Celtic Arts Winter School

Music Book Volume VI Cover photo courtesy of 2018 Stuart Liddell - February, 2017 Our sincere thanks to PM Roddy MacLeod, MBE, of Scotland’s National Piping Centre, for making this music pack available for our student’s use in 2018 and beyond. We hope you’ll find many great tunes, and hours of enjoyment in the following pages.

Celtic Arts Foundation Mount Vernon, WA

www.CelticArts.org Contents

Slow Airs Strathspeys Reels Hornpipes

Angus MacLeod 4 Caledonian Society of London 33 Bessie MacIntyre 66 Calum Beag 106 Ceannloch 5 Captain Colin Campbell 34 Captain Lachlan MacPhail of Tiree 67 Chasing Shadows 107 Hailey’s Song 6 Captain Horn 35 Crooked Bridge 68 Donald MacLeod 108 Heather Island 7 Highland Harry 36 Dancing Feet 69 Fag a Phiob Bhochd 109 Loch Rannoch 8 John Roy Stewart 37 John Morrison of Assynt House 70 Jim Tweedie’s Sea Legs 110 Mo Ghaol 9 Lady Loudon 38 MacPhersons 72 The Golden Pheasant 112 My Home 10 Monymusk 39 Megalomania 73 The Merry Macs 113 Paddy’s Green Shamrock Shores 11 The Braes O’ Mar 40 Pretty Marion 74 The Straloch Turkeys 114 Samantha’s Lullaby 12 The Campbeltown Kiltie Ball 41 Sound of Sleat 76 The Train Journey North 115 The Carles wi’ the Breeks 13 The Devil in the Kitchen 42 The High Road to Linton 77 Willie’s Brogues 116 Theid Mi Dhachaidh 14 The Duke of Gordon’s Birthday 43 The Piper of Drummond 78 Tiree Bridal Song 15 The Spirits of Old Pulteney 44 The Sheepwife 79 Exercises 9/8 Marches Jigs Piobaireachds Exercises SCQF 2 117 Exercises SCQF 3 119 Between the Don and the Dee 16 Coppermill Studio 45 A Welcome for Patrick Struan 80 Exercises SCQF 4 122 Heather Grant of Strathyre 17 Cork Hill 46 The Boat Tune 82 Additional Useful Exercises 125 The Black Isle 18 Donald MacLennan’s Tuning Phrase 47 Lament for Alasdair Dearg MacDonnell Piobaireachd Exercises 128 The Festival March 19 Donella Beaton 48 of Glengarry 85 Goatherd and the Shepherd 49 Lament for Red Hector of the Battles 88 Exam Syllabi 133 12/8 Marches Jimmy Ward’s Jig 50 Lament for Sir James MacDonald 89 The Handshaker 51 of the Isles SCQF 2 - 8 The Sixth of June 1944 20 The Kitchen Maid 52 MacDonald of Kinlochmoidart’s 91 Manuscript 145 Retreat Marches The Lady in the Bottle 53 Lament (No. 1) The Panda 54 Argylls Crossing the River Po 21 The Piper’s Wedding 55 2/4 Marches Buzancy 22 6/8 Marches Happy We’ve A’ Been Together 95 Colin’s Cattle 23 Highland Laddie 96 Dark Lowers the Night 24 Captain C.R. Lumsden 56 Invergordon’s Welcome to 97 MacGregor of Rora 25 Cuil House 57 H.M. Queen Elizabeth II Shores of Argyll 26 Dovecote Park 58 Major Manson at Clachantrushal 98 Stornoway Bay 27 Hills of Glenorchy 59 Mrs. Donald MacLean 99 The Hawk that Swoops from on High 28 Karen MacFadyen 60 Mrs. Mary Anderson of Lochranza 100 The Kilworth Hills 29 Leaving Port Askaig 61 Muir of Ord 101 The Lads of Argyll 30 Major John MacLennan 62 Pipe Major Ronald McCallum, MBE 102 The Stat Oil March 31 Murdo MacKenzie of Torridon 63 The Desert March 103 Torosay Castle 32 Queen Elizabeth’s March 64 The Glenfinnan Highland Gathering 104 The Steam Boat 65 Willie McCallum Senior’s March 105 Slow Air Angus MacLeod Donald MacLeod $HEP: R ]r. Fj m F* "{ 2) F$2 "^ Fg P L, {e Cr. j u[ N "( "X Fl- ^ Fg m {dR $ ]r. Fj m F* "{ 2) F$2 "^ Fg P L, {e Cr. j u[ N "( "X uX { _{= $: {e zM~0 S Cm g F, {e zM~0 S Cm g F, {e Cr. j u[ N "( "X Fl- ^ Fg m {d L= $ ]r. Fj m F* "{ 2) F$2 "^ Fg P L, {e Fr. j u[ N "( "X uX { _{=

Footer

Page 4 Air Ceannloch William McCallum                                                                                                                                                                                                                               

Page 5 Air Hailey's Song William McCallum                                                                                                              

Page 6 Gaelic Air Heather Island Traditional $MHE:%| gl- a F^ o.vf, 2[ B{ gl- a F`+>[ gl- m y< zM~0 s xr. g Fp u/S{ F^ i- Fx/zMy ^x/ [ vd 2]+= $: zM~0 s Fr. My [f, 2[ B{ gl- a F`+>[ gl- m y< zM~0 s xr. g Fp u/S{ F^ i- Fx/zMy ^x/ [ vd 2]+=

Page 7 Slow March Loch Rannoch J. Wilson                                                                  

Page 8 Hymn Mo Ghaol's Mo Ghràdh's M'Eudail Thu Arr. Allan MacDonald $HEP: | F{"X F, A- Fs -F{2 "f |FW - Fs -F(3 $ F{"X F, A- Fs -F{2 F{ ) "( t FW | "{=

Page 9 Slow March My Home                                                                                           

Page 10 Slow Air Paddy's Green Shamrock Shores Trad. Arr. Ian Duncan $HE Fr. s R C,|Fd o. c wj c, ! F/3 "N 2, F" i- c F{2_{R $ ^x/ m i Fr. s R zM~0 P u x,RhU1 s Fo j 2!2 "] } (3 ( R $ ^x/ m i Fr. s R zM~0 P u x,RhU1 s Fo j 2!2 "] } (3 ( | $ Fr. s R C,|Fd o. c wj c, ! F/3 "N 2, F" i- c F{2_{2

