How to Set Up and Tune in Front of a Solo Judge

You’ve practiced your tunes. You know your instrument. You’ve put in the work.

Then you step in front of the judge—and the nerves kick in.

One thing I see far too often, particularly in the lower amateur grades, is competitors approaching the judge without a real game plan for how they’re going to set up and tune their pipes.

You already know you’re probably going to be nervous. So instead of hoping everything goes smoothly, practice a routine that you can fall back on when the nerves take over.

Have a Tuning Routine Before You Compete

Your setup in front of the judge shouldn’t be something you make up on the spot.

I like to base the whole routine around a two-parted slow air. It gives you time to settle yourself and your instrument, and it lets you methodically listen to what your pipes are doing before you begin your competition tunes.

Here’s how I would approach it.

First Time Through the First Part: Let the Pipes Settle

Start by playing the first part of your slow air.

Don’t immediately start chasing your drones or making adjustments. Give the pipes a chance to settle into the environment where you’re actually going to compete.

Temperature, humidity and simply moving from one area to another can affect your instrument.

Give it a moment.

Just as importantly, give yourself a moment.

You’re nervous. Playing something familiar and controlled gives you a chance to settle into your blowing and get your ears working before you start making tuning decisions.

Tune Your Drones

After playing the first part, stop and tune your drones.

Now play the repeat of the first part.

Listen again.

Do the drones still need an adjustment? If they do, make it. If they don’t, leave them alone.

Having a routine helps prevent one of the easiest mistakes to make when you’re nervous: continually adjusting things simply because you feel like you should be doing something.

Listen first. Adjust when necessary.

Use the Second Part to Listen to Your Chanter

Now move into the second part of your slow air.

At this point, you’re listening beyond the drones.

You want to hear the notes of the chanter against your drones and identify whether an individual note is standing out as being out of tune.

If necessary, you may be able to make a quick adjustment with your chanter tape before starting your competition performance.

This is why your choice of slow air matters.

Choose a slow air that gives you most of the notes of the scale—particularly in the first part.

You’re not just playing a tune while you warm up. You’re using that tune as a tool to systematically listen to your instrument.

A Slow Air Also Slows You Down

There’s another reason I like this approach.

When you’re nervous, everything has a tendency to speed up.

You walk faster. You think faster. You make decisions faster. And before you know it, you’ve tuned your drones, played a few random notes and launched into your competition tune without really listening to your pipes.

A familiar slow air forces you to slow the process down.

Instead of thinking:

Tune. Check. Play. Go.

You have a sequence that you’ve already practiced:

Play. Listen. Tune. Play. Listen. Adjust. Settle. Then compete.

That routine can make a big difference when your nerves are telling you to hurry.

Don't Stand Too Close to the Judge

Where you stand matters too.

Give the judge some space.

Remember that the pipe chanter is projecting at roughly the same level as the seated judge’s ears.

You don’t need to stand right beside the table and blast them out of their chair!

Give yourself enough room to move naturally while still remaining in the competition area.

Practice Walking and Turning at Home

Your competition preparation shouldn’t always involve standing still in the middle of a room.

Create a small competition-sized area at home and practice your entire routine while walking back and forth.

Practice your turns as well.

When you reach the end of your space, turn slowly without changing the tempo of the tune.

That sounds simple until you’re nervous and trying to think about your pipes, the judge, your music and where you’re walking at the same time.

The more familiar those movements become at home, the less attention they require on competition day.

Practice the Routine, Not Just the Tunes

We spend a tremendous amount of time practicing the music we’re going to play for a judge.

But your competition performance begins before the first note of your submitted tune.

Practice walking into your imaginary competition area. Practice starting your slow air. Practice listening. Practice tuning your drones. Practice making a small tape adjustment if necessary.

Practice walking, turning and settling yourself before beginning your competition tune.

Do it often enough that it becomes automatic.

Then, when you’re standing in front of the judge and the nerves inevitably arrive, you don't have to figure out what to do next.

As a parting thought, write the names of your tunes on a piece of paper to keep in your sporran for when your nerves make you forget the name.

You already have a game plan.

And instead of rushing to get started, you can give yourself—and your pipes—the time needed to settle, listen and get as close to your best sound as possible.

Great sound starts before the first note of your competition tune.