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Home , Canntaireachd, Highland Fling, Hornpipe, Reel (dance), Scottish sword dances

The Celtic Arts Foundation in conjunction with the National Piping Centre

Celtic Arts Winter School Music Book Volume V 2017 Our sincere thanks to PM Roddy MacLeod, MBE, of ’s National Piping Centre, for making this music pack available for our student’s use in 2017 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 6/8 Marches The Wind That Shakes The Barley 72 Exercises Touchwood 73 A Mhoire Mhin-Gheal (Fair Mary) 4 Bonnie Dundee 38 Exercises SCQF 2 115 An Island Lullaby 5 Cameron MacFadyen 39 Exercises SCQF 3 117 By Loch Etive Side 6 Captain CR Lumsden 40 Exercises SCQF 4 120 Come by the Hills 7 Kirkhill 41 Archie MacPherson of Dumbarton 74 Additional Useful Exercises 123 Dream Angus 8 Murdo MacKenzie of Torridon 42 Boys of Bluehill 75 Piobaireachd Exercises 126 Echoes of the Highlands 9 Queen Elizabeth’s March 43 Duncan Johnstone 76 Hi-Ri Ho-Ro Mo Nighneag 10 The Brigade at Tel El Kebir 44 Hazel Thompson 77 Exam Syllabi O Gin I Were A Baron’s Heir 11 The Mucking of Geordie’s Byre 45 Jason Briscoe 78 Old Danish Knife Grinders Song 12 The Rock and Wee Pickled Tow 46 Pipe Major Calum Campbell’s Caprice 80 SCQF 2 - 8 131 Rathven Market 82 Rhu Vaternish 13 The Scottish Division 47 Manuscript 143 -146 Sine Bahn (Fair Jean) 14 The Steam Boat 48 The Golden Pheasant 83 Tiree Love Song 15 The Top of Ben Lomond 49 Walking the Moon 84 Willie’s Brogues 85 Retreat Marches Strathspeys 1st Bn QOHldrs Farewell to South Armagh 16 Abbot’s Choice 50 Angela’s Wedding 17 Captain Colin Campbell 51 A Dram Before You Go 86 Borve Castle 18 Loch Loskin 52 Braes of Mellinish 87 Far Over Struy 19 Orange and Blue 53 Cabar Feidh 88 Gardens of Skye 20 Pipe Major Hector MacLean 54 Callum and the Princess 90 Heather Grant of Strathyre 21 Sentosa 55 Centre’s Bonnet 91 In The Gloamin 22 The Caledonian Society of London 56 David Ross 92 Pipe Major Ian Hughes 23 The Duke of Gordon’s Birthday 57 Dr. Flora MacAuley, Carradale 93 The Galloway Hills 24 The Keel Row 58 Partners in Time 94 Yvonne Hurlimann 25 Top of Craigvenow 59 Skimming the Water 95 Tulloch Gorm 60 The Lady in the Bottle 96 2/4 Marches Reels Piobaireachds A Man’s A Man for a’ That 26 Doctor Allan MacDonald 27 Alick C. MacGregor 61 Battle of Auldearn No 2 97 Dundee Military Tattoo 28 Alick Cameron, Champion Piper 62 Corrienneson’s Salute 101 Glen Caladh Castle 29 Broadford Bay 63 Lament for Donald of Laggan 106 Hugh Alexander Low of Tiree 30 Cecily Ross 64 Little Spree 108 Hugh Kennedy 31 Dancing Feet 65 Salute to Donald 112 MacKenzie Highlander’s March 32 John Keith Laing 66 Mairi’s Wedding 33 Kalabakan 67 Pipe Major Jim Christie of Wick 34 Kelsey’s Wee Reel 68 The Barren Rocks of Aden 35 Sandy Cameron 69 The Lochaber Gathering 36 Skip Healy’s Reel 70 The Lonach Gathering 37 The Blackberry Bush 71 Air/Hymn A Mhoire Mhin-Gheal (Fair Mary) Ishabel T MacDonald                                                

