ixon ▁t unes ▁have ▁been ▁very ▁successful , ▁and ▁several ▁respect ed ▁pip ers ▁play ▁in ▁such ▁styles . ▁These ▁are ▁character ised ▁by ▁simple ▁g rac ings , ▁used ▁sp aring ly , ▁mostly ▁either ▁for ▁rh yth mic ▁emphas is ▁or ▁to ▁separate ▁repeated ▁notes . ▁ ▁Border ▁pip es ▁outside ▁of ▁Border ▁music ▁ ▁The ▁Border ▁pip es ▁have ▁been ▁taken ▁up ▁by ▁many ▁groups ▁of ▁pip ers ▁who ▁were ▁looking ▁for ▁a ▁suitable ▁instrument ▁with ▁which ▁to ▁play ▁their ▁music . ▁ ▁This ▁has ▁not ▁just ▁been ▁by ▁mus icians ▁who ▁play ▁the ▁music ▁of ▁the ▁Scottish ▁borders . ▁For ▁example , ▁in ▁Cape ▁Bre ton ▁and ▁Nova ▁Scot ia , ▁the ▁instrument ▁is ▁used ▁by ▁high land ▁pip ers ▁to ▁play ▁along ▁with ▁f idd les ▁and ▁other ▁so fter ▁instruments . ▁ ▁As ▁the ▁modern ▁instrument ▁is ▁still ▁fairly ▁newly ▁rev ived , ▁ideas ▁on ▁playing ▁styles ▁are ▁still ▁evol ving ▁and ▁naturally ▁depend ▁on ▁the ▁kind ▁of ▁music ▁being ▁played . ▁ ▁Musical ▁soci eties ▁The ▁Low land ▁and ▁Border ▁P ip ers ' ▁Society ▁was ▁formed ▁in ▁ 1 9 8 2 ▁and ▁has ▁played ▁a ▁large ▁part ▁in ▁the ▁rev ival ▁of ▁the ▁instrument ▁and ▁its ▁music . ▁ ▁In ▁the ▁North ▁East , ▁the ▁North umb rian ▁P ip ers ' ▁Society ▁has ▁played ▁a ▁similar ▁role ▁for ▁both ▁Border ▁pip es ▁and ▁North umb rian ▁small pip es . ▁The ▁instrument ▁is ▁now ▁once ▁again ▁widely ▁played , ▁and ▁the ▁original ▁Border