pipers and drummers may have a lot of music to
12 master, but professional musician will sometimes
have hours of material that must be worked. Many
professional musicians keep detailed logs of their
the rehearsal sessions. A musical log or diary is a good
ultimate
place to keep notes from instructors, personal notes
piping
guide
on music, a list of personal goals and achievements,
• as well as keep a documentation of just how you’ve
by Vincent done over time.
Janoski
 rehearsal tracking

The chart of on the following page can serve

as a template for a typical rehearsal log to get you
started. Print multiple sheets of the page and use
it as your master page for each session. You can
also attach additional pages, music, or notes and
use the template as a place to summarize your
thoughts. Before your session, think of some im-
mediate general goals that you would like to ac-
complish, specific tunes you’re on, or areas of
technique or expression you would like to exercise.
Then, after your session, write in what you thought
went particularly well, and what you think might
need more work (be honest). Break up your ses-
sion into focused parts with specific goals for each
part. Write the amount of time spent on specific
areas. Keeping good notes will allow you to track
your personal progress as well as help create more
balanced rehearsal sessions so that all of your mu-
sic will get a workout.

13

the
ultimate
piping
guide
•
by Vincent
Janoski
PeRFoRmAnCe
tRACkIng
record your appearences

Keeping track of all the details that go into

learning and rehearsing bagpipes and drums is a
daunting task. Competition schedules can be as
demanding as one’s day-to-day work and home
schedule. We’ve already discussed how keeping a
running log of your lessons and rehearsals can help
keep track of playing goals and progress in “Track-
ing Your Rehearsals.” With all the things that keep
modern pipers and drummers busy, it certainly can
help to document things for easy reference and re-
call. But what about performances? After all, the
biggest reason we rehearse music is to eventually
perform it. It is a good idea to also keep track of
the fruits of your labors—competition and other
performances.
One’s bagpipe or drum playing career—whether
band or solo—can span years. The performances
1
will be many and can be varied and special and it
can become nearly impossible to remember every- the
thing about each one. Your performances deserve ultimate
as much attention as your rehearsals in order to piping
guide
evolve and progress. Keeping track of your perfor-
•
mance activities, music played, unique circum- by Vincent
stances, mistakes, and achievements can work Janoski
toward making you a better “performing” musician,
 performance tracking

and give you guidance to structure and focus your

rehearsal time.
The grid on the following page provides a tem-
plate for keeping track of the key facts about your
competitions, gigs, and concerts, and provides
space for quick notes. Jot down what went well,
what worked, what didn’t, the material played,
and anything else that will help you. Copy the grid
and create a small “recipe-style” file that collects
them. Over time you just might be amazed (and
impressed) by where you’ve been and what you’ve
accomplished.

16

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piping
guide
•
by Vincent
Janoski
 BAgPIPe mInd gAmes
it’s all in your head

Dale Carnegie is quoted as saying: “The one who

goes farthest is generally the one who is willing to do
and dare.”
How much risk and uncertainty do you allow in
your own life? We all have our own way of handling
risk in our lives, and any artistic or creative pursuit
involves risk. We never really know what kind of
results our hard work will bring or even the best
way to achieve them. The emotional investment in
one’s chosen art brings with it a certain amount of
uncertainty and vulnerability. Competition of any
kind is a creative pursuit that involves psychologi-
cal risk taking. And anyone who belittles the activ-
ity of bagpipe competition has likely never been
involved in anything more psychologically arduous
than buying a toaster oven. They have no idea how
personally grueling it can be.
18 As competing pipers and drummers we lay out
our egos to a knowledgeable community of peers—
perhaps the harshest audience of all—sometimes
the
ultimate on a weekly basis during active parts of the com-
piping petitive calendar. The overall effect can be elation,
guide confusion, anxiety, abject terror, or simply butter-
• flies. Either way, many pipers and drummers can
by Vincent
Janoski
be hampered by the psychological baggage that ac-
companies the risk of performance or competition.
 bagpipe mind games

So, how do you handle uncertainty and risk?