Page 4 Slow Air An Island Lullaby P. M. Donald MacLeod                                                                         

Page 5 Slow Air By Loch Etive Side John Cameron                                                                    

Page 6 Slow Air Come By The Hills Traditional                                                            

Page 7 Slow Air Dream Angus Traditional                                                                           

Page 8 Slow Air Echoes of the Highlands Stuart D Samson MBE                                                                                                                                  

Page 9 Gaelic Air Hi-Ri Ho-Ro Mo Nighneag Arr. J. MacFadyen                                                                      

Page 10 Slow Air O Gin I Were a Baron's Heir Traditional                                                                  

Page 11 Slow Air The Old Danish Knife Grinders Song Kai Normann Andersen                                                                                   

Page 12 Gaelic Air Rhu Vaternish Traditional                                                                          

Page 13 Slow Air Sine Bhan (Fair Jean) Arr. P. M. Angus MacDonald                                                                            

Page 14 Slow Air Tiree Love Song Traditional                                                                    

Page 15 March 1st Bn Queens Own Highlanders Farewell to South Armagh R I MacLean                                                                                                                       

Page 16 Retreat Angela's Wedding P/M Iain Morrison $HEL: F$2 [ vf F$ "c xr ] vf Fr Fu zM~0 s M| u/ Fr Fu zM~ ] vd $HE Fr. s zM~0 s FrM{ [f 2] vf 2$ Fu zM~0 s Fv o. F` o vf, [ By= $HE: Fr. s zM~0 m FxM{ [f 2] vf 2$ Fu zM~0 s M| u/ Fr Fu zM~ ] vd $HE% Fr. s zM~0 s Fr M{ [f 2] vf 2$ Fu zM~0 s Fv o. F` o vf, [ By= $HE& gl o vf, [ B$ u Fr ] vf Fr u zM~0 s Fv o. F` o vf, [ By

Page 17 Retreat Borve Castle D. MacLeod $HEL: F$2 "[ x,gs F2< x, S{ F$2 "[ x,gs F2< x* $HE vf 2] gsx, F{ 2( "{ gl- m {dgs F", Sy= $HE: F$2 "[ x, zQ hd ], S{ F$2 "[ x, zQ hd ]* $HE vf 2] gsx, F{ 2( "{ gl- m {dgs F", Sy=

Page 18 Retreat Far Over Struy J. P. MacLeod                                                                       

Page 19 March Gardens of Skye Traditional                                                                                                              

Page 20 March Heather Grant of Strathyre P/M James MacGregor $HER: - F$2 "d o vf, 2{ "g Fl- v M{ ],. A,| Fl- v M{ [f, x, g Fl- d Bc FW+>W - $HE F$2 "d o vf, 2{ "g Fl- v M{ ],. A,| Fl- v M{ [f, x, g Fl- ^ B] F{2_{= $HE: - Q IR ^W - $HE Q IR ^

Page 21 Retreat March In the Gloamin John MacLennan D.C.M.                                                                 

Page 22 March Pipe Major Ian Hughes Stuart D Samson MBE                                                                                                            

Page 23 March The Galloway Hills Traditional                                                                                                 

Page 24 March Yvonne Hürlimann Stuart D Samson MBE                                                                                                      

Page 25 March A Man's a Man for a' That Robert Burns $HEJ: F| gl- m gl ! F` gi Fr.{P Lx/ m gl ! FW >`'F! $ gl- m gl ! F` gi Fr. {P Lx/ m gl ] F{ _|= $: {e Lx/ P zM~ u {U u Fr {R Lx/ P zM~ ! FW >`%{R $ Lx/ P zM~ u {U u Fr {R Lx/ m gl ] F{ _|=

Page 26 March Doctor Allan MacDonald J. MacInnes $J: - F-3 "O 2N2 "\ F{ F_ g- LP1 \ F{ F_ g-u[+ O }/ F_ g- LS1 q h m.}( $ F_ m.wg- \ |$ F_ g- xp. k Fn P1zQ S1 q Fh m.u` F# "*3 F{ _|= $: Fw P1 M|0 Q Ls/ Q zQ S1 q Fh m.{d L_ g- Bg- n {ULS1 n Fk m. LP1 \%}/ {R $ M|0 Q Ls/ Q zQ S1 q Fh m. {d F_ g- Fn P1 @` F# "*3 F{ _|= $& }( F_ m. wg- \ |$ F_ g- xp. k Fn P1 zQ S1 q Fh m. u` F# "*3 F{ _| $: - F-3 "O 2N2 "\ F{ Fl J"2 "\ F( F_ g- Bg- n LS1 n Am. Q Lp. h u[+ O F( $ F^+ "+ 2*3 "\ F{ F_ g- Fn P1zQ S1 q Fh m.u` F# "*3 F{ _|= $: M~Fw PI1 M|0M~ QIM|0 zQQ zQS1 S1q q FFhh mm.{. d{d F_ Fg_- Bgg-- n FnLU PI1S0 @n` FkF#m. "L*P31 \%}F{ / _{|R= $& }( F_ m. wg- \ F{ F_ g- Fn P1 zQ S1 q Fh m. u` F# "*3 F{ _|

