the Clans which appeared in Donald MacDonald’s “piobaireachds”plural half-breed the eradicating English, and on concert posters abroad; and it protects clarity between Gaelic tional dictionaries; I don’t see what the longer spelling achieves interna- in established “piobaireachd”is it years; 200 about by ing “pibroch” for several reasons: its usage in print is older than ì, meaning the has each words: “pibroch”English “piobaireachd”and are Both 1 shaping individually whilst past collective the originality, maintaining strong connection with fibya not to faithfulness xedbybut text, their musical journey. Their greatness was measured, their culturalinheritancetoworkunique up a plepiper, professional Highland pipers drew on greater degree. Like Luigi Lai, the Sardinian tri- creativity of master pipers was empowered to a fluid inform. pibrochs individual century, composition, because before the nineteenth new a and variant a between line the draws one where on depends number precise The A By Barnaby Brown pìobaireachd, Relative to the Scottish traditionalgrounds (1820) p.1 andreflects established English usage. of at least 111 works of of works 111 least at of lifeblood the was ground this tury, cen- nineteenth the of dawn the t does notexclude lightmusic.Iprefer thespell- ceòl mòr ceòl 1 ceòl beag . The Gaelic word, with grave accent grave with word, Gaelic . The O tradition today, the Ancient Martial Music of 1 were more more were el mòr. ceòl O PART 2:MaolDonn— about it. The first two examples, however, however, examples, two first The it. about knows no-one article almost and special is it because this of focus the forms and pibroch to unique be may which of one techniques, chean to the piper’s craft, particularly in the between pibroch sources, creativity was central differences substantial the of some behind lies clearly failure memory Although future. the ibility of phrase length, however, is a defihowever,a length, is phrase of ibility ning questions and answers are equal in length. Flex- Cannon (2002:62–67). an excellent summary of pibroch structure, see and research previous of survey a For 1964. since controversy of source a been has which , line (6,6,4) uneven the of ing Examples 8 and 9 support a richer understand- Finally, overlooked. been now until has and metrical game, which may intrigue composers amples 3–7 reveal an obscure, possibly medieval Ex- music. breathing living, into transformed blueprint—is binary lifeless, ground—a this represent the most conventional ways in which Professional creativity drew on a stock of of stock a on drew creativity Professional In most music, the phrases are balanced—the (thevariation ‘journeys’). 1 1 11 O 1 siùbhlai- OO 1 O Donald MacDonald’s book (1820), it occurs in in example, For recordings. and manuscripts strated by its outstanding popularity in books, demon- is generated, it music the of calibre bagpipe music. That’s onecaseperCD. of the heavy stuff—the single malts of Highland cases 15 some represents ground this Instead, inverse, its does (Example 1) does not occur in light music; nor marching in time. The ground time. The in marching troops or tapping, toes people’s get to either This contrasts with of quality com/docs/PR titles/MacCrimmon’s Sweetheart.pdf MS (Glasgow, 1826) MacPherson—A LivingLegend them.” AcompleteperformanceisontheCD Variation tobeplayedonthenoteswithcrosses The instructionattheendofUrlarreads,“Thumb variations, butexampleslackingitinthe ( enhanced byadevelopmentinthethirdQuarter shape ofmelodiesbuiltonthisgroundisnormally consonant A…CbecomesdissonantB…B.Themusical between unit Sweetheart: Example 1. OO The importance of this ground, and the the and ground, this of importance The ); thisdevelopmentwilloftenbedroppedinthe 1