The answer can be as defining an aspect in your
playing as the quality of your expression in a strath-
spey. It is a truism to say that a great amount of risk
can also bring the greatest rewards. Developing the
mental skills for creative risk taking can allow you
to channel uncertainty and derive the greatest joy
from your piping pursuits. If you want something
to practice that will work toward the rewards of a
personal best, general competitive success, or just
plain personal satisfaction, work on the tactics in
the following list to play bagpiping mind games
with yourself for your own good.
Be prepared to make mistakes and learn
to ignore social disapproval. Mistakes on
the bagpipe happen and a “flawless” performance
for any level of player is a rare thing. Prepare your-
self to make mistakes, make them often, and get
over them. It is almost anathema to bagpipe com-
petition since it is all about what “others” think
when your are being evaluated by a judge, but, stop
worrying about what others think.
Face your mistakes, and your frustra- 19
tions, head on. If it bothers you that something
has not gone right in piping or drumming perfor-
mance, deal with it directly. Figure out why it both- the
ers you and work on ways to resolve whatever it ultimate
piping
might be. guide
Tolerate the anxiety of uncertainty to find the best •
by Vincent
results. The first solution is not always the best. Janoski
The best way to get the results you want in your
 bagpipe mind games

piping or drumming comes from exploration. Only

a fool is convinced of a “sure thing.” Practice being
adventurous.
Develop an accurate perception of real-
ity rather than twist it to suit your own
ends. Admit your mistakes. Be honest with your-
self. The “blame game” in bagpipe competition is
popular one: “That judge just doesn’t like me;” “I
heard so-and-so play and there is no way I placed
behind him;” “If only the judging were better.” Stop
playing that game. If things have, or haven’t gone
your way, there is probably a valid reason amidst
the clamor of your own narcisism. Find that reason
and use it to build on your further development.
Stop wasting time on “growth” and “de-
velopment.” Get out there. Meet new people
and find new experiences. Incessant bagpipe
rehearsal or tuition will only get you so far. Stop
waiting for your playing to reach a certain quality
before you reveal it to the world. Get your kilted
arse out there and perform.
take nothing for granted. Never settle. Your
20 bagpipe can always be better. A tune can always be
played with more feeling, your playing can always
be more musical and exciting. Find the way.
the
ultimate Enjoy the contradictions in life. Even
piping though things don’t go your way, even after you’ve
guide
•
done all the right things, it’s okay. Playing bagpipes
by Vincent can be infuriating, but that is part of its charm.
Janoski
Be yourself. Opinions abound in bagpiping.
 bagpipe mind games

Everyone you meet will have their own personal

“vision” on piping and drumming and pipe bands.
Teachers and other bagpipers and drummers are
certainly good guides to navigate the pesky art of
bagpiping. But in the end, you should feel free to
develop your own ideas and opinions, develop your
own approach to the music, and create your own
musical statement.

21

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piping
guide
•
by Vincent
Janoski
 Part II:
You and your
instrument
PIPIng t.l.C.
take care of your bagpipe

Your instrument wants you. The long hours of

practice and competition can make the average
piper take his or her instrument for granted. All pip-
ers have their regular maintenance routine to keep
their pipes in top shape, but think about it, you’ve
taken your stand up and down the bumpy roads
to the games in cars, airplanes, and buses. You’ve
carried it around all over the field and played it in
all kinds of weather. It’s time to take some extra
effort to make sure your instrument has held up.
Pipers can be as active in the winter as they are at
other times of year. But things do slow down in the
winter months, so take the time to give your instru-
ment a Valentine and some tender loving care.

CheCk YouR BAg FoR AIR leAkAge. Remove

all the parts of your pipe save the blowstick and
cork the stocks. Inflate the bag fully and apply 2
“playing-strength” pressure with your arm for
several seconds. Blow into the bag again. If you
can inflate the bag any, you’ve probably got a the
small leak somewhere. Use your detective skills ultimate
piping
and find it.
guide
•
exAmIne the outeR suRFACe oF YouR by Vincent
dRones FoR CRACks oR dAmAge. While the Janoski
 piping t.l.c.

drones are apart, carefully examine each piece.

Check the wood for hairline fissures, chips or
other early signs of damage. Long term, even
the smallest chip or crack can become a major
problem down the road.
Clean the outer surface of your drones
and mounts. Things get dirty just being out-
doors. Use a soft cloth and mild dish soap to
wash the outside of your instrument.
Check all the connection points where
any “foreign” objects attach. All the
points where the various gadgets—such as water
traps, moisture systems, and the like—attach to
your pipes can collect gunk and just get plain
dirty. Take these items apart and clean them.
Check the seal on all hemped joints.
Normal use will wear out the hemp and wax on
all of your joints and loosen the seal. Check for
any part that requires a fresh wrap.
Retie your cords. Normal use can loosen the
ties on your drone cords and have your drones
24 flopping around on your shoulder. Cut the hemp
or plastic that binds your cords and retie. Re-
place them if necessary.
the
ultimate Wash your bag cover. All that squeezing
piping under a sweaty arm during the summer months
guide can take its toll on even the most durable fabric.
•
by Vincent
You wouldn’t wear the shirt you play in for three
Janoski months straight without washing it, so take off
that bag cover and give it a cleaning.
An oPen letteR to the
BAd BAgPIPe
why you stink