Page 11

Footer Slow Air Samantha's Lullaby Arthur Gillies $P: Fx/ m i Fp u/ o F/3 "N 2, F| "W F$2 [ gi F< R FM~0 g u x,. $ Fx/ m i Fp u/ o F/3 "N 2, F| "W F$2 [ gi Fx/ My u xr. g 2] gs-= $: {e zM~0 g Bi Fp u/ o F/3 "N 2, F| "W F$2 Fs 2u F< R FM~0 g u x,.% {e $ zM~0 g Bi Fp u/ o F/3 "N 2, F| "W F$2 [ gi Fx/ My u xr. g 2] gs-= $& Fx/ m i Fp u/ o F/3 "N 2, F| "W F$2 [ gi Fx/ My u xr. g 2] gs-

Page 12 Slow Air The Carles wi' the Breeks Traditional                                                                                            

Page 13 Song Air Thèid Mi Dhachaidh 'Crò Chinn t-Sàile Traditional $PHE ) F$2 [ i p FN { yx/ m Fi p FN { FX gs p FN { F, t F^ N "( $ FX gs p FN { yx/ m Fi p FN { F^ g g s F^ m , Fp i- 2] B{ "| $ LU1 s Fo zM~0 o P Lx/ r Fg -F{ LU1 s Fo zQ0 , t F^ N "( $ LU1 s Fo zM~0 o P Lx/ r Fg -F{ F^ g g s F^ m , Fp i- 2] B{2

Page 14 Slow Air Tiree Bridal Song Trad. Arr. John MacFadyen $HE: F| IftF, *- Fl- a 2] B{ F| IftF, {e L= Q ], {e $ L< R ], t vf, F[ "! gs = F, A-F( "X FX B{ _{= $: {e L< R ], t vf, F[ "! x, t Fg , {d= F= , A, {e $ L< R ], t vf, F[ "! gs = F, A-F( "X FX B{ _{=

Page 15

Footer March Between the Don and the Dee Composed by Captain Stuart D Samson                                                                                                                              

Page 16 March Heather Grant of Strathyre P/M James MacGregor                                                                                                  

Page 17 The Black Isle Retreat PM. Donald MacLeod                                                                                                      

Page 18 March The Festival March R Ackroyd                                                                                                 

Page 19 March The Sixth of June - 1944 Composed by Captain Stuart D Samson                                                                                                                                                                                                                                                                                                                                  

Page 20 Retreat March Argylls Crossing the River Po R.H. Brown                                                                                   

Page 21 Retreat March Buzancy P/M John McLellan, Dunoon                                                                          

Page 22 March Colin's Cattle Trad                                                            

Page 23 Retreat Dark Lowers the Night P/M J MacKay                                                                          

Page 24 Retreat March MacGregor of Rora Traditional                                                                              

Page 25 Retreat Shores of Argyll John McLellan, Dunoon                                                              

Page 26 Retreat March Stornoway Bay P/M Donald MacLeod                                                                                                                     

Page 27 Retreat March The Hawk That Swoops From On High Traditional                                                                         

Page 28 Retreat March The Kilworth Hills G.S. McLennan                                                                                                                                          

Page 29 Retreat March The Lads of Argyll P/M John McLellan, Dunoon                                                                           

Page 30 Retreat March The Stat Oil March P/M John D. Burgess                                                                             

Page 31 Retreat March Torosay Castle P/M J Lawrie                                                                                                                                                              

Page 32 Strathspey Caledonian Society of London                                                                                                                                                                                                                                                                                           

Page 33 Strathspey Captain Colin Campbell P/M Donald MacLeod                                                                                                                                                                                       

Page 34 Captain Horne Strathspey                                                                                    

Page 35 Strathspey Highland Harry Trad.                                                                                                                                                                

Page 36 John Roy Stewart Strathspey                                                                                                                                                                                                                        

Page 37 Lady Loudon Strathspey William Gow                                                                                                                                                                                                                                                                               

Page 38 Monymusk Strathspey                                                                                                          

Page 39 The Braes O' Mar Strathspey                                                               

Page 40 The Campbeltown Kiltie Ball Strathspey J. McLellan                                                                                                                         

Page 41 The Devil in the Kitchen Strathspey The Devil  in the Kitchen          Strathspey                The Devil  in the Kitchen          Strathspey                The Devil  in the Kitchen          Strathspey                                                                                                                                                                                                                                                                           

Page 42 Strathspey The Duke of Gordon's Birthday Traditional                                                                                    

Page 43 Strathspey The Spirits of Old Pulteney William Ross MBE                                                                                                   

Page 44 Jig Coppermill Studio Bruce Gandy $HER: t F` r Ao F, = {d1 L` r Ao {d-Fx l 2! F` r Ao F, = {d- Fx r i M~ U u x,= $HE: = {d X F` "` 2] Fr x R Lx r u Fl r u {d= Fr U ?R L` "` 2] {d- Fx r i M~ U u x,= $HE: t F` r Ao F, = xr l ] Fl 2l Bi Fl r i uW | F` r Ao F, = xr l ] Fl r u {d=x,= $HE: = ULx R WW - LU x o FxM~ FM{ FQ e L

Page 45 Jig Cork Hill Trad                                                                                                                                                                                       

Page 46 Donald MacLennan's Tuning Phrase Jig P/M Donald MacLeod                                                                                                                                                                                

Page 47 Donella Beaton Jig George Johnstone                                                                                                                                                                                           

Page 48 Jig The Goatherd and the Shepherd                                                                                                                                                                                  

Page 49 Jig Jimmy Ward's Jig Trad                                                                                                                                                                                            

Page 50 Jig The Handshaker Allan MacDonald $HEP: F` i Bi F, = ULo Ao M~ R o F` i o LdRxLR ?R LU o i $ F` i Bi F, = ULo Ao zM~ FM{ FM{ ULr Ao Fl o Fc l 2, "] E{2= $: ULc Bc Ld=ULc Bc UM{ R Lx i Bi zQe Lx i o FxM{ u $ ULc Bc Ld=ULc Bc UM{ FM{ ULr Ao Fl o Fc l 2, "] E{2= $: F` "c Bc E{ X vf U ?R LU o i FrM{ FM{ ULr Ao Fl o Fc l 2, "] $ F` "c Bc E{ X vf R ?R LUM{ FM{ ULr Ao Fl o Fc l 2, "] E{2= $: ULc R Lx R Lc ULu R Lr R Lc UM{ FM{ ULr Ao x Fi o FxM{ u $ ULc R Lx R Lc ULu R LUM{ FM{ ULr Ao Fl o Fc l 2, "] E{2=