Page 27 March Dundee Military Tattoo A. R. MacDonald                                                                                                                                                                        

Page 28 March Glen Caladh Castle P/M J. MacLellan, DCM                                                                                                                                                                                                                             

Page 29 March March HughHugh Alexander Alexander LowLow of of Tiree Tiree Hugh CampbellHugh Campbell $J: Fp. h $JFe: "FNp2. hFbFem."NF2kFbs/m.FFbk ms/. FbzM|m.0 znM|0Fns/Fhs/ hvfvfFF^^++ "b wwj-j-_ _FbF"bN2u"N^2u+ # ^F+O #"*3FO{S1"*k3 Bh{S21*3kglBhFp.2h*3 gl Fp. h $ Fe "N2 $FbFem."N2FkFb s/m. Fkb sm/ . Fb zmM|.0 znM|0 Fns/Fs/h hvvff zzMM|00 bb {S{1 S1k kBh B2h*3 "2_*3P1B"_ g-P1B\ vgf- 2\! _|v=f 2! _|= $: Fv/ Q M|0 q Fb m. Fk s/ 2s/ FO "e m. My0 n vf wj- \ F-3 k Bh 2*3wj- e F\ "*3 Fe m. Fh 2*3 gl%Fv/ Q $: Fv/ Q M|$0 qM|0 Fqb mF.b Fmk. sF/k 2ss// 2FsO/ F"Oe m"e. Mym.0 nMy0 vnf vwfj- z\M|0 Fb-3 {kS1 Bkh 2Bh*3w2*3j- "e_ PF1\ B"g*-3 \Fevfm. 2F!h _2|*=3 gl%Fv/ Q $ M|0 q F$&b Fmp.. hFk Fes/"N22sF/b mF.OFk s"/e Fbm.m. Myz0M|0nn vFsf/ hzMv|f0 zbM|0 b{S1{S1 kk BBhh 2*23*"3_ "P_1 BPg-1 \Bgv-f \2! _v|f 2! _|= $&Fp. h $Fe: x"Np.2 bFbF"2m".e FFkb ms./F"2Fkb Fhm.s/ zFM|"20"bnMy0Fns/vfhwjv-f\ zF-M|3 0k bBh 2{*3wS1 j-ke BF\h "*23*3Fe"m_. FPh1 2*B3gg-l \xp. bvf 2! _| $: xp. b $F"2 F"2e "Feb Fmb. Fm".2 Fk"2 Fkh Fsh/ sF/"2 F"2b M"yb0 Myn0 vnf vwfj-zM\|0 Fb-3 {kS1 Bkh B2h*3w2*3j-"_e PF1B\ "g*-3 \Fevfm. 2F!h _2|*=3 gl xp. b $: F"2 "b Fp. t FN2 "b F_ "a, FN2 "b Fp. t FN2 n Ap. t 2s/ n gj- n F*3 "b F_ "a, F*3 "\ {S1 k Bh 2*3 gl Fd, h $ F"2 "e $%FbFp.m.t FF"N2 "kb FF_h "as,/ FN2F""2b "Fbp. Mty0FN2n nvAfp. tzM|20s/ bn {{SS11 k kBh Bh2*3 2"*_3 P1"_Bg-P1B\ vgf- 2\! _|v=f 2! _|= $: F"2 "b $&Fp.Fpt. FwN2F\"b"aF,_ F"2a, "_FN2F+"b"N2Fp.Fet mF.N2FNn2 A"pb. Ftp.2st/ 2ns/ gnj- {nS1 Fk*3 B"hb 2F*_3 ""_a,P1F*B3 g"- \\ {vS1f k2!Bh_|2*3 gl Fd, h

Page 30 MarchMarch HughHugh Kennedy Kennedy PeterPeter R. MacLeodR. MacLeod                                                                                                                                                                   

Page 31 March MacKenzie Highlanders' March                                                                                                        

Page 32 March Mairi's Wedding $HEJ: - F/ "! _$2 [ gl- m F< xr i u` gi yx o xxM{ $ / "! _$2 [ gl- m F< xr i u` 2, F{ _|= $: FxM{ FQ IM~0 P ^< xr i u` gi yx o%x< $ Fx M{ FQ IM~0 P ^< xr i u` 2, F{ _|= $& Fx M{ / "! _$2 [ gl- m F< xr i u` 2, F{ _{=

Page 33 March P/M Jim Christie of Wick A. Harper                                                                                                                                                                                                                                      

Page 34 March The Barren Rocks of Aden Traditional $HEJ: - Fx/ P Dx/ m gl Fu S$ i vf o E$2 m Fx S! gl- m $HE Fx/ P Dx/ m gl Fu S$ i vf o E$ Fv/ n gs Mt= $HE: {e zM~0 s gl- s xr Fu S$ Fp. t {U1 m vf o gl Fu S$2{P $HE zM~0 s gl- s xr Fu S$ Fp. t {U o vf 2! gs% Mt& Ms=