Dear piper,
You have been playing a short while and you’ve
finally made the jump to play in public or play in
solo competitions. Your fingering is progressing
nicely. Congratulations. While I’m glad that you’re
working hard on your piping, and you’re out there
on the boards, waking up bright and early to get to
the games, your number pinned neatly to your kilt,
I have to be blunt: Your pipes stink!
There, I said it. Somebody had to, for your own
good. Now, I know we are all supposed to encour-
age each other and play nice together, but man,
your instrument sounds like a tortured feline. It
is what makes the average spectator ridicule bag-
pipes. You give meaning to the joke: What do you
call a pile of bagpipes in a fireplace? Answer: A 2
start. Why do you hate your fellow pipers so?
In this day and age, with a multitude of prod-
the
ucts and materials to alleviate all the problems that ultimate
might cause your pipes to sound like rubbish, there piping
is no excuse. The good news is, there is hope. The guide
•
noise you’re making is probably coming from one,
by Vincent
some, or all of the points listed below. So, do ev- Janoski
 an open letter to the bad bagpipe

eryone a favor, put the pipes down and take them

apart. We’re going to going to take care of things.
1. Blowing.Your blowing and squeezing is awkward
and irregular. Air is not getting to your reeds under
full pressure, or worse, it is hitting the reeds in al-
ternating pressures—squeaking in, squawking out.
Check your bag for leakage. Make sure it is airtight.
Even the tiniest leak will affect your blowing, caus-
ing you to blow harder, too hard, causing your reed
to squawk, causing you to alter your blowing…it’s
a viscous cycle. Check the hemped joints of your
intstrument. Make sure they are tight and rehemp
as needed. Practice on achieving a natural rythym
of blowing and squeezing until a steady, consistent
sound is emanating from your instrument.
You will not save anything
2. Get some decent reeds.
using very old or handmedown reeds. You owe it
to yourself and your music to use new, good clean
reeds. Yes, chanter reeds are pricey these days, and
you will need to buy several. Save your pennies and
buy some. Play one, then when it wears out, trash
it and play another. When you’ve gone through all
26 of them, buy more. That’s what pipers do. Save
some more pennies and spend them on decent
drone reeds. Pick an easy to maintain synthetic
the drone reed make. Yes, yes, they are also expensive.
ultimate But there are many good ones these days, and you
piping
guide
will never need another set. Just buy them. We will
• all love you for it.
by Vincent
Janoski
 an open letter to the bad bagpipe

3. Make sure your reeds are the proper strength for you.
You do not earn extra competitive points for play-
ing gut busting reeds and working hard to blow.
You get extra points for playing good music. To do
that, your reeds should be comfortable and easy
to play. A nice comfortable chanter reed will also
allow your drone reeds to take less air and you
won’t have to work so hard to blow and squeeze
(see point 1). A good bet that your drone reeds
are set to take far too much air. This results in too
much blowing effort to keep a steady sound, your
chanter reed wavers, and your drones start and
stop. You sound like you’re trying to have relations
with a goat. Reedsmanship is a subtle art. Assume
you need proper advice and get some. There isn’t
a piper alive of some experience and success with
reeds who will not blather endlessly about the craft
of setting them up. Find one and indulge him (or
her). If you can’t, then fiddle with your drone reeds
until you figure it out on your own. Don’t worry
about ruining the reeds. If you botch them, buy
another set. I know, your credit card is maxing out
now, but that’s the way it goes. Nothing ventured,
nothing gained. This is your piping we’re talking 27
about.
4. Always assume you can make it better. No matter how the
comfortable you feel your reeds and bagpipe are, ultimate
always think you can make it more comfortable piping
and easier to play while getting a better quality of guide
•
sound. No matter how good you think you sound, by Vincent
or how good others think you sound, always as- Janoski
 an open letter to the bad bagpipe

sume you can sound even better. Necessity is the

mother of invention, they say. Your need will drive
you to find solutions and try new things. Not sure
of your abilities? Learn. Practice. Fail. Try again.
It’s the only way.
Go now, you don’t stink anymore.
Sincerely,
Your fellow pipers.

