Pipe Major William Ross’s Farewell to the Scots Guards, high pitch normal speed

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Learning points
1 The High G gracenotes in the 'bouncy' and 'bouncy, bouncy' rhythmical groupings (rhythmical sol-fez helps develop your musicality, this is just a bit of fun in the equation) are timed like in Highland Laddie. This is because the 32nd notes can't be the same length as the gracenote, but to make the proportion 3:1 would make the gracenote too short. Hence, it is 2:1, so divide that short not into 3.
2 There is an interpretative decision where there are two 32nd notes next to each other; in every such situation the first 32nd note is a little longer and the second is as per given value. This provides extra bounce and beauty to the tune. The first two note in the group of four are made into a triplet, with the first note being twice the length of the second, and then the last two notes are played as written. As always, listen to the recordings rather than get worried about these words too much.
3 In bar 2 the B and strike is yimed like a doubling. That is to say the B is on the beat and the strike is a light and quick strike thereafter.
4 The low G in the throw in bar 3 is a 32nd note and comes before the beat. The strike is timed like a doubling after that.
5 The strike on the E is a 64th note and opens on the beat.
6 At the end of each part the hara finishes on the beat, with the first D (after the G gracenote) being a 32nd before the beat, and is followed by a light strike opening on the beat.
7 Second bar second part - the E and low G (throw) are of equal length. This is a question of interpretation, and this is what has been chosen here.

The Magic Maxim:

"If you can play slowly you can play quickly, but the converse isn't necessarily true..."

This means exactly what it says - the better you become the more exactly you should be able to control what you are doing, and so to test ourselves, we shouldn't practice more quickly, but more slowly.

To think again like computers - a sampling rate for a recording is a measure of how many times a second the computer will measure what is happening in the sound. A higher sampling rate makes for a higher quality of recording, up to a point beyond which it doesn't make much difference. It is the same with piping - the more times in a beat you can say exactly what is happening, the better your piping, up to a point..

By remembering the five steps in learning (see how to practice), we can see that at the point when we assign time to our actions we can get better by increasing our sampling rate. We do this simply by dividing by two, and playing at half speed, with awareness of twice as many points in the beat. When we succeed at this level, we half our speed again, and double the number of places in the bar we try to feel and be aware of what is happening. We keep doing this until every gracenote can be measured opening and closing. If you know the 'New French Method' of rhythm, this helps dramatically, as it automatically gives us a sampling rate of four points per beat.

Start with a quick video (or a medium one) and when you feel you are playing with this nicely, go to a slower one, and try to feel more detail. First listen carefully, bearing in mind that most things are divided by two, to find where the actions occur. Obviously, when you accomplish this, go to the next slower file.

Once you have gone to the slowest file and played along correctly, start to go through the faster ones again to see how much more precisely you are playing, and hearing what you are playing.

Playing exactly with the midi files at a quarter speed is a fairly good test for a group, and this extra secret can dramatically affect the strength of playing within a band, and the confidence. It is true that using this approach, you can bring about a positive revolution in your band's playing and attitude.

It's a simple set of tasks, the trick is in disciplining yourself to do it.