Page 35 March The Lochaber Gathering GS McLennan                                                                                                                                                                                                                                

Page 36 March The Lonach Gathering W. Grant                                                                                                                                                                                                                                                             

Page 37 March Bonnie Dundee $HEP: Fd g F, I- xr. Fa o M~0 P Lu x, t Fd r. F! Fd r. c FW >X u`+ Fa i $HE F, I- xr. Fa o M~0 P Lu x, t Fd r. F! Fd r. c F{ >| _{= $HE:) F{ >|gsg FW >X uW+ FW >X F`+ a i Ff>gvf2| $HE vf, 2[ "c gl- Fa i F, I- yx/ m i Fd r. F! Fd r. a F{ >| _{=

Page 38 March Cameron MacFadyen D. Johnstone $HEP: - F{ >| x,={U1 v Fo xr. j 2] F{ >| xr. j 2] gs- x,= $HE {U1 v Fo xr. j 2] gl- F^ o u`+ F" ", F$2 F^ i Fp U1 L] B{2_{= $HE: {e LpM~0 o xr. j 2] gl- F^ o u`+ F" ", M~0 p Ao xr. j 2] gs- x,= $HE {U1 v Fo xr. j 2] gl- F^ o u`+ F" ", F$2 F^ i Fp U1 L] B{2_{= $HE: x- F$2 F^ i x,. {U1 v Fi x,. M~0 S Lo gl- F^ i x,. A,= $HE {U1 v Fo gl- F^ i xr. j 2] uW 2) F$2 F^ i Fp U1 L] B{2_{= $HE: {e zQ-A, {e Q Ie Cr. j 2] M~0 p Ao xr. j 2] gs- x,= $HE%{U1 v Fo xr. j 2] gl- F^ o u`+ F" ", F$2 F^ i Fp U1 L] B{2 _{= $HE&{U1 v Fo gl- F^ i xr. j 2] uW 2) F$2 F^ i Fp U1 L] B{2 _{=

Page 39 March Captain C.R. Lumsden P.M. G.S. McLennan                                                                                                                                                                                

Page 40 March Kirkhill J.R. Riddell $HEP: - Ff>| _{- FvM~0 o Fx/ P M{ f>| _{"g F^ "f, 2! IW'- $HE Ff >| _{ - Fv M~0 o Fx/ P M{ FM~0 m Fc zQ X Fd o. F! _{= $HE: Fe m. Fx/ P M{ FQ- FvM{0 o Fx/ P M{ FM~0 a B! _{"g F^ "c, 2! IW% Fe m. $HE Fx/ P M{ FQ - Fv M{0 o Fx/ P M{ FM~0 m Fc zQ X Fd o. F! _{= $HE: - F{ >| vf t Ff, g 2] F$2 "a o M~0 m Fc B{"g F^ "c, 2] IW - $HE F{ >| vf t Ff, g 2] F$2 "a o M~0 m Fc zQ X Fd o. F! _{= $HE: Fe m. Fx/ m M{ ^< F- M~0 m Fc F$2 [ Ic M~0 m Fc B{"g F^ "c, 2! IW% Fe m. $HE Fx/ m M{ ^< F- M~0 m Fc F$2 [ Ic M~0 m Fc zQ X Fd o. F! _{= $HE*- Ff, g 2] S{ - yx/ m M{ $2 [ Ic M~0 m Fc zQ X Fd o. F! _{

Page 41 March Murdo MacKenzie of Torridon B. MacLeod $HEP: - F$2 p Ao x,. F$2 p Ao wl- ^ R L/3 ^ i wl- F^ i Fp U1 L, u`+ F" ", $HE F$2 p Ao x,. F$2 p Ao wl- ^ M{ ?U1 v Fo gl- Fp R Cr. j 2] B{= $HE: "X F$2 M| @M{ @Q0 $2 M| @M{ U1 Lp M{ ?U1 v Fo gl- p Fu {U1 L- i u`+ F" ", $HE% F$2 M| @M{ @Q0 $2 M| @M{ U1 Lp M{ ?U1 v Fo gl- Fp R Cr. j 2] B{= $HE& F$2 p Ao x,. F$2 p Ao wl- ^ M{ ?U1 v Fo gl- Fp R Cr. j 2] B{= $HEP: - E{2x,. F$2 p Ao wl- ^ R @W+ 2(3 Fp U1 L, u`+ F" ", $HE E{2x,. F$2 p Ao wl- ^ M{ ?U1 v Fo gl- Fp R Cr. j 2] B{= $HE: "X F$2 M| @M{ U1 L" M{ $2 S L! M~0 " M{ ?U1 v Fo gl- p Fu {U1 L- i u`+ F" ",