28

the
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piping
guide
•
by Vincent
Janoski
the ChAnteR Reed
the anatomy of a reed

Working with chanter reeds is probably the most

important of all the skills one develops in their
bagpiping careers. Certainly, the fickle cane that
supports a piper’s music is not so willing to give up
its secrets. Whether it is picking the “right” reed,
adjusting for tuning and tone, or fixing sound prob-
lems, it is not such an occult craft to develop the
right skills. Apply a little trial and error and plain
old common sense.
But where do you start? The task of tackling
your chanter reed can be a daunting one for the
beginning piper. Below is a quick guide to some
of the basic facts and attributes of a chanter reed.
Make a copy of the diagram that follows and keep
them in your pipe case for a quick reminder as you
experiment with your own reeds.

2

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sYnthetIC dRone
Reeds
decoding these mini machines

The last ten years or so have seen an explosion of

synthetic drones reeds makes out on the market.
The modern piper is not at a loss when choosing
a make of reed that is suitable to personal drone
make or sound taste. Stalwart varieties spawned
from Ross’s early plastic body and cane tongue
design still try to carve their place among players.
Newer, more advanced designs try to elbow their
way to the fore by improving on the all-synthetic
designs introduced by R.T. Shepherd and Mark
Wygent. Many the intrepid tinker it is who still tries
his hand at improving on the simple functionality
of a vibrating tongue and moveable bridle. Today’s
reeds are like mini-machines, with all the moving
parts, tools, and advanced materials to go along.
Many of the commonly played synthetic reeds
today elaborate on a basic design. For the inexperi-
1
enced player, it can sometimes be quite frustrating
to work with these new machines. It is often hard the
to remember the right things to do in order to get ultimate
them sounding their best in your pipe—and easy to piping
guide
do the wrong things.
•
The diagram that follows shows the basic syn- by Vincent
thetic reed design most often seen with all of its Janoski
 synthetic drone reeds

parts identified and some of the more common

actions and results explained. Most of the reeds
seen are variations of this same design. Getting
the reeds set “just right” for you is often the most
tedious work—but it is also the most rewarding. If
properly set, today’s synthetics will perform con-
sistently and remove the frustrations and variabil-
ity in performance that can inhibit development.
Copy the diagram and keep it in your pipe box as
a reminder when you have to make adjustments to
your reeds. You will then always be ready to get the
most these reeds have to offer.

32

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•
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Janoski
 Figure 1. COMMON Synthetic Drone Reed DESIGN
Tongue seat
Tongue is secured to reed body
with a band or O-ring. Secures the
Seating pin vibrating tongue to the reed body
and keeps it stable.
Wrapped with hemp and seated into Reed body
drone. Gives extra length for greater
Hollow “tube.” Fashioned of plas-
range of seating adjustments.
tic, fiberglass, or composite. Set
Seat reed deeper to sharpen reed with small hole beneath tongue
pitch; seat read further out to flatten for release of sound.
pitch.
Inner walls can sometimes col-
lect dirt over time. Blow or rinse
out occasionally.

Bridle
Rubber O-ring. Slides up and Tuning, or “pitch” screw
down the tongue and reed body.
Hex-head Allen or standard screw,
Slide bridle in small amounts. plug, or sliding pin.
Sliding bridle down the reed Tongue
shortens the tongue, sharpens Changes the length of the inside cham-
the pitch, and allows the reed Made of fiberglass, plastic, or ber of the reed and thus overall pitch.
to play with less air; sliding the thicker carbon composite. Heat set Turn screw clockwise (in) to sharpen
bridle up the reed lengthens the and curved for proper vibrating reed and tune drone higher up on tun-
tongue, flattens the pitch, and action. ing pin; turn screw counter-clockwise
causes the reed to play with more (out) to flatten reed and tune drone
No flicking! Tongue should vibrate
air and blowing. lower on pin.
optimally without manipulation.

Illustration copyright © 2005 by Vincent J. Janoski

 PIPehACkeR
carve your own path

Pipers have ever been a handy bunch. We have

devised all sorts of methods for instrument self-
sufficiency. Whether it is making our own bags or
reeds, brewing our own seasoning, or some other
creation to improve the playing experience, the in-
stinct to create would seem to be a prerequisite for
a Highland piper.
Pipers of all stripes will eventually dabble in a DIY
project or two. Just as computer hackers “hack”
software code and remodel it to their needs, these
pipers’ projects are a “hack” as well. Thus, we are
all “pipehackers.”
The projects on the following pages can achieve
several things. They are creative, they help build
pride and ownership over your instrument, and
they will get you thinking differently about all as-
pects of your art. Give them a try and create your
 own pipehack.