Page 51 Jig The Kitchen Maid $HEP: Ff I- Fx U M{ $ "$ 2! vf ` B! Ff I- M~ f Bc F` "` 2] y<- $HE Ff I- Fx U M{ $ "$ 2! vf ` B! gsgF` "` 2] Ff I- y<-= $HE: zQ0 @Q0 f "f 2c xr f Bc zQ0 @Q0 ` "` 2] y<- $HE%zQ0 @Q0 f "f 2c xr f Bc gs g F` "` 2] Ff I- y< -= $HE&zQ0 $ "$ 2! F` "` 2] Ff "f 2c gs g F` "` 2] Ff I- y< - $HE: vf = xr f o FvM~0 u xr f o vf = xr f o F` "f o y<- $HE vf = xr f o FvM~0 u xr f o Fj x/ i FdM~0 c F` "f o y<-= $HE: x, g F` "` 2] Ff I= Ff ` B! x, g F` "` 2] Ff I- y<- $HE x, g F` "` 2] Ff I= Ff ` B! y<-Fx f Bc F` "` 2] y<-=

Page 52 Jig The Lady in the Bottle Traditional                                                                                               

Page 53 Jig The Panda Gordon Duncan $HEP: Ff "$ 2! Fl 2$ "! r Fr Ao xr l c Ff l Bi F/ l 2, Ff l o xr l ] $HE'Ff "$ 2! Fl 2$ "! r Fr Ao xr l c Ff l Bi xr l ] F` $ ", F{2= $HE:LU r Ao Fr x R M~ r M{ U r Ao Ff l Bi F/ l 2, Ff l o xr l ] $HE LU r Ao Fr x R M~ r M{ U r Ao Ff l Bi xr l ] F` $ ", F{2=

Page 54 Jig The Piper's Wedding D. MacLeod $HEP: = F{ twl f i uW t 2{2 F{ twl f i F

Page 55 Captain C.R. Lumsden March P.M. G.S. McLennan                                                                                                                                                                                

Page 56 March Cuil House P/M Neil Henderson, Dunoon                                                                                                                                                                                                                           

Page 57 Dovecote Park March J. Braidwood                                                                                                                                                                  

Page 58 March Hills of Glenorchy Trad                                                                                     

Page 59 March Karen MacFadyen Iain MacFadyen                                                                                                                                                                            

Page 60 March Leaving Port Askaig P/M Willie Ross                                                                                                                                                                                         

Page 61 Major John MacLennan March P.M. G.S. McLennan                                                                                                                                                                         

Page 62 Murdo MacKenzie of Torridon March B. MacLeod                                                                                                                                                                                                                        

Page 63 March Queen Elizabeth's March                                                                                                         

Page 64 March The Steamboat                                                                                    

Page 65 Reel Bessie MacIntyre Wm MacLean                                                                                                                                                                                                                                                  

Page 66 Reel Captain Lachlan MacPhail of Tiree Peter MacFarquhar                                                                                                                                                                                                                                                                 

Page 67 Crooked Bridge (An Drochaid Chluiteach) Reel Trad                                                                                                

Page 68 Dancing Feet Reel G.S MacLennan                                                                                                                        

Page 69 Reel John Morrison of Assynt House Peter R MacLeod                                                                                                                                                                                                                                  

Page 70                                                                                                                   

Page 71 McPhersons Reel Reel Gordon Duncan                                                                                                                         

Page 72 Megalomania Reel Mark Saul                                                                                                                                                                                                                                                                                                                  

Page 73 Pretty Marion Reel                                                                                                                                                                                                                                           

Page 74                                                                                                                                                                                                                                                        

Page 75 Reel The Sound of Sleat D. MacKinnon                                                                                                                                                                   

Page 76 Reel The High Road to Linton Arr. Gavin Stoddart                                                                                         

Page 77 Reel The Piper of Drummond Traditional                                                                                 

Page 78 Reel The Sheepwife                                                                                                                                                                                                                                                                                                                                              

Page 79 A Welcome for Patrick Struan Capt John MacLellan I Urlar                                                                                                                            II Thumb Variation                                                             III Variation One Singling                                                                                         

Page 80                               IV Variation One Doubling                                                                                                            V Taorluath Singling VI Taorluath Doubling                          23                                           VII Crunluath Singling VIII Crunluath Doubling                                                                    Page 81 The Boat Tune Ground                                                                                          Variation 1 Singling                                                                    Variation 1 Doubling                         

Page 82                                           Taorluath Singling                                                                                            Taorluath Doubling                                                                    

Page 83 Crunluath Singling                                                                                                            Crunluath Doubling                                                                    Ground - First Line                                  

Page 84 Lament for Alasdair MacDonnell of Glengarry

Ground. Hien o tra o hiho rodin, hio dro dre o hihio din, hio dro darodo hi harin $HE: 6{2 V gq X+ 3f, Gy FX Id ;* g, 3W+ ^y FX If, >U F* 8y2 = Hien dre hiha ra ra, che ha che ha he ha he ha, che ho che ho ha en ha en $HE6y ;* 6r Bq % ,q F* Fp F* Fp F: Fp F: Fp F* Fc F* Fc Fq 2x Fq 2x $ HE F: He F) che F hod 2x en F* che pa F ho,d 9 dare:)F e haq ve

Page 85 Lament for Alasdair MacDonnell of Glengarry

Variation 1 D. Hin en ha ea ho eo ho eo, hio eo hio eo hin en hin en $HE: F{ 2z Fs 2r Ff 2e Ff 2e FW 2V FW 2V F{ 2z F{ 2z = $ HE F Has 2 ear F has 2 ear F, che F+ che F, che F+che, F< he F; he F< he F; he F, che F+ che F, che F+ che $ HE F Has 2 ear F, che F+ che F has 2 ear F hof 2 eo,e F hioW 2 eoV F hioW 2 eoV F{ hin 2z en F{ hin 2z en

Taorluath. Hindarid hadarid hodarid hodarid, hiodarid hiodarid hindarid hindarid $HE: {f sf ff ff Wf Wf {f {f = $ HE Hadaridsf hadaridsf chedarid,f chedarid,,f hedarid

Page 86 Lament for Alasdair MacDonnell of Glengarry Crunluath.$HE : Hinbandre{i habandresi hobandrefi hobandre,fi hiobandreWi hiobandreWi hinbandre{i hinbandre{i = $ HE Habandresi habandresi chebandre,i chebandre,,i hebandre

Habandre chebandre habandre hobandre, hiobandre hiobandre hinbandre hin bandre $HE si ,i si fi Wi Wi {i F{ o,.