Page 42 $HE% F$2 M| @M{ U1 L" M{ $2 S L! M~0 " M{ ?U1 v Fo gl- Fp R Cr. j 2] B{= $HE& E{2 x,. F$2 p Ao wl- ^ M{ ?U1 v Fo gl- Fp R Cr. j 2] B{=

Queen Elizabeth's March (The Queen Mother) P/M W. Ross MBE 1941                                                                                                         

Page 43 March The Highland Brigade At Tel-El-Kebir John Cameron                                                                                                                                                          

Page 44 March The Mucking of Geordie's Byre $HEP: F{ >|F" "/3 "! gs - y|F" "/3 "! gs - y< {e M~0 s Fi Fr. s Fo gs-% wl- d ]&Zs-= $HE: Fq s/ Ld Ie LU1 My R L< I= FvM{0 u F, I- Fr. s R Dx/ m i F`+ a i $HE F{ >|F" "/3 "! gs - y< {e M~0 s Fi Fr. s Fo gs- Zs=

Page 45 March The Rock and Wee Pickled Tow Traditional                                                                                                       

Page 46 March The Scottish Division L/Cpl A Kelly, Gordon Highlanders                                                                                                                                                                                                   

Page 47 March The Steamboat                                                                                    

Page 48 March The Top of Ben Lomond Traditional                                                                                        

Page 49                                                                                                                                                                                                                                       

Page 50                                                                                                                                  

Page 51                                                                                                                                                                                             

Page 52                                                                                                         

Page 53                                                                                                                                                                                                                                             

Page 54                                                                                                                                                                                                                                                                

Page 55                                                                                                                                                                                                                                                                                 

Page 56                                                                                   

Page 57                                                       

Page 58                                                                                                                                                                                    

Page 59                                                                                                                                                                                                                           

Page 60 Reel Alick C. MacGregor Arr. Gavin Stoddart                                                                                                                                                                                                                                                                  

Page 61 Reel Alick Cameron, Champion Piper G. S. MacLennan                                                                                                                                                                                                                          

Page 62 Reel Broadford Bay W. Fraser $HEb {U1 My U1 m gswl- a F^ ",3 F- ",3 F^ i- Bl- m zQ @M~0 P C, Ar. g F^ "$2 F" "!2 F^ o. Ar. s $HE {U1 My U1 m gswl- a F^ ",3 F- ",3 F^ i- Fr. s {d M~0 P Lx/ g xr. g uW wl- [ F$2 "N 2$2 P $HE F^ ",3 F- ",3 F`+ a wl- a F^ ",3 F- ",3 F^ i- Bl- My r. " FN "!2 F^ o. Ar. g F^ "$2 F" "!2 F^ o. Ar. P $HE L^ ",3 F- ",3 F`+ a wl- a F^ ",3 F- ",3 F^ i- Fr. s {d M~0 P Lx/ g xr. g uW wl- [ F$2 "N 2$2 "[ $HE LSM{0 p R1 gsxr. g F^ ",3 F- ",3 F^ i- Bl- m M~0 S Ls M{0 I, Ar. g F^ "$2 F" "!2 F^ o. Ar. s $HE LSM{0 p R1 gsxr. g F^ ",3 F- ",3 F^ i- Fr. s {d M~0 P Lx/ g xr. g uW wl- [ F$2 "N 2$2 P $HE L^ ",3 F^ i- Fp R1 Lj o. xr. j F[ ",3 F^ i- Fp R1 L^ "!2 F^ i-xr. j F[ R1 Cr. j F[ "!2 F^ o. Ar. P $HE L^ ",3 F^ i- Fp R1 Lj o. xr. j F[ ",3 F^ i- Fr. s {d M~0 P Lx/ g xr. g uW wl- [ F$2 "N 2$2 P