Maol Donn sean nòs sean 1 Urlar andunit . f. OO Inthissetting O 21 (old style) Gaelic singing. Gaelic style) (old ceòl beag O v —MacCrimmon’s 1 . Facsimileatwww.ceolsean. isthefi rst andfi nal note: O (Siubhal1).Peter Reid’s 11 PIPING TODAY •39 , which is designed O , theonlydifference 1 11 O (Example 2). (Example Urlar O 1

are rare. OO Donald 1 O

MUSIC MUSIC PIPING TODAY •40 piobaireachd.co.uk/Tune7.htm Martial MusicofCaledonia, Donald MacDonald(Edinburgh,1820) convention magnifi es theemotionalimpactof creativity isoftenstrippedbackinthevariations;this in thefi nal phrasetomarktheendof phrases thatbalance;andthereisamelodicoutburst consecutive pairs Example 1inthreeways:units End oftheLittleBridge: Example 2. macdonald/tune46.pdf at www.piobaireachd.co.uk/manuscripts/ MS (Edinburgh,1826)p.259.Facsimile Dastirum and 3areontheCD Complete performancesofExamples2 2:1 occursinthreevariationdoublings. Dearg Example 3.Ratio 2:1. —The Red SpeckledBull,theratio (Siubhal 2).DonaldMacDonald’s O

Ceann naDrochaideBige— O OO Allan MacDonald— and In 11 An Tarbh Breac p. 38.Facsimileatwww. Urlar. O arefusedintosingle 1 and

This differsfrom O The Ancient areinverted; Urlar The . Such Urlar O . 1 “Well-woven”, borrowing terminology from from terminology borrowing “Well-woven”, construction Campbell’s“Secondary” rename “Woven”and label the prefer I but 1948, in “Primary” construction by Archibald Campbell and forms 38% of the repertory. lead It was labelled 26-point a has it together, 1850 before sources pibroch Takingworks. the 7 of out 5 MacPherson’sCD (1826), in 16 out of 43 works; and on Donald PeterReid’sin works; manuscript 23 of out 9 O 1 1 O O A Living Legend Living A O (2004), in (2004), 1 1 drew a parallel with the practice of “the of most practice the with parallel a drew McDonald, minister of Kilmore in Argyllshire, Patrick 1784, In soul. the touching necessity ficulty, but as a source of delight, an emotional see phrase irregularity, not as a problem or dif- to vital is it music, this In picture. the distort this ground without discuss embracing that to fact would and pibroch, in everywhere itself (BrownClassical Gaelic poetry 2004). Love of fl exible phrase-lengths manifests manifests phrase-lengths fl of exible Love 1 1 1 manuscripts/macdonald/tune09.pdf all sevenvariations.DonaldMacDonald’sMS(Edinburgh,1826)p.36.Facsimileatwww.piobaireachd.co.uk/ Example 4. Ratio 1:2. pibroch.net/articles/bjb/2000.pdf staff notationandadiscussionofthetitle,seewww. com/docs/NL titles/TheEndofIshberryBridge.pdf. For 1797– Colin Campbell’sMS(Ardmaddy, NetherLorn, O 1 1 occurs inthefi nal variation,inwhichcontrastbetween Bhàiridh Example 5.Ratio 2:3. is it nature: to returning is This measure. the disguise to occasionally them, with discipline ace tohis (i.e. classical musicians). He writes in the pref- day his of musicians” improved and polished and 3/4 “It is professedly an object of attention and attention of object “Itan professedly is 2/4 O c. —The EndofInchberryBridge,theratio2:3 1819)

is almosteliminated: hindo hindo CollectionofHighland Vocal Airs:

vol. 2,no.81 himto himto In In Faicheachd Chlann Dòmhnuill Ceann DrochaidInnis . O Facsimileatwww.ceolsean. O 1 1 —The Parading of the MacDonalds, the ratio 1:2 occurs in world. By shining the spotlight on this aspect this on spotlight the shining By world. composers outside as well as within the piping fascinate may but players, by avoided been curiosity. They have long confused editors and musicological a are metres complex resulting produces regular time.” probably weak, should depart still farther from are strong, and whose impression of measure is feelings Highlander,whose untutored an that It needs not, therefore, be a matter of surprise, the genuine dictate of emotion and sentiment. otherwise a bewildering technique, Examples technique, bewildering a otherwise is virtuosity,what metrical of of sense making Sometimes, pibroch’s expressive freedom freedom expressive pibroch’s Sometimes, 1 s and s

O s of different lengths. The lengths. different of s O O pupils, of did pipers lack begin to a write and fashion musical in changes of result a as collapsed, had colleges professional the after Only unwritten. heyday, its in was, mind-world ofthecomposers. highly-educated the to closer us draw 3–7 the composers, however, indicates that they they that indicates however, composers, the unequal lines: representedconsistently the Wovengroundin manuscripts their (1797), outset the From It is important to remember that pibroch pibroch that remember to important is It Evidence closer to the time and culture of culture and time the to closer Evidence 1 1 1 O O O 1 1 PIPING TODAY •41 ceòl mòr down.

