Embellishments are to the basic melody as Christmas ornaments are to a tree. They’re intended to enhance the beauty of the tune and to introduce an additional level of interest and excitement that is not otherwise present. Let’s go with the Christmas Tree analogy a step further. If the tree dies and the needles turn brown, even though the ornaments are still on the tree, it’s now something quite ugly.
Many pipers struggle to play notes precisely where they belong. They sometimes tumble through a measure and produce something less faithful to the melody than what the written music states. Not only is this a disturbing distortion of the music, but it’s also a significant issue when playing with others.
When addressing these issues with individuals and with bands, I sometimes strip out more complicated embellishments and present something that I call “basic” music. It is a representation of the tune with the focus on the melody rather than on the embellishments.
Have a look at Scotland The Brave, one of the most requested and played bagpipe tunes worldwide. Played exactly as found in Scots Guards book 1, it’s a mitt-full. The vast majority of pipers will destroy the melody, timing, and phrasing for the sake of the embellishments. I have indicated where the beats fall within the tune as found and within the “basic” version as seen immediately below. By indicating where each beat falls, I help pipers to better understand and execute the basic melody of the tune. As their competence and confidence grows, we’re able to reintroduce more complicated embellishments without distorting the melody.
Many will find this disagreeable however I will defend this to a point. If someone has the ability, desire, and opportunity to play at a higher level, they should persevere to include all embellishments as written within a tune. On the other hand, if these elements (ability, desire, and opportunity) are not in place, I believe that it is entirely acceptable to play the basic melody with only gracenotes or other simple embellishments. This allows the piper to focus on the sound that they are producing, timing, tempo, and phrasing, all of which may suffer otherwise.
There’s something else. Some who teach bagpipes hold onto the notion that unless you include all the embellishments, you’re a “hack”. I’m of another mind. Although I hate the word, I believe that if you compromise the sound, timing, tempo, and phrasing for the sake of pounding in embellishments, you’re a hack! I also believe that many students, young and old, crumble under these high expectations. Without experiencing success, they abandon the instrument in favor of less-onerous undertakings.
I maintain that if you can produce a pleasing sound on the instrument and play a melody without compromising timing, tempo, and phrasing, you’re doing the instrument justice and making music.
So to cap this off and seal my fate at the consummate bagpipe heretic, try starting your next student with a simplified version of a tune. Introduce embellishments gradually as the student’s competence grows. Focus on tempo, timing, and phrasing and hold those standards in place. I think you’ll find that not every student is destined for Grade 1 however those who are will tackle embellishments with determination and fervor. Those who aren’t (destined for Grade 1) can still make beautiful music. 