Page 63 Reel Cecily Ross Roderick Campbell $HEb F$2 "N 2$2 "[ F^ "$2xr. N F^ i- 2$2 "[ x, {d L`+ "* 2/3 "[ F^ ",3wl- [ x,F/3 g F`+ "* 2/3 "[ $HEF$2 "N 2$2 "[ F^ "$2xr. N F^ i- 2$2 "[ xr. j Fm M{0 U1 p Fg o. LU1 * wl- [ F" "!2 F" ",3 F$2 "N 2$2 "[ $HE F$2 "N 2$2 "[ E{ M~0 P M~0 P Lr. s {d Cr. g F`+ "* 2/3 "[ }(LU1 s LU1 j F[ i-x, wl- [ $HE F$2 "N 2$2 "[ E{ M~0 P M~0 P Lr. s {d LpM{0 U1 p Fg o. LU1 * wl- [ F" "!2 F" ",3 F$2 "N 2$2 "[ $HE x,F$2 "[ xr. N xr. g x,F$2 "[ xr. " Fm M{0 gs 2/3 g F^ ",3wl- [ Fr. s LU1 g F`+ "* 2/3 "[ $HE x,F$2 "[ xr. N xr. g Fp R1 L^ i-xr. j Fm M{0 U1 p Fg o. LU1 * wl- [ F" "!2 F" ",3 F$2 "N 2$2 "[ $HE E{ M~0 P M~0 m Ar. My U1 p Fg o.{d Cr. g }(LU1 s LU1 g Bl- m Fl- m LU1 g x, wl- [ $HE FpM{0 $2 "[ xr. N xr. g Fp R1 L^ i-xr. j Fm M{0 U1 p Fg o. LU1 * wl- [ F" "!2 F" ",3 F$2 "N 2{

Page 64 Reel Dancing Feet PM. G. S. MacLennan                                                                                                                        

Page 65 Reel John Keith Laing Addie Harper                                                                                                                    

Page 66 Reel Kalabakan Pipe Major Angus MacDonald MBE                                                                                                                                                                                                                                       

Page 67 Reel Kelsey's Wee Reel                                                                                                                                 

Page 68 Reel Sandy Cameron Traditional $HEb Fx/ m Fd "!2 F" "!2 Ff, "N 2!2 My f, "N 2!2 "a F^ "]+ Fu/ m Fd "!2 F" "!2xr. " "a R1 L`+ "* 2,3 "[ gs Fx/ g $ Fd "!2 F" "!2 Ff, "N 2!2 My f, "N 2!2 "a F^ "]+ Fu/ m Fd "!2 Fd "!2xr. " "a R1 L`+ "* 2,3 "[ gs Fx/ g $ zQ r. s xr. j Fa "!2 zQ r. s Fx/ m Fu/ P zQ r. s xr. j Fa R1 L`+ "* 2,3 "[ gs Fx/ g $zQ r. s xr. j Fa "!2 zQ r. s Fx/ m Fu/ P zQ pM{0 jM~0 d M{0 `+ "* 2,3 "[ gs Fx/ g $ Fd o. F!2 m Fd o. F!2 My d o. F! "a F^ "]+ Fu/ m Fd o. F!2 m Fd o. F!2 P L`+ "* 2,3 "[ gs Fx/ m $ Fd o. F!2 m Fd o. F!2 My d o. F! "a F^ "]+ Fu/ m Fd o. Ao. s xr. j Fa R1 L`+ "* 2,3 "[ gs Fx/ g $ Hf M~0 a Hfxr. a Hf M~0 a Hf{d ff M~0 a Hfxr. a F`+ "* 2,3 "[ gs Fx/ g $ Hf M~0 a Hfxr. a Hf M~0 a Hf{d M~0 s LR1 m Fx/ g xo. a F`+ "* 2,3 "[ gs Fx/ m

Page 69 Skip Healy's Reel Stuart D Samson MBE                                                                                                                                                                           

Page 70 Reel The Blackberry Bush Prts 1&2 Trad. Prts 3&4 Donald MacLeod $HEb Fl- m y

Page 71 Reel The Wind That Shakes the Barley                                                                                                                          

Page 72 Reel Touchwood Reel Stuart D Samson MBE                                                                                                                                                                                         

Page 73 Archie MacPherson of Dumbarton Willie McKelvie Hornpipe Archie MacPherson of Dumbarton Willie McKelvie                                                                                                                                                                                                                                                                         

Page 74 Hornpipe Boys of Bluehill                                                                                                                                                                        

Page 75 Hornpipe Duncan Johnstone P/M Donald MacLeod                                                                                                                                                                                                                                                                     

Page 76 Hornpipe Hazel Thomson G M MacIntyre $HEJ: R "2 h li Fj- t >v/ Mz FM|0 t Fj- b F^+ "+ 2-3 "\ F-3 "\ j] F^+ n Ap. t LS1 t Fp. h Fd, "O 2"2(Mz $HE "2 h li Fj- t >v/ Mz FM|0 t Fj- b F^+ "+ 2-3 "\ F-3 "\ j] F"2 "b kc F"2 "b Fp. t Ft= $HE: Fv/ Q M|0 t Fj- t "2 h li M|0 t Fj- b F^+ "+ 2-3 "\ LS1 n F^+ Q F-3 "\ j] LS1 t Fp. h Fd, "O 2"2 "%b $HE M|0 t Fj- t "2 h li M|0 t Fj- b F^+ "+ 2-3 "\ F-3 "\ j] F"2 "b kc F"2 "b Fp. t Ft= $HE: R "2 h li Fv/ h li M|0 t Fj- b F^+ "+ 2-3 "\ F-3 "\ j] Fp. \ j] LS1 t Fp. h Fd, "O 2"2 Mz $HE "2 h li Fv/ h li M|0 t Fj- b F^+ "+ 2-3 "\ F-3 "\ j] F"2 "b kc F"2 "b Fp. t Ft= $HE: Fv/ Q zM~ FM{ j- Mz FM|0 h M|0 h li F^+ "+ 2-3 "\ {U?R L^+ Q ?S1 \ LS1 \ j] Fd, "O 2"2 "%b $HE zM~ FM{ j- Mz FM|0 h M|0 h li F^+ "+ 2-3 "\ F-3 "\ j] F"2 "b kc F"2 "b Fp. t Ft=