Ground L1. Hien o tra o hiho rodin, hio dro dre o hihio din, hio dro darodo hi harin $HE 6{2 V gq X+ 3f, Gy FX Id ;* g, 3W+ ^y FX If, >U F* 8y2

Page 87 Lament for Red Hector of the Battles Ground                                                                                          Variation                                                                                                      Ground                                                                                         

Page 88 Lament for Sir James MacDonald of the Isles Ground                                                                                    Variation 1                                                                                                                  Taorluath                                                                          

Page 89                          Crunluath                                                                                                    Ground - First Line                               

Page 90 MacDonald of Kinlochmoidart's Lament (No.1) Ground $HE: 3U ^{FX * 6qXFt- * 3U ^{FXq3V BU _U 3U ^{FX * 6qXFt- * 3U ^{FXqF* 8y= $HE F* t F, b L:-F

© Roddy MacLeod Piobaireachd

Page 91 Variation 1 Doubling $HE: FW+ 2{)Fs- 2{ ) FW+ 2{ p FW+ 2( "T FW+ 2{)Fs- 2{ ) FW+ 2{ p F{ >x "{2= $HE F,. F{ a Lx "{2 $HE F,. F{ a Lx "y Taorluath Singling $HE: FW+>{2 )Fs- ?{2 ) FW+>| s- 3V BW+ _U FW+>{2 )Fs- ?{2 ) FW+>| s- F,. 8y= $HE F,.>{2 a L{2 N W+>| s- 3V BW+ _U F,.>{2 a L{2 N W+>| s- F,. 8y $HE F,.>{2 a L{2 N W+>| s- 3V BW+ _U FW+>{2 )Fs- ?{2 ) FW+>| s- F,. 8y

© Roddy MacLeod Piobaireachd

Page 92 Taorluath Doubling $HE: FW+>{2 )Fs- ?{2 ) FW+>{2pFW+>(3 "T FW+>{2 )Fs- ?{2 ) FW+>{2pF{2>x "{2= $HE F,.>{2 a L{2 N W+>{2pFW+>(3 "T F,.>{2 a L{2 N W+>{2pF{2>x "{2 $HE F,.>{2 a L{2 N W+>{2pFW+>(3 "T FW+>{2 )Fs- ?{2 ) FW+>{2pF{2>x "y Crunluath Singling $HE: FW o-. $ o Fs '-. $ o FW o-. |2q3V BW+ _U FW o-. $ o Fs '-. $ o FW o-. |2qF,. 8y= $HE F, o-. $ R L< o-. $M{ W o-. |2q3V BW+ _U F, o-. $ R L< o-. $M{ W o-. |2qF,. 8y $HE F, o-. $ R L< o-. $M{ W o-. |2q3V BW+ _U FW o-. $ o Fs '- $ o FW o-. |2qF,. 8 y

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Page 93 Crunluath Doubling $HE: FW o-. $ o Fs '-. $ o FW o-. $ i FW o-. / "] FW o-. $ o Fs '-. $ o FW o-. $ i F{o-. $ "!= $HE F,o-. $ R L< o-. $M{ W o-. $ i FW o-. / "] F,o-. $ R L< o-. $M{ W o-. $ i F{o-. $ "! $HE F,o-. $ R L< o-. $M{ W o-. $ i FW o-. / "] FW o-. $ o Fs '-. $ o FW o-. $ i F{o-. |"y Ground - First Line $HE 3U ^{FX * 6qXFt- * 3U ^{FXq3V BU _U 3U ^{FX * 6qXFt- * 3U ^{FXqF* 8y

© Roddy MacLeod Piobaireachd

Page 94 March Happy We've A' Been Together Trad.                                                                          

Page 95 Highland Laddie March Traditional                                                                                    

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Page 96 Invergordon's Welcome to H.M. Queen Elizabeth II March PM John D. Burgess                                                                                                                                                                                                                        

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Footer March Major David Manson at Clachantrushal P/M Donald MacLean                                                                                                                                                                                                                                            

Page 98 Mrs Donald MacLean March Donald MacLean                                                                                                                                                                                                          

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Page 99 Mrs Mary Anderson of Lochranza March Duncan Johnstone                                                                                                                                                                                        

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Page 100 2/4 March Muir of Ord G.S. MacLennan                                                                                                                                                 

Page 101 March Pipe Major Ronald McCallum, MBE P/M Peter C. McCallum                                                                                                                                                                                                                                                      

Page 102 The Desert March March Parts 1 & 2 J. Mauchline; Parts 3 &4 PM Angus MacDonald                                                                                                                                                                                                          Footer

Page 103

Footer The Glenfinnan Highland Gathering March Ronald Lawrie                                                                                                                                                                                                                                                            

Page 104 Willie McCallum Senior's March William McCallum Jnr.                                                                                                                                                                                                                                                                                                  

Page 105 Hornpipe Calum Beag 2nd, 3rd & 4th parts by P/M D MacLeod $HEJ: zR -3 "O 2"2 \ Fd, "O 2"2 \ Fe "^+ Fe m.yx Fp. t Fv/ \ j] vd, \ B^+ "b Fe "^+ Fe m.yx Fp. t $HE zM~ @M|0 Q Lv/ q Fb m. Fv/ q Ft My0 ^x Fp. b F"2 "O 2"2 "b u` 2"2 \ vf 2! _|= $HE: {e zM~ @M|0 Q Lv/ q Fb m. Fv/ q Ft My0 ^x Fp. t zM~ r] vd, \ B^+ "b Fe "^+ Fe m.yx Fp. t $HE M|0 t Fp. t Fd, "O 2"2 "b M|0 q Ft My0 ^x Fp. b F"2 "O 2"2 "b u` 2"2 \ vf 2! _|= $HE:M|0 t Fp. O E! Fd, "O 2"2 "b Fp. O E! xr Fe m. Fv/ \ j] vd, \ B^+ "b Fv/ \ j] yx Fp. t $HE M|0 n Ap. Mz ^v/ n Fv/ Q M|0 q Ft My0 ^x Fp. b F"2 "O 2"2 "b u` 2"2 \ vf 2! _|= $HE: {e M|0 n Ap. Mz ^v/ q Ft My0 "2 M} Q My0 ^x Fp. t zM~ r] vd, \ B^+ "b Fv/ \ j] yx Fp. t $HE M|0 t Fp. t Fd, "O 2"2 "b M|0 # "b My0 ^x Fp. b F"2 "O 2"2 "b u` 2"2 \ vf 2! _|=

