Stan wrote:

"Marches should be played at marching speed. Watch people going across the
Millennium bridge. They are all going at more or less the same speed. As you
play pretend you are marching home after you have escaped a bloody, painful
death in a battle you were forced to go to avoid your house being burned. If
you are only a few miles from your loved ones, and you see the hills of home
you'll start to swing into a retreat march, and my won't the tune go, and be
just "right"."

This is, in fact, a good illustration of my suggestion that there are no
universal right or wrongs in relation to tempi in Scottish traditional
music. Take the march, for example. Functional military marching has always
been influenced by the conditions under foot and the situation in hand and
therefore the prescribed tempi varied considerably in time and place. The
introduction of metalled roads in Scotland, for instance, coincided with the
rise of the quickstep and quickest step.

Then there were ceremonial marches which had there own requirements. In
piping the great period of march composition was not for marching at all but
for recital and competition performance with many tunes never intended for
marching.

The adoption of march tunes into the Scottish social dance tradition further
complicated the situation and added to the sheer variety of tempi which can
be employed.

The retreat march is not, as Stan suggests, necessarily a march time tune
which would be marched to - as often as not it was played as part of the
evening ritual in the military camp as day duties gave way to night ones. It
was not linked to the military manoeuvre of retreating in or from battle but
was linked to the idea of refuge and safety in the camp. Some contemporary
players, assuming that the retreat march is to be marched to, crank it up to
a  kind of swaggering, kilt swinging, tempo which robs the airs of the
inherent melancholy quality which many possess.

I hope this helps illustrate my earlier point.

Stuart Eydmann

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