MUSIC MUSIC PIPING TODAY •42 about metre tend to become emotional, and emotional, become to tend metre about Arguments music. the about feelings seated deep- pipers’ the by coloured are “opinions observes, Cannon Roderick as Yet, it. about difference to the music, only to no how makes one thinks other or one of use The listening. and performing composing, of processes the facilitating and mind the guiding template, originally thoughtofitinsymmetricalhalves: 2, no.39).Forsustainedinstancesof5/4,seeBrown2000. kintarbert/blarvuster.pdf. Thisratioalsooccursinallsixmovementsof ‘Kintarbert’MS( movements. AngusMacKay’s Example 6.Ratio 4:5. Either arrangement functions as a visual visual a as functions arrangement Either O O 1 1 O 1 1 O 1 O In [ Cruinneachadh naFineachan O c. 1840) no.23.Facsimileatwww.piobaireachd.co.uk/manuscripts/ —The GatheringoftheClans,ratio4:5occursinallsix to be an be to appears This minds. composers’ the in so did or wrong: that they each co-exist, and probably He suggested that neither arrangement is right 2004. in fime Cannon with which shared insight rst powerful a of light the in evaporate totally believe, I can, and cooled now has 70s to come” (2002:67). time some for so do to probablycontinue will calypso rhythm: or hemiola, large-scale a as described be could The heat of arguments in the 1960s and and 1960s the in arguments of heat The Kingairloch’s March intentional structural syncopation. It syncopation. structural 1 (Colin Campbell’sMS,vol. 1 spanning eightorsixteenbarsinsteadofone. com/docs/NL titles/Duke ofHamilton’s March.pdf 1797– Colin Campbell’sMS(Ardmaddy, NetherLorn, O 1 as follows: in the Lament fortheDukeofHamilton, ratio 6:7occurs Example 7.Ratio 6:7. Classical Gaelic poetry, ifnotinpibroch? of accompaniment the in least Scotland—at in practice the havebeen Mightonce 9c). this each half is repeated (marked “bis” in Example in Woventhat, the is and ground The only difference between this Welsh ground 9c). and 9b (Examples dots inserting by four of units sixteen the divided (BrownQuarters III). 2005:part fiand third nal its as groundWell-woven the discussed later in this series, which incorporates theory (Example 9); and the “Ornate” ground, c. JosephMacDonald’s poetry; Gaelicof treatise Classical of metrics the includes: arrangement powers? otherworldly invoke to incantation musical a charms. Might its design have been intended as likely that pibroch’s composersis believed it in and such sea at boats their protect to threads coloured plaited fisherman Gaelic century, nineteenth the signifiIn extra-musical cance. had have may ground this of halves two the between symmetry the art, Celtic late in terns

1760 (Example 8); medieval Welsh music music Welsh medieval 8); (Example 1760 7/4 Given the fascination with interlaced pat- interlaced with fascination the Given In 1613, the Anglesey harper Robert ap Huw even-linedthe Harderto pointing evidence 6/4 c. Taoludh Geàrr [ Play from to thefirst] 1819)

