The remedy is simple enough,—the standardisation of pipe tunes for military purposes, in precisely the same manner as obtains with the National Anthems and trumpet and bugle calls; and, just as no departure to meet regimental custom or prejudice is permitted in the case of these latter, so the setting laid down for the Army in the case of pipe tunes should be strictly defined and adhered to.
The superiority of one setting over another does not enter into the question; what is essential is uniformity.
Many pipe majors have pointed to this standardisation as one of the most important measures to be adopted after the war, in the interests of piping in the Army.
Neglect of Piobaireachd.—It is open to argument whether the military piper does or does not exert a determining influence on the cause of piping generally. Allowing fully for the great value of the recognised societies and the periodical piping meetings throughout Scotland, in keeping up the standard of the national instrument and offering inducements for its study, it will be readily admitted that, by their mere existence as permanent institutions, military pipe bands keep up the cult of the pipes, at home and abroad, to so marked a degree that any decline in their standard must have a deleterious effect on piping generally.
To what extent, then, if at all, is military piping conducted to the best advantage of the cause of piping, and is there room for reform?
It may be taken as generally the case that, in so far as a military pipe band is regarded as designed for duty on the march, and for various routine military musical duties, it fulfils its functions to the satisfaction of all concerned. It is too much to expect the War Office—or even individual commanding officers—to accept the view that neglect of "ceol mor" is not compensated for by a high standard of excellence in the "middle music" and in dances and marches. Individual pipers in every battalion are players of "piobaireachd"; but any one with experience of regimental or garrison piping competitions knows how small is the number of men who enter for that class of event, as compared with performers of the march, strathspey and reel.
The explanation is simple enough—the men play what their audience demands, and "Leaving Glen Urquhart" or "Duntroon" appeals to more people, military or civil, than the finest piobaireachd. Pipe majors, even when themselves anxious to teach their pipers the higher class of music, recognise that to attempt to do so would often be wasted labour—men come to them too old to make piobaireachd players, and, in any case, the opportunities for playing it in the Army are too few to make it worth while trying to get men to go through the initial drudgery. Being human they naturally turn to march and dance music; and the result is that, except in the case of professional pipers who have enlisted, the soldier piper generally ignores altogether the classical side of his music.
This is a defect in military piping, and it should be remedied by insisting that, before promotion to pipe major, a piper should pass an examination in every branch of pipe music.
A school of piping.—The time has come to establish a school of piping for the army at which likely pipers could undergo refresher courses of instruction in all classes of pipe music, in the correct writing of music—a subject which is lamentably ignored, in the theory of music, and in methods of instruction of recruit pipers. In other words it should fulfil the same functions as regards the training of future pipe majors, and the improvement of the standard of playing in the army, that Kneller Hall does in the case of bandmasters and military musical education generally.