the
ultimate
piping
guide
•
by Vincent
Janoski
 35

the
ultimate
piping
guide
•
by Vincent
Janoski
 running head

36

the
ultimate
piping
guide
•
by Vincent
Janoski
running head

37

the
ultimate
piping
guide
•
by Vincent
Janoski
 running head

38

the
ultimate
piping
guide
•
by Vincent
Janoski
running head

39

the
ultimate
piping
guide
•
by Vincent
Janoski
 Part III:
You as musician
on CReAtIng And
ComPosIng FoR the
BAgPIPe
unleash your muse

Have you ever tried composing a piece of bag-

pipe music? What was the result? Composition
skills are like anything else, they require learning
and practice. Remember back to a time when you
could not read a piece of music. How good are
those skills now?
If you repeat something often enough, you will
develop habits related to that something. So it is
with music. Music composition, aside from com-
prising a set of skills that can be learned, is also a
creative exercise. Tapping into your own creativity
means habitually placing yourself in the right mind-
set to allow your personal creativity to flourish.
A general axiom among learning experts states
that if something is done for thirty days, it will be-
1
come ingrained and habitual.
Try this exercise: Each day, for thirty days, cre- the
ultimate
ate an original piece of pipe music. It could be
piping
a phrase, a melodic line, a full tune, anything. guide
Scribble it down immediately. Carry some music •
staff paper, or a notebook around with you. Think by Vincent
Janoski
about it during the course of your normal day and
 on creating and composing

pick a set time to jot down what’s going through

your head. Don’t worry if the result is any good,
or if it sounds like something else. The idea is to
get used to the process of creating and document-
ing. Review your results at a later time and expand
on your scribblings. You can then decide whether
what you’ve written is junk or not.
After a while, you may find yourself jotting
down several phrases, or even an entire four-parted
tune. You may find that things just pop into your
head unprompted. That is the point. Once it be-
comes easier to tap into those mental resources,
you might be surprised by the changes in the way
you approach the music. And who knows? You just
might end up getting a good tune or two you can
call your own.

42

the
ultimate
piping
guide
•
by Vincent
Janoski
the ImAgInARY PIPeR
making the most of your practice
time in a busy world

There is a great quote by franz liszt: “Think 10

times, play once.”
Franz Liszt was a virtuouso. A musician who
amazed even his peers at the time (Wagner, Shum-
man) with his musical abilities. So when someone
of such prodigious talent utters such a line, take
note. It’s the kind of quote that professional mu-
sicians will tack above their work areas. It’s also
the kind of quote that could mean different things
on different days. But in the end, it speaks to the
value of mental practice.
How many of us wish we had more personal
time to practice our music? Are you a piper or
drummer who is constantly pressured to find the
time in a busy life to schedule regular, consistent
rehearsal to learn new music, or practice your cur-
rent repertoire? Engaging in mental practice ses-

sions is something that can fit into even the busiest
of schedules, and provide the additional time we
the
crave. ultimate
piping
Mental practice is what it suggests: practice in
guide
the imagination. It is daydreaming, put simply. But •
it is directed daydreaming. It is visualizing yourself by Vincent
running through physical routines in your mind the Janoski
way you would perform them. For musicians, this
 the imaginary piper

is simply imagining yourself playing or performing

your music in the way you desire to hear it, without
weaknesses and without any flaws.
For more insight into the idea of mental practice,
read a book called Psycho-Cybernetics by Maxwell
Maltz. In it, Maltz explains the basis of mental prac-
tice, which is the fact that the nervous system can-
not tell the difference between a vividly imagined
experience, and an actual one. Maltz conducted sev-
eral experiments to support this idea. One involves
piano music and children. The experiment centered
around a single piece of new music. Control groups
were given a daily regimen of physical practice and
rehearsal, while another group was given minimal
amounts of physical rehearsal, while spending regu-
lar periods of time imagining themselves playing the
piece. In the end, the group who spent most of their
time playing the piece in their minds showed equal
and sometimes greater aptitude in actual playing of
the piece, and developed this aptitude more quickly
than the control group.
How many bagpipers complain of difficulty
44 memorizing music, or consider certain tunes too
difficult to play? How many pipers worry that they
cannot play a certain tune as well as “so-and-so”
the on the latest CD? The solution to these dilemma
ultimate lies in actually imagining “ourselves” playing the
piping
guide
piece well, or the way we wish it heard—creating
• an “imaginary piper.” Kinetic memory or the physi-
by Vincent cal habits that are required to play bagpipes (and
Janoski
 the imaginary piper

