THESIS 1 PIPING TODAY •40 format ofthetuneforms commontoboth. tooutlinethebasic formance, itisnecessary how thesetwotraditionsdifferintheirper- same basic melodies. In order to understand types. In fact,they even share manyofthe on afoundationofcommon‘forms’ ortune Breton, Nova ScotiaandScotlandrely heavily The and ScottishMusic 1.1 KeyElementsofCapeBreton chapter summaryispublishedinPiping Today. www.thepipingcentre.co.uk/magazine as each ter of the thesis will be made available online at an editedversionofthethesis,andeachfullchap- feature by Ben in issue 53. The following text is This different approaches to acommonrepertoire. parison ofthese three elementsillustratestwo Scottish andCapeBreton idioms. The com- than repertoire, which separates the modern practice,muchmorematter ofperformance more popularinrecent years. Scottish musicians,althoughtheyhave become mon tune type of the three in the repertoire of Historically, theseare probably theleastcom- by a6/8rhythm, counted;1ea,2a…etc. eight-bar parts. tunes are generally made up of at least two by alonger dottednote.Aswithreels, these accented cutnoteonthedownbeat, followed as the‘Scotchsnap’ orLombard rhythmofan the beat)thanreels, especiallywhatisknown on ‘dot-cut’ rhythms(anunequaldivisionof beats tothebarandare generallymore reliant Scotland. Strathspeys are counted withfour eight-bar parts. Reels are generallycomprisedoftwoormore This isgenerallywrittenin2/2,orcuttime. two beatstothebarcounted;1&2&…etc. cian’s repertoire andisplayed indupletimewith Musical Traditions ofScotlandandCapeBreton The Keeping thesethree formsinmind, itisa The last form is the , which is characterised The He iscurrentlypreparingtoundertakeamastersdegreeinighlandStudiesattheUniversityofEdinburghlaterthisyear. Evolution oftheHighland Bagpipe withinthe feature followsonfromtheintroductory Scottish musictraditionsinbothCape Scottishmusi- isastapleinevery isanotherformuniqueto where healsoreceivedtheawardofOutstandingFineArtsMajorinMusicforclass2011.Duringhisstudies focused primarilyonbagpipeperformance,musictheory, andmusicology, withaheavyinterestinfolktraditions. Ben MillerisarecentgraduateofthemusicprogrammeatSaintMichael’sCollegeinBurlington,Vermont, Thesis —CHAPTER1SUMMARY —COMPARISON OFPRESENTTRADITS

are largelytakenfrom myown examination competition standards. These measurements ally clockingwithinfive BPMoftheScottish the player. seemtobetheexception, usu- ter-note BPM and may rise with the ability of half-note BPM.Strathspeys at160quar- start generally faster. Reels are played around 106 represent themoderncompetitionstandards. BPM. ly 120dottedquarter-note These tempi BPMandjigs atapproximate120 quarter-note - beats perminute(BPM),Strathspeys atabout are generallyplayed ataround 78-84half-note tunes are played. In theScottishcontext,reels noticeable difference maybethetempiatwhich Cape Breton pipemusic,themostimmediately When firstlisteningtomodernScottishand Tempo pipe bandsphere wherein formisjudged, rhythms are uniquetothecompetitionand step-dancing asseeninCapeBreton. These melody that does not lenditself to percussive sion”. The result creates amuchlessfluid and unequal timings to pointuptheexpres- “more room –andmore needfor–gracenotes that withtheslower paceofthe tunes,there is anditsMusicHighland Bagpipe . He suggests suggested by R.D.Cannoninhisbook,The In contrast,thetempi inCapeBreton is The reason forthisstyleismostlogically by Benjamin Miller The Rejected Suitor The Rejected Suitor

reel: in thissimplesettingofatraditionalScottish can beseen,asdemonstratedby R.D.Cannon, dot-cut pattern.Atypicalexampleofthisstyle are generally played with a heavily accented In themodernScottish pipingtradition,reels of thesetwotraditionsistheiruserhythm. Perhaps themostdefining anddivisive features Rhythm must beplayed. complicated thetune’s structure, theslower it achievable by theplayer. In essence–themore tunes largelydictatesthetempothatisphysically ornamentation andrhythmicelementsinthese tings ofthetunesineithertradition. The styleof practice are largelyaresult ofthemusicalset- Breton. of various recordings from Cape ofperformers below at accent over beat,asseen quarter-note every if written straight, with a or ‘pulsed’. It might be mostcloselyrepresented in themiddle,sometimesreferred toas‘swung’ neither isitdot-cut.It issomethingsomewhere tice. The actualrhythmisnotquitestraight,but that thisisnotthewaytheyare played