Page 106 Hornpipe Chasing Shadows Philip Greer $HEJ: Fj m Fv N E! F" j

Page 107 Hornpipe Donald MacLeod J A Barrie $HEJ: F_ g- xr ! F-3 "O 2"2 "\ F_ ""2 F_ g-xr F_ g- xrAp. t Fp. k F\ g- xr F! _$ F_ g- $HE xr ! F-3 "O 2"2 "\ F_ ""2 F_ g-xr F_ g- Fp. Mz FM|0 Q Fp. k F\ m. F{ _|= $HE: F_ g- xrM{ FM|0 Q Lp. h Fp. Mz FM|0 Q ]r F_ g- xrAp. t Fp. k F\ g- xr F! _$ F_ g- $HE xrM{ FM|0 Q Lp. h Fp. Mz FM|0 Q ]r F_ g- Fp. Mz FM|0 Q Fp. k F\ m. F{ _|= $HE: F_ g- xrAo Fp. h F^+ n Ap. k Bh 2[+ gl F_ g- xrAp. t Fp. k F\ g- xr F! _$ F_ g- $HE xrAo Fp. h F^+ n Ap. k Bh 2[+ gl F_ g- Fp. Mz FM|0 Q Fp. k F\ m. F{ _|= $HE: F_ g- xrM|0 n LS1 n Fj- \ Fp. Mz FM|0 n {UL_ g- xrAp. t Fp. k F\ g- xr F! _$ F_ g- $HE xrM|0 n LS1 n Fj- \ Fp. Mz FM|0 n {UL_ g- Fp. Mz FM|0 Q Fp. k F\ m. F{ _|=

Page 108 Hornpipe Fag a Phiob Bhochd Allan MacDonald $HEJ: F"2 \ Fj- O E! Fj- n Fv/ h Fp. \ j] Fp. t LS1 n Fv/ Mz @M|0 Q M|0 Q Lp. b wj- b Fj- n Fv/ h F^+ b $ Fj- O E! Fj- n Fv/ h Fp. \ j] Fp. t LS1 n Fv/ Mz @M|0 Q M|0 Q Lp. b wj- O Fv/ n gt= $: F"2 \ "d, O E! Fd, O Fp. b Fj- O E! Fj- O Fv/ h Fp. \ j] Fp. t LS1 n Fv/ Mz @M|0 Q M|0 Q Lp. b $ Fj- O E! Fj- O Fv/ h Fp. \ j] Fp. t LS1 n Fv/ Mz @M|0 Q M|0 Q Lp. b wj- O Fv/ n gt=

Page 109 Hornpipe Jim Tweedie's Sea Legs J. Allan MacGee                                                                                                                                                                                                                        

Page 110                                                                                                                                                                                 

Page 111 Hornpipe The Golden Pheasant Stuart D Samson MBE                                                                                                                                                                                                                                          

Page 112 Hornpipe The Merry Macs Gordon Walker $HEJ: Fj- O Fj- t M|0 O Fd, n LS1 O j` 2! F"2 h Fd, h u^+ O j] Fj- O ]i'M|0 t Fp. h xr M|0 O $HE Fj- t M|0 O Fd, n LS1 O j` 2! F"2 h Fd, h u^+ O Fj- t M|0 O Fd, n LS0 O kc ]t= $HE: Fj- O u^+ O _! LS1 n vd, O Fj- O ]i M|0 t Fj- O u^+ O j] Fj- O ]i M|0 t Fp. h xr%Fj- O $HE u^+ O _! LS1 n vd, O Fj- O ]i M|0 t Fj- O u^+ O Fj- t M|0 O Fd, n LS0 O kc ]t= $HE Fj- \ E$ Fj- O u^+ O Fj- O j` 2! _$ Fj- n Fx Fj- t >v/ O My0 t M|0 t Fp. h xr Fj- \ $HE E$ Fj- O u^+ O Fj- O j` 2! F"2 h Fd, h u^+ O Fj- t M|0 O Fd, n LS0 O kc ]l Fj- \ $HE:Ez$M~ jF-j-Mz O@M|u0^+b MO| @MFj|4- @MOy j^+`My 2@M!|0_\$ EF$j- Fn"2 hkxu^+FjO- jt ]>vF/j-OO My]0 itM|0M|t0 Ftp. Fhp.xph. OxrF pFj-v4 \P $HE zEM~$j-FMjz- @MO|0u^b+ M|O @MF|4j- @MOy ^j+ `My 2@M!|0F"\2 Eh$FdF,"2hh uu^^++ OO FFjj-- ttM|M0|0O OFd,Fdn, nLS0 LOS0kOc%kFjc- nFj-Fv/n QF&]v/ tQ=

Page 113 Hornpipe The Straloch Turkeys Gordon Duncan                                                                                                                                                                                                                             

Page 114 Hornpipe The Train Journey North T. Anderson                                                                                                                                                                                                                                        

Page 115 Hornpipe Willie's Brogues Angus Lawrie                                                                                                       

Page 116 Exercises Required for SCQF Level 2 1. The scale $ ( { W fs,

Page 117 $ F$ "! 2! Ff "c 2c F` "] 2] Ff "c 2c F$ "! 2! F` "] 2] F/ ", 2, F{3 6. All strikes $ M~ FM{ U?R x 2u rAo lBi fBc `B] $B! `B! fB! l

Page 118 Exercises Required for SCQF Level 3 1.a. Low G Doubling $ | }( X}( g}( t}( - }( = }( e F( R`( 1.b. Low A Doubling $ ) |{ X|{ g|{ t|{-|{=|{eE{ R `{ 1.c. B Doubling $ ) uW | uW guW tuW - uW = uW e @W RZW 1.d. C Doubling $ ) vf | vfXvftvf- vf = vf e Af R[f 1.e. D Doubling $ ) ws | wsXwsgws- ws = ws e Bs R\s 1.f. E Doubling $ ) x,|x, Xx, gx, tx,=x,eC, R ],

Page 119 1.g. F Doubling $ ) y<|y< Xy< gy< ty<-y

Page 120 3.b. Grips with B gracenote (also called 'rodin') $sJ| s J| f J| f J| s J| f J| s J| f J| 4.a. Regular birl $ Q S{dS{|FW >|Ff>|Fs?| F, >| F< >| Ld >| FQ >| 6. Tachums $ Fd "!2 Fd "!2 F^ ",3 F^ ",3 Fd "!2 Fd "!2 F^ ",3 F^ ",3

Page 121 Exercises Required for SCQF Level 4 1.a. Low G Doubling $ | }( X}( g}( t}( - }( = }( e F( R`( 1.b. Low A Doubling $ ) |{ X|{ g|{ t|{-|{=|{eE{ R `{ 1.c. B Doubling $ ) uW | uW guW tuW - uW = uW e @W RZW 1.d. C Doubling $ ) vf | vfXvftvf- vf = vf e Af R[f 1.e. D Doubling $ ) ws | wsXwsgws- ws = ws e Bs R\s 1.f. E Doubling $ ) x,|x, Xx, gx, tx,=x,eC, R ],