drums), normal recall, as well as aural memory, all

start in the brain. There are no physical barriers to
imagining yourself playing even the most difficult
tune flawlessly. As you get used to the idea of your
imaginary piper doing things “right” in your head,
you are that much closer to having it emerge in the
physical act.
Probably no one needs tips on how to daydream,
but the table on the following pages provides some
things you can do to start working in a routine of
mental practice for your piping. Working on these
tactics is as quick and easy as being awake. Learn-
ing and playing the Highland bagpipe can be as
much about unlocking personal potential as it is
about playing music. Muscles take a long time to
develop, and physical habits can take ages to take
hold before they become natural. The mind is a
far superior instrument and will adapt and develop
quicker than your body, and it is the mind calling
the shots. Including a regimen of mental practice
in your musical routine is the fastest way to get re-
sults out of the hard physical practice (time spent
on the practice chanter or pad, time spent playing
the bagpipe) you may already be doing.
45
PICK A TIME where you are not engaged in par- the
ticularly demanding physical task, but a time ultimate
that occupies each day the same way. This can piping
be a regular walk for exercise, driving or riding guide
•
the train to work, taking a shower. Make this by Vincent
your “practice time.” Janoski
 the imaginary piper

USE YOUR CHOSEN TIME to run through your

repertoire. If you’re new to this kind of day-
dreaming, start with tunes you know well, that
are almost second nature. Imagine yourself
playing the big pipe, the physical act of blow-
ing, squeezing, and fingering the chanter. This
is your “imaginary piper.” Focus on how it feels.
Then start a tune or set and run through the
whole thing start to finish, at tempo, note-for-
note. Try to actually “hear” the tone of your in-
strument. Try to hear the sound of movements
the way you want to play them. Picture your fin-
gers playing certain movements with clean and
clear gracings.
Lock into subtleties of rhythym and phrasing.
For an automatic, or habitual tune, this should
come easy, but do this for a while until you get
used to forming a strong picture in your head
without distraction.
ONCE YOU’RE USED TO CREATING a solid pic-
ture of yourself playing, or, if you are already
used to this sort of daydreaming, start alternat-
46 ing with other parts of your repertoire. Imagine
running through your entire piobaireachd, as if
you were in competition, with all the phrasing
the
ultimate and feeling the tune deserves. Picture perfect
piping execution, and good timing.
guide
• Alternate with new tunes you might be work-
by Vincent ing on. Hear them played and recalled perfectly.
Janoski Imagine playing your march, strathspey & reel
 the imaginary piper

sets with all the musical expression and clear

fingering that should be there.
AFTER YOU’VE SPENT REGULAR TIME mentally
practicing your material, start to use this time to
bring other aspects of musicality into your play-
ing. Imagine playing your tune(s) a little differ-
ently—change your phrasing; pick up the tempo
or slow down. Try to really hear what the tune
might sound like with these alterations. The
benefit of playing in your imagination means
that there is no pressure—no judge to score you,
and no audience. You can also start using other
time to “practice.” Waiting for the bus, sitting in
your doctor’s waiting room, standing in line at
the bank—all of these moments can be used to
add more mental practice.

47

the
ultimate
piping
guide
•
by Vincent
Janoski
 the PIPeR’s BReAth
breathing your way to good
blowing

Pipe bands, and individual pipers these days seem

to get a pretty decent sound at just about any grade
level. Many Pipe Majors and instructors have the
necessary skills to set a band’s sound well. There is
nothing more impressive in a lower grade contest
than to hear, say, a Grade 4 pipe band come onto
the field with a clean, well set tone. Other bands
may not be so lucky though, despite their best ef-
forts. Probably the biggest contributor to a pipe
band’s overall poor sound has got to be pipers’ poor
blowing of the instrument.
Just about every band you’ve played with or en-
countered can claim to have had comments about
“poor blowing” from a judge on their competition
scoresheets. Lower grade bands are plagued with
this problem. You can hear it as a spectator. Bands
8 will start off great in an opening tune, then by the
end of their set or medley, chanter tone is wavering.
Sometimes certain notes sound okay, sometimes
the not. A band will attribute this to “blowing issues”
ultimate
and almost shrug it off as “nerves” or “inexperi-
piping
guide ence,” as if these troubles will fix themselves over
• time. Not so. Pipers are taught to play a proper
by Vincent toarluath with each gracing properly articulated,
Janoski and similarly pipers must also be taught to blow
 the piper’s breath

their pipe to project a full and resonant sound. Of-

ten, little detail is shown to the learning piper on
how to blow the bagpipe fully and properly.