-bam -ba-de-da-to -de -da-to-dan

vol. 2,no.1 and ] In Crunnludh Fosgailte . Cumha DhiùcHamilton Facsimile atwww.ceolsean. bryt odidog bryt bryt odidog bryt Doublings — into into , respond to each other like two poets in a bardic — (2007) “The Red SpeckledBull”in Red “The (2007) — pibroch”in patterns it: of design “The (2005) in — CD-book in pibroch” of sense “Making (2004) — BROWN, Barnaby (2000) “Reclaiming 5/4” in Bibliography tion of this richer context cultivates a deeper apprecia- and piping, and poetry music, harp embraced chieftains Gaelic the of itage. life cultural The would inspire and guide the revival of this her- the Celtic departments and of universities festivals worldwide, it music early at particularly enthusiastically, more shared were pibroch If tiompàn or harp, but currently read in silence. early British poetry, originally sung to the lyre, magnifia of ance the inheritance: literary cent word of piping. It is key to reviving the perform- and Britain, across culture musical unwritten of lifeblood gagement. en- audience deepen also can It alive. more informed, more authority, cultural of plane three stultifi the (safe, “S”s higher a to from stereotypical) ed, playing of level the raise to helps It interpretation. pibroch in creativity context inwhich special beyond them, was precisely the creative observed something achieved yet conventions, complex response a when audience the to dinia, it struck me that the great delight caused I witnessed a bardic contest in Mamoiada, Sar- other resolves it according to strict the rules. When variation, new a introduces one contest: pibroch.net/articles/bjb/2007.pdf bjb/2005-i.pdf, 2005-ii.pdf, 2005-iii.pdf Winter, Spring & Summer issues; www.pibroch.net/articles/ MacPherson—A Living Legend March/April issue;www.pibroch.net/articles/bjb/2000.pdf Creativity upon grounds was once the the once was grounds upon Creativity to vital is structure musical Understanding To my mind, the sections ceòl mòr ceòl mòr ceòl . The benefit isreciprocal. ceòl mòr is signifiis the beyond cant (Siubhal 1) evolved OO Piping Today25 1 O

. The Piping World, pp. 19–25.

and The Voice, Donald Donald 11 ; www.; ● O 1

MS p.32. according totheirLength” (which weCountasBars)2,4,or8theQuarterwasLongShort;Bar subdividedintomoreFingers, [Grounds] whenregular, commonlyconsistedof4Quarters.IneachQuarterthereweresuchanumberFingers of Sky&Mull. Terms ofArtinwhichthisinstrumentwasoriginallytaughtbyitsfirst Masters&ComposersintheIslands Robert ap Huw’s MS,p.107. Robert apHuw’s Example 9b. Piping Today 38, that itgovernedbardicandensembleperformances,muchlikea16-barbluesgoverns structureinjazz.SeePart 1in centuries. Althoughnotcommonlyusedinsoloinstrumentalpieces,itsinclusionasone ofthe24measuressuggests This groundisthoughttohavebeenontheexamsyllabusforWelsh musiciansbetweentheeleventhandsixteenth Example 9a. Example 8. GREENHILL, Peter (1998) “The Robert ap Huw Manuscript: CANNON, Roderick D. (2002) Welsh Music Studies, University of Wales, Bangor). sertation deposited in the archive of the Centre for Advanced An Exploration of its possible Solutions” Part V: Metre (dis- Music—New Edition O

Joseph MacDonald(

[br]yt adidoc bryt odidog— “They wereSuretohavenooddNumberinanypiecetheydesigndberegular.“They TheirAdagios p. 48.Reproduced inSallyHarper, O (John Donald).(John . From theeditionbyRoderick D.Cannon(ThePiobaireachdSociety, 1994)pp.64,141; The Highlandand its Bagpipe tt 1 OO k t tt 1 c. O k 1760) t : OO kk O t 1

k kk A CompleatTheoryoftheScotsHighlandBagpipe…Withall O :11 t k ( O Music inWelsh CultureBefore1650 1:11 c .1480) 1 O 1 (1613) illustration of Example 9c.Harptablatureforan elementary com/~lindahl/ap_huw/ MS,p.34.Facsimileatwww.pbm.Robert ap Huw’s (2, 4,6or8beats)andmoreharmonic interest. cerdd dant section, Note theinstruction“hnbis”(thistwice) aboveeach 1 OO , eachdigitwouldnormallyhavemore length 1 O bryt odidog and O 11 O (Ashgate,2007)p.81. 1 . Inprofessionalworksof (1613). 1 PIPING TODAY •43

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