Page 122 1.g. F Doubling $ ) y<|y< Xy< gy< ty<-y

Page 123 3.b. Grips with B gracenote (also called 'rodin') $sJ| s J| f J| f J| s J| f J| s J| f J| 4.a. Regular birl $ Q S{dS{|FW >|Ff>|Fs?| F, >| F< >| Ld >| FQ >| 6. Tachums $ Fd "!2 Fd "!2 F^ ",3 F^ ",3 Fd "!2 Fd "!2 F^ ",3 F^ ",3 7. C doublings to Low A and B doublings to Low G with E gracenote, as used in Strathspey playing $vd 2!2vd 2!2u^ 2,3u^ 2,3 vd 2!2vd 2!2u^ 2,3u^ 2,3

Page 124 Additional Useful Exercises 1.a. Crossing Noises - these groups of notes can also be played in reverse $ / ] / ] / c / c / i / i / o / o $ / u / u / R / R /M{ /M{ / o / o 1.b. $ $ c $ c $ i $ i $ u $ u $ R $ R $M{ $M{ 1.c. $ ` c ` c ` i ` i ` o ` o $ ` u ` u ` R ` R `M{ `M{ 1.d. $ f o f o f u f u f R f R fM{ fM{

Page 125 1.e. $ l o l o l u l u l R l R lM{ lM{ 1.f. $ r R r R rM{ rM{ r R r R rM{ rM{ 2.a. Gracenotes $ F/ ! F` , F$ ] Ff ! F` c Fl ] Ff i Fr c $ Fl o Fx i Fr i Ff o Fl c F` i Ff ] F$ c $ F` ! F/ ] F1 2.b. $ / "! / "] / "! / "c $ "] $ "c $ "] $ "c 2.c. $ / 2! / 2! / 2] / 2] $ 2] $ 2] $ 2c $ 2c

Page 126 3. Tachums $ F$2 ^ Fa "!2 F$2 ^ Fa "!2 F/3 " F[ ",3 F/3 " F[ ",3 $ Fl- d F[ ",3 Fl- d F[ ",3 Fr. j Fa "!2 Fr. j Fa "!2 4. GDE $ F/3 "* 2,3 "[ F/3 "* 2,3 "[ F$2 "N 2!2 "[ F$2 "N 2!2 "a $ F`+ "[ 2]+ "a F`+ "[ 2]+ g Ff, "a 2c, g Ff, "a 2c, [

Page 127 Piobaireachd Exercises

Em En O O A E Ve Vi I $ ( { W fs, He u / Red < Re L S>Hi R R1 i d d Ri

Page 128 Hi Harin Hi Harin Hi Harin Hi Harin

O Din O Din Hi Hio Din Hi Ho Din Che Lal Ho Din

Him Tra Hin Tra Hio Tra Ho Tra Ha Tra Che Tra He Tra Hi Tra I Tra

Him Dre Hin Dre Hio Dre Ho Dre Ha Dre Che Dre He Edre Hi Edre I Edre

Him Dare Hin Dare Hio Dare Ho Dare Ha Dare Che Dare He Dare Hi Vedare I Ve-

Em Bare En Bare O Bare O Bare A Bare E Dari Ve Dari I Dari

Page 129 Hin Bain Hin Bain Hio Tro Hio Tro Ho Dro Ho Dro Ha Deda Ha Deda Ha Rode Ha

Him Bare Hin Bare Hio Bare Ho Bare Ha Bare Che Bare He Bare Hi Bare I Bare

Ha Rodin Ha Rodin Ho Rodin Ho Rodin Ha Rodin Ho Rodin Ha Rodin Ho Rodin

Ha Darodo Ha Darodo Ho Darodo Ho Darodo Ha Darodo Ho Darodo Ha

Him Darid Him Darid Hin Darid Hio Darid Ho Darid Ha Darid Che Darid He Darid Hi Darid I Darid

Hio Tro Eo Hio Tro Eo Ho Dro Eo Ho Dro Eo Hio Tra Eo Hio Tra Eo

Page 130 Him ba bem To Him Ba Bem Do Him Ba Bem A Him Ba Bem E Him Ba Bem Ve Him Ba Bem Vi Him Ba Bem I

Hin Da En To Hin Da En Do Hin Da En A Hin Da En E Hin Da En Ve Hin Da En Vi Hin Da En I

Hio To Eo Eo Hio To Eo A Hio To Eo E Hio To Eo Ve Hio To Eo Vi Hio To Eo I

Him Dan Dre Him Dan Dre Hin Bandre Hio Bandre Ho Bandre

Ha Bandre Che Bandre He Bandre Hi Bandre I Bandre

Him Bandre En To Ho Bandre En Do Ha Bandre En Do Hio Bandre Em To Him Bandre En Dan

Page 131 Him To Dre Him Do Dre Him A Dre Hin To Dre Hin Do Dre Hin A Dre Hio Do Dre Hio A

Hio Tro Dre Hio Tro Dre Ho Dro Dre Ho Dro Dre Hio Tra Dre Hio Tra Dre

Page 132 NATIONAL PROGRESSION AWARD SCOTTISH BAGPIPES (PRACTICE CHANTER) SCQF Level 2 (12 SCQF Credit Points) [Former PDQB Level 1 Practice Chanter]

SYLLABUS

1. Maintenance Candidates must demonstrate an understanding of the following:

Dismantling the Practice Chanter Cleaning and drying the Practice Chanter Correct hemping of the Practice Chanter

2. Practical Candidates must demonstrate competence in the following:

Exercises:

(1) The scale (2) The scale to F with a G gracenote (3) The scale to C with a D gracenote (4) The scale to D with an E gracenote (5) G,D,E gracenote groupings (6) All strikes (7) Thumb or High A gracenote (8) The Throw on D from Low A (9) Doublings on High A, High G, F, E, D, C, and B from Low A (10) Basic monotone exercises in Simple Time

Tunes:

Two tunes played from memory. The music is to be presented to the Assessor and played in accordance with the written score. The music does not have to be written out by the candidate.

The tunes submitted must incorporate some of the embellishments from the exercises listed in section a.

3. Theory Candidates must be able to:

a. Name all notes and note values (duration) b. Demonstrate the correct placement of notes on the stave c. Demonstrate an understanding of what dotted and cut notes have on the note duration d. Correctly write a treble clef on the stave e. Understand the purpose of a bar line f. Write out 4 bars from a tune with a 24 time signature by copying onto manuscript paper from set music provided.