THE BREATH
The key to good blowing is, simply, good breathing.
Mastery of your own breathing process will enable
you to control when and how much you should
blow. Aside from setting up your instrument to be
comfortable and air-efficient (as well as regular
practice), how you breathe makes the greatest con-
tribution to what we all consider “good blowing.”
It may seem silly to think about breathing since
we all know how to breathe, and pipers must worry
about a host of other things as they play. A piper
doesn’t need to think about something as easily and
automatically done as breathing as he or she plays,
right? Not so right. Breathing is an important part
of the wind musician’s skillset. Woodwind players
will spend hours training their breathing patterns
to achieve the proper intonation, volume, and tonal
quality on their instruments.
But, “the bagpipe is not like other woodwinds,” 49
you say? Perhaps. The bagpipe does not respond to
the subtleties of breathing the way a flute or oboe
might, or does it? Isn’t the dreaded “sagging D” or the
ultimate
“dullness” in chanter sound a result of poor intona-
piping
tion, or the inability to sustain pressure in the bag? guide
A Highland piper may not be trying to achieve a •
sustained note or altered volume with the breath, by Vincent
Janoski
but the piper’s breathing must have sufficient sus-
 the piper’s breath

tained energy at key points in his or her music in

order to get a full sound on their instrument.
In order to change the way you blow, you must
first be aware of the way you breathe. Being aware
of your own breathing will also allow you to notice
when it is changing as you play. You will pinpoint
the spots where your blowing suffers and your pipe
is not sounding its fullest.

EXERCISE
The good news is, as with any pipe music move-
ment or tune you might be working on, it is exer-
cise and practice that will help you develop better
control over your breathing. Incorporating some
short, basic breathing exercises into your normal
rehearsal routine will enhance your breath aware-
ness and ultimately, your control. Awareness and
control will then allow you to better achieve a full
sound on your pipe.
The following exercises are brief enough to in-
clude in total or in part either before a practice ses-
sion, during the day at some point, before bedtime,
50 whichever is convenient. The best part: They’re
easy! They progress in “difficulty,” but they take no
more energy than sitting and breathing. Stay with
the them, and you will start to feel the difference when
ultimate
you play.
piping
guide
• PREPARATION
by Vincent For each of the exercises, stand comfortably and
Janoski
straight. Maintain good relaxed posture. Keep your
 the piper’s breath

back straight and your chin up. Lay your arms com-
fortably at your sides. Most important of all: Relax.
Close your eyes and focus on your breathing. Con-
duct each of the exercises by breathing through the
mouth, not the nose. Each exercise will be using
normal counts of music time. Imagine a tune in
the proper meter as you go through each exercise.
You can adapt each exercise to fit different tune
types. If you like, conduct each progression of ex-
ercises through a typical competition MSR using
the rhythms of each tune as your count.

q BREATH CONTROL EXERCISE 1: WARM-UP

1. Exhale fully
2. Breathe in fully in 2 counts of a normal common
time
beat.
3. Exhale immediately and fully in 4 counts using
an “S”
sound. Push from the diaphragm.
4. Repeat steps 1 through 3 six times.

q BREATH CONTROL EXERCISE 2: MARCH I

1. Exhale fully. 51
2. Breathe in fully in 2 counts of a normal 2/4 time
beat.
3. Exhale fully in 6 counts suing an “S” sound. Push the
all air out. ultimate
4. Repeat 1 through 3 five times. piping
guide
q BREATH CONTROL EXERCISE 3: MARCH II •
1. Exhale fully. by Vincent
2. Breathe in fully in 2 counts of a normal 2/4 time Janoski
beat.
 the piper’s breath

3. Exhale fully in 8 counts suing an “S” sound. Push

all air out.
4. Repeat 1 through 3 five times.

q BREATH CONTROL EXERCISE 4: MARCH III

1. Exhale fully.
2. Breath in fully in 2 counts of a normal 6/8 time
beat.
3. Exhale fully in 6 counts suing an “S” sound. Push
all air out.
4. Repeat 1 through 3 five times.

q BREATH CONTROL EXERCISE 5: MARCH IV

1. Exhale fully.
2. Breathe in fully in 2 counts of a normal 6/8 time
beat.
3. Exhale fully in 8 counts suing an “S” sound. Push
all air out.
4. Repeat 1 through 3 five times.

q BREATH CONTROL EXERCISE 6: JIG I

1. Exhale fully.
2. Breathe in fully in 2 counts of a normal 6/8 jig
time
beat.
52 3. Exhale fully in 6 counts suing an “S” sound. Push
all air out.
4. Repeat 1 through 3 five times.
the
q BREATH CONTROL EXERCISE 7: JIG II
ultimate
1. Exhale fully.
piping
guide 2. Breathe in fully in 2 counts of a normal 6/8 jig
• time beat.
by Vincent 3. Exhale fully in 8 counts suing an “S” sound. Push
Janoski all air out.
 the piper’s breath