Page 77 Hornpipe Jason Briscoe Chris Armstrong $HEJ: Fv/ n gl Fv/ n Fl- G"2 t M|0 # LS1 t xrLS1 t xrLS1 t Fp. b kc Fp. b wj- \ E$ Fv/ n $HE gl Fv/ n Fl- G"2 t M|0 # LS1 t xp. h Fp. t LS1 M} S1 t xp. b M|0 Q Fv/ h li Ft= $HE: Fv/ Q M|0 O LS1 O Fv/ h li M|0 # LS1 t xp. h Fp. t LS1 O Fv/ O Fp. b kc Fp. b wj- \ E$%Fq t P $HE M|0 O LS1 O Fv/ h li M|0 # LS1 t xp. h Fp. t LS1 M} S1 t xp. b M|0 Q Fv/ h li Ft= $HE& Fv/ n gl Fv/ n Fl- G"2 t M|0 # LS1 t xp. h Fp. t LS1 M} S1 t xp. b M|0 Q Fv/ h li Ft $HE: Fv/ n gl Fv/ O ll- M|0 O LS1 # Fv/ O xrLS1 t xrLS1 n kfM|0 Q M|0 # LS1 O yx Fv/ n $HE gl Fv/ O ll- M|0 O LS0 # Fv1 O xp. h Fp. t LS1 M} S1 t xp. b M|0 Q Fv/ h li Ft= $HE: Fv/ Q M|0 T Lw Q My S1 w Fq t P Dv/ q Fk n s xp. h Fp. t LS1 w Fq t P Dv/ q Fk n s Fp. b wj- \ E"2 k Fq t P

Page 78 $HE M|0 T Lw Q My S1 w Fq t P Dv/ q Fk n s xp. h Fp. t LS1 M} S1 t xp. b M|0 Q Fv/ h li Fl Fv/ Q $HEM} Q s Fw Q My T t m Fq t P Lw n g Fk n s xp. h Fp. t LT t m Fq t P Lw n g Fk n s Fw n g Fe h m E$ Fv/ n $HE gj- q Fw n g xp. w LT t m Fv/ T M} Q s xp. h Fp. t LS1 M} S1 t xp. b M|0 Q Fv/ h li Ft

Page 79 Hornpipe Pipe Major Calum Campbell's Caprice Pipe Major Joe Wilson $HEJ: - E$ zM{ S p Fj m F- "- LS My ]r. s {UL- "* LS p Fj m F^ j S L* gl o $HE E$ zM{ S p Fj m F- "- LS My ]r. s LSM| S m Fj 2^ j m F{ _|= $HE: Fp s LSM| S m Fj 2^ j m F- "^ LS My ]r. s {UL- "* LS p Fj m F^ j S L* gl%Fp s $HE LS M| S m Fj 2^ j m F- "^ LS My ]r. s LS M| S m Fj 2^ j m F{ _|= $HE& - E$ zM{ S p Fj m F- "- LS My ]r. s LS M| S m Fj 2^ j m F{ _| $HE: - F" "d M| m LS p Fj m F" "d M| m LSM| p s {UL- "* LS p Fj m F^ j S L* gl o $HE F" "d M| m LS p Fj m F" "d M| m LSM| p s LSM| S m Fj 2^ j m F{ _|= $HE: Fp s LS p Fj m M| S Lp s LS p Fj m zM~ p s {UL- "* LS p Fj m F^ j S L* gl%Fp s

Page 80 $HE LS p Fj m M| S Lp s LS p Fj m zM~ p s LS M| S m Fj 2^ j m F{ _|= $HE& - E$ zM{ S p Fj m F- S M| m LS M| p s LS M| S m Fj 2^ j m F{ _|