Page 133 NATIONAL PROGRESSION AWARD SCOTTISH BAGPIPES (PRACTICE CHANTER) SCQF Level 3 (12 SCQF Credit Points) [Former PDQB Level 2 Practice Chanter]

SYLLABUS

1. Maintenance Candidates must demonstrate an understanding of the following:

a. Dismantling the Practice Chanter b. Cleaning and drying the Practice Chanter c. Correct hemping of the Practice Chanter d. Weakening and strengthening a Practice Chanter reed e. Sharpen and flatten the Practice Chanter pitch

2 Practical On the Practice Chanter, candidates must demonstrate competence in the following:

a. Exercises:

(1) All doublings (Low G to High A), from any note of the scale (2) Throw on D from each note of the scale (3) Grips (including grips with a B gracenote) (4) Birl and birl with a G gracenote from each note of the scale (5) Taorluaths to Low A from each note of the scale (including taorluaths from D with a B gracenote) (6) Tachums (7) Basic monotone exercises in Simple and Compound Time

b. Tunes:

On the Practice Chanter, five tunes to be played from memory. At least one tune should be in Compound Time. The music is to be presented to the Assessor and played in accordance with the written score. The music does not have to be written out by the candidate.

The tunes submitted must incorporate some of the embellishments from the exercises listed in section a. . 3. Theory Candidates must be able to:

a. Understand Simple Time rhythms b. Explain what a Time Signature is c. Place bar lines according to a Time Signature d. Explain what a treble clef is e. Identify the Time Signature from a piece of music presented by the Assessor f. Write out all doublings and embellishments in section 2a. g. Write out 8 bars of a Simple Time tune from memory. The tune is to be selected from those submitted by the candidate for the practical section h. Be able to draw a note value table and understand relative note durations Page 134 NATIONAL PROGRESSION AWARD SCOTTISH BAGPIPES SCQF Level 4 (18 SCQF Credit Points) [Former PDQB Level 2 Bagpipes]

SYLLABUS

1. Maintenance Candidates must demonstrate an understanding of the following:

a. Naming all of the parts of a Bagpipe b. How to properly replace and remove the Bagpipe Chanter c. How to properly replace and remove the Drones d. Correct hemping/sealing of Bagpipe joints e. How to correctly tie on and space the Drone cords.

Practical On the Practice Chanter, candidates must demonstrate competence in the following;

a. Exercises

(1) All doublings (low G to High A), from any note of the scale (2) Throw on D from each note of the scale (3) Grips (including grips with a B gracenote) (4) Birl and Birl with a G gracenote from each note of the scale (5) Taorluaths to Low A from each note of the scale (including Taorluaths from D with a B gracenote) (6) Tachums (7) C doublings to Low A and B doublings to Low G with E gracenote as used in Strathspey playing ( Round movement ) (8) Basic monotone exercises in Simple and Compound Time

b. Tunes:

Candidates submit five tunes comprising:

(1) 2 parts of a Slow Air (2) 2 parts of a March in 3/ 4 or 4/4 Time (3) 2 parts of a March in 6/8 or 9/8 Time (4) 2 parts of a Strathspey (5) 2 parts of a Reel

The music is to be presented to the Assessor and played on the Bagpipe in accordance with the written score. The music does not have to be written out by the candidate. The tunes submitted must incorporate some of the embellishments from the exercises listed in section a.

Page 135

3. Theory Candidates must be able to:

a. Understand Simple time rhythms b. Explain what a Time Signature is c. Place bar lines according to a Time Signature d. Explain what a treble clef is e. Identify the Time Signature from a piece of music presented by the Assessor f. Write out all doublings and embellishments in section 2.a. g. Write out 8 bars of a Simple Time tune from memory. The tune is to be selected from those submitted by the candidate for the practical section h. Be able to draw a note value table and understand relative note durations

Page 136 NATIONAL PROGRESSION AWARD SCOTTISH BAGPIPES SCQF Level 5 (18 SCQF Credit Points) [Former PDQB Level 3 Piping]

SYLLABUS

1. Maintenance Candidates must demonstrate a knowledge and understanding of the following:

a. Removing the Pipe Chanter from the stock b. Cleaning and drying the Bagpipes c. Correct hemping/sealing of Bagpipe joints d. Testing for airtightness of the Bagpipes, including seasoning as appropriate e. Different types of Drone reeds f. Handling reeds and securing them in the Chanter/Drone reed seat. Includes a practical demonstration. g. Ensuring that the Bagpipe is an appropriate fit for the Piper, e.g. correct size/spread/fit of the bag, bag cover, blow stick, cords/drone spacing.

2. Practical Candidates must demonstrate competence in the following:

a. Monotone Exercises

(1) Tap out the rhythm of Simple and Compound Monotone exercises

b. Tunes (on the Bagpipe)

Candidates submit tunes comprising:

(1) 2 parts of a Slow Air (2) 4 parts of a March in Simple Time (3) 4 parts of a March in Compound Time (4) 4 parts of a Strathspey (5) 4 parts of a Reel (6) 4 parts of a Hornpipe (7) 4 parts of a Jig (8) One Ground of a Piobaireachd and one variation singling and doubling

Candidates will be expected to make a reasonable attempt at tuning their Drones and be able to explain the basic principles of Drone tuning. Candidates will also be assessed on Marching and Deportment.

Page 137

3. Theory Candidates must be able to:

a. Write out Monotone Exercises in Simple and Compound Time b. Write out 8 bars of a 6/8 March from memory c. Write out 4 bars of either a Strathspey or a Reel from memory d. Explain the purpose of a Leger Line e. Draw out the Great Staff and show the pitch of the Tenor Drone, bass drone, and all the notes in the Bagpipe scale f. Sight reading of a set piece (on the Practice Chanter)

Page 138 NATIONAL PROGRESSION AWARD SCOTTISH BAGPIPES SCQF Level 6 (18 SCQF Credit Points) [Former PDQB Level 4 Piping]

SYLLABUS

1. Maintenance Candidates must demonstrate a knowledge and understanding of the following:

a. Knowledge required to tie in a stock b. Variety of materials used in bag making c. Fitting a simple leather valve to the blowstick and how various water traps are fitted and work d. Setting a Chanter reed to achieve a good and reasonably true scale using tape and other means as necessary e. Fitting, tuning, and handling cane and synthetic Drone reeds and bridles to achieve correct pitch and strength

2. Practical Candidates must demonstrate competence in the following:

a. Exercises on the Practice Chanter

(1) The student should have a firm grasp of all the technique required to play light music and must correctly demonstrate all of the technique required to play Piobaireachd as follows:

(a) hiharin (b) dres and edres (c) dare and vedare (d) double echoes on B, D, E, F, and High G (e) harodin/horodin (f) darodo (g) taorluath (h) taorluath a mach (i) standard crunluath (j) crunluath breabach (k) crunluath fosgailte (l) crunluath a mach

b. Monotone Exercises (Each exercise will contain rests and incomplete bars)

(1) Tap out the rhythm of any of the following:

(a) Simple Duple time (b) Simple Quadruple time (c) Cut Common time (d) Compound Duple time

Page 139

c. Bagpipe

The candidate must submit the following tunes:

(1) Two competition type 24 Marches (2) Two 68 Marches of four parts (3) Two competition type Strathspeys of four or more parts (4) Two competition type Reels of four or more parts (5) Two competition type Hornpipes of four or more parts (6) Two competition type Jigs of four or more parts (7) One Piobaireachd which includes the taorluath and crunluath variations

Candidates will be expected to set the Chanter and Drones accurately.

Candidates will also be assessed on Marching and Deportment.

3. Theory

Candidates must demonstrate the ability to:

a. Write canntaireachd equivalents of the Piobaireachd movements required for this certificate b. Write movements for light music and Piobaireachd on the stave c. Understand basic Piobaireachd construction and primary Piobaireachd classification d. Write out Monotone Exercises in various time signatures to include the use of two types of rest. e. Understand sound production and measurement f. Sight read a set piece g. Write from memory one part (8 bars) of each of the following tune types:

(1) Strathspey (2) Reel (3) Jig

Page 140 PROFESSIONAL DEVELOPMENT AWARD SCOTTISH BAGPIPES SCQF Level 7 (18 SCQF Credit Points) [Former PDQB Level 5 Piping]

SYLLABUS

1. Maintenance a. Candidates must be prepared to answer questions on maintenance at any previous certification level.

b. Candidates must be able to describe all steps required to put a set of Bagpipes into good playing order, and to maintain them in that condition thereafter.

2. Practical

a. On the Practice Chanter: Sight read from a set piece equivalent in standard required for the practical examination

b. Light Music (Ceol Beag) Candidates are to submit four tunes of each of the following:

(1) Competition March (minimum 4 parts) (2) Competition Strathspey (minimum 4 parts) (3) Competition Reel (minimum 4 parts) (4) Competition Hornpipe (minimum 4 parts) (5) Competition Jig (minimum 4 parts)

The Assessor is to select one tune from each category for the candidate to play. Candidates will be expected to tune their own Drones to a well-balanced Chanter and be capable of blowing a steady tone. Candidates will also be assessed on Marching and Deportment.

c. Piobaireachd (Ceol Mor) Candidates are to submit four Piobaireachds. One each of the following type:

(1) Standard Crunluath (2) Crunluath Breabach (3) Crunluath Fosgailte (4) Crunluath a Mach

The Assessor is to select one Piobaireachd for the candidate to play in its entirety and may select additional tunes or parts thereof at the Assessor’s discretion.

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3. Theory and History Candidates must be able to:

a. Answer questions on theory from any of the previous certification levels b. Understand the difference between relative and absolute pitch c. Demonstrate a knowledge of the three Highland Bagpipe pentatonic scales d. Compose harmony to a set piece of music e. Understand how the Bagpipe scale relates to the Western Major scale f. Demonstrate a knowledge of the tones and semitones used in these scales g. Write the first line of a Piobaireachd ground on a stave h. State the requirements and the format for the following dances:

(1) Highland Fling (2) Sean Truibhas (3) Sword Dance (4) Sailors Hornpipe (5) Irish Jig

i. Write a short essay of not more than 500 words selected from one of the following topics:

Solo competition system The Pipe Band movement A famous piper and his/her contribution to Piping Present day piping organisations and their contribution to piping

Page 142 PROFESSIONAL DEVELOPMENT AWARD SCOTTISH BAGPIPES SCQF Level 8 (18 SCQF Credit Points) [Former PDQB Level 6 Piping]

SYLLABUS

1. Maintenance Candidates who do not hold a SCQF Level 7 Certificate will be required to answer all maintenance questions in the SCQF Level 7 Certificate syllabus.

2. Practical Light Music (Ceol Beag) Candidates are to submit six tunes of each of the following:

a. Competition March (minimum 4 parts) b. Competition Strathspey (minimum 4 parts) c. Competition Reel (minimum 4 parts) d. Competition Jig (minimum 4 parts)

The Assessor is to select two tunes from each category for the candidate to play. Candidates will be expected to tune their own Drones to a well-balanced Chanter and be capable of blowing a steady tone. Candidates will also be assessed on Marching and Deportment.

3 Practical Piobaireachd (Ceol Mor) Candidates are to submit six Piobaireachds. The selection should include the following varieties of crunluath:

a. Standard Crunluath b. Crunluath Breabach c. Crunluath Fosgailte d. Crunluath A Mach

The Assessor is to select one Piobaireachd for the candidate to play in its entirety and may select additional tunes or parts thereof at the Assessor’s discretion.

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4. Theory Candidates must be able to:

Write from memory four parts of one of the tunes submitted at Para. 2. Write four bars of a:

(1) Dithis Doubling (1) Suibhal Doubling (2) Crunluath Breabach or Fosgailte Doubling (3) Crunluath a Mach

All movements are to be written out in full. No abbreviations are permitted.

Write all Piobaireachd movements. Demonstrate their knowledge of the construction and classification of the Piobaireachd. Write out in Nether Lorn Canntaireachd the notes of the following scales:

Plain G gracenote E gracenote D gracenote

f. Translate a passage of Piobaireachd staff notation into Nether Lorn Canntaireachd.

5. History of Piping

Candidates must write an essay of 1000 words minimum on their chosen subject selected from the below. Essays must include comment on their influence and relevance to Piping.

a. The MacCrimmons of Skye b. The MacKays of Gairloch / Rassay c. The MacArthurs d. The Camerons e. The MacPhersons f. The MacLennans g. The MacGregors h. The Rankins i. The MacIntyres j. The Descent of Piping knowledge and tuition to the present day

Page 144 Page 145 Page 146 Page 147 Page 148

T H E N A T I O N A L

C E N T R E

The Piping Centre Ltd, 30-34 McPhater Street, Glasgow G4 0HW. Tel: +44 (0)141 353 0220. Fax: +44 (0)141 353 1570. www.thepipingcentre.co.uk

The National Piping Centre is a company limited by guarantee with charitable status Registered in Scotland No 139271 Registered Charity No 020391