4. Repeat 1 through 3 five times.

q BREATH CONTROL EXERCISE 8: REEL I

1. Exhale fully.
2. Breathe in fully in 2 counts of a doubled 2/2 reel
time
beat.
2. Exhale fully in 8 counts of doubled reel time suing
an
“S” sound. Push all air out.
3. Repeat 1 through 3 five times.

q BREATH CONTROL EXERCISE 9: REEL II

1. Exhale fully.
2. Breathe in fully in 1 count of 2/2 reel time.
3. Exhale fully in 16 counts of doubled up reel time
using
an “S” sound. Push all air out.
4. Repeat 1 through 3 five times.

q EXERCISE 10: EXPANDING AIR CAPACITY

1. Exhale fully.
2. Breathe in fully in 8 counts of normal common
time.
3. Hold your breath for 2 counts.
4. Sip a fast breath in for 1 count. 53
5. Hold for 1 count.
6. Sip a fast breath again in 1 count.
the
7. Hold for 1 count.
ultimate
8. Sip another fast breath in 1 count. piping
9. Hold for 1 count. guide
10. Exhale for 8 counts. Rest. •
by Vincent
11. Repeat two to three times.
Janoski
 ten PIPIng thIngs to
PlAn And do
expand your horizons

The end of another year approaches, and you’ve

been busy. You review all that you have, and have
not accomplished and revel or regret. The end of
the year also will bring, everywhere and anywhere,
lists of “the year’s best,” “the year’s worst,” “top
trends to watch for the coming year,” and on and
on. Why not fall into step and compile your own
list for the coming year: “Ten piping and drumming
things to plan and do for the coming year.” You have
365 days…go!

q 1. stRetCh YouR ComPetItIve Bound-

ARIes. If you are an active competitor, pick the
 highest-end bagpipe contest (solo or band) you
can think of for your playing grade or level and
enter. Work for it, and make giving your best go
the at it your goal.
ultimate
piping
q 2. exPose YouRselF to BIggeR And
guide BetteR PIPIng And dRummIng. Pick the
• highest-level solo or pipe band event you can
by Vincent think of and attend as a spectator. Pick some-
Janoski
 ten things to plan and do

thing that will give you exposure to something

that you’ve not seen or heard before.
q 3. Educate yourself. Seek out one new
educational thing that will enhance your play-
ing. This can be attending a workshop or sum-
mer school, beginning a short series of lessons
with someone, taking a class on music theory, or
studying a particular point about bagpipe music
that has always interested or baffled you.
q 4. Study. Pick one area of piping or pipe
band history unknown to you and research it.
q 5. Stretch your musical boundaries.
Concoct one set of tunes made up of brand new
material to play for fun.
q 6. Perform. Pick one opportunity to play
in front of a sizable audience—and not a pay-
ing gig, or a competition. If you do this regularly
anyway, pick an opportunity to play for a recep-
tive crowd who might otherwise not expect it.
q 7. Contribute. Volunteer or donate to
help organize a piping event or workshop in your
area.
55
q 8. Indulge. Treat yourself to a new toy:
a new instrument gadget; a new chanter; new the
ultimate
sticks; try a new brand of reeds; get a new pipe
piping
or drum case. guide
q 9. Challenge yourself. Change your re- •
by Vincent
hearsal regimen for a brief while. Janoski
 ten things to plan and do

q 10. Allow yourself some creativity.

Sit down and compose a piece of music.
As you might tell, this list is really about bust-
ing through your usual habits. So much of mod-
ern life forces us to adopt “schedules” and “pro-
cedures” that become second nature and only
add a humdrum quality to our lives. If there is
only one thing you do for your piping or drum-
ming in 2006, it should be to examine your cur-
rent routines and identify those things that have
become thoughtless, stale, and boring. Once
you’ve identified those things, change them.
Shake up your piping and drumming to keep it
interesting and try to bring some creativity and
style into your pursuit. It can’t hurt. You’ve got
nothing to lose and everything to gain.

56

the
ultimate
piping
guide
•
by Vincent
Janoski
about the author
Vincent Janoski is
an active competing solo piper in
the eastern United States. He has played in pipe
bands for many years and has taught numerous
beginning pipers the finer points of playing and
instrument maintenance. He is currently co-editor
of The Voice, the quarterly magazine of the Eastern
United States Pipe Band Associaion and regularly
maintains The Voicelog, the online journal of The
Voice.
 '03
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