Page 81 Hornpipe Rathven Market Ian Duncan                                                                                                                                                                                                               

Page 82 Hornpipe The Golden Pheasant Stuart D Samson MBE                                                                                                                                                                                                                                          

Page 83 Hornpipe Walking the Moon                                                                                                      

Page 84 Hornpipe Willie's Brogues Angus Lawrie                                                                                                       

Page 85 A Dram Before Ye Go Traditional                                                                                                    

Page 86 Jig The Braes of Melinish                                                                                                                                                                     

Page 87 Jig Cabar Feidh Setting by D. Johnstone                                                                                                                                                                       

Page 88                                                                                      

Page 89 Jig Calum and the Princess Scott MacAulay                                                                                                                                                                                                                                                  

Page 90 Jig Centre's Bonnet Willie Ross $HEP: zQ0 [f - F$ "f o Ff "$ "c zQ0 [f - F$ "f o F` "/ "] $HE zQ0 [f - F$ "f o Ff "$ "c Fl x i FfM~ c F` l c F` "/ "]= $HE: F, >| vf, F$ "f o Ff "$ "c F, >| vf, F$ "f o F` "/ "] $HE F, >| vf, F$ "f o Ff "$ "c Fl x i FfM~ c F` l c F` "/ "]= $HE: Fl x o FfM~ o F$ "f o Ff "$ "c Fl x o FfM~ o F$ "f o F` "/ "] $HE Fl x o FfM~ o F$ "f o Ff "$ "c Fl x i FfM~ c F` l c F` "/ "]= $HE:M~ $ o Ff "$ "c x F$ o Ff "$ "c M~ $ o Ff "$ "c x F$ o F` "/ "] $HE M~ $ o Ff "$ "c x F$ o Ff "$ "c Fl x i FfM~ c F` l c F` "/ "]=

Page 91 David Ross Jig PM. Angus McAulay                                                                                                                                                                                                           

Page 92 Jig Dr. Flora MacAuley, Carradale Allan MacDonald                                                                                                                                                                                                           

Page 93 Jig Partners in Time Jim Sutherland                                                                                                                                                                                                                        

Page 94 Jig Skimming the Water Stuart D Samson MBE                                                                                

Page 95 Jig The Lady in the Bottle Traditional                                                                                               

Page 96 The Battle of Auldearn (Setting N.2) Ground                                                                                   Ground Doubling                                                                                Variation 1 Singling                                                                   

Page 97 Variation 1 Doubling                                                                    Variation 2                                                            Variation 3                                                                   

Page 98 Taorluath Singling                                                              Taorluath Doubling                                    Crunluath Singling                                                                

Page 99 Crunluath Doubling                                    Crunluath a Mach                                    Ground - First Line                             

Page 100 Corrienessan's Salute Ground                                                                                               Variation 1 Singling                                    

Page 101                                                Variation 1 Doubling                                                                                          Taorluath Singling            

Page 102                                                                        Taorluath Doubling                                                                                         

Page 103 Crunluath Singling                                                                                                         Crunluath Doubling                                                   

Page 104                                                                   Ground - First Line                           

Page 105 Lament for Donald of Laggan Ground                                                                                    Taorluath Singling                                                                            Taorluath Doubling                                                               

Page 106 Crunluath Singling                                                                                                        Crunluath Doubling                                                                                                                                                 Ground - First Line                              

Page 107 Little Spree Ground                                                                                          Ground Doubling                                                                

Page 108                          Variation 1                                                                                                                         Taorluath                                                   

Page 109                                                                     Crunluath                                                                                                                          

Page 110                     Ground - First Line                          

Page 111 Salute to Donald Ground                                                                                             Taorluath Singling                                                                        Taorluath Doubling                                                                   

Page 112 Crunluath Singling                                                                                                 Crunluath Doubling                                                                                                    Ground - First Line                                    

Page 113 Page 114 Exercises Required for SCQF Level 2 1. The scale $ ( { W fs,

Page 115 $ 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 116 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 117 1.g. F Doubling $ ) y<|y< Xy< gy< ty<-y

Page 118 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 119 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 120 1.g. F Doubling $ ) y<|y< Xy< gy< ty<-y

Page 121 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 playing $vd 2!2vd 2!2u^ 2,3u^ 2,3 vd 2!2vd 2!2u^ 2,3u^ 2,3

Page 122 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 123 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 124 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 125 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 126 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 127 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 128 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 129 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 130 NATIONAL PROGRESSION AWARD SCOTTISH (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 by copying onto manuscript paper from set music provided.

Page 131 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 132 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 133

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 134 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 135

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 136 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 137

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 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 138 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.

Page 139

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 (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 movement A famous piper and his/her contribution to Piping Present day piping organisations and their contribution to piping

Page 140 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.

Page 141

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 142 Page 143 Page 144 Page 145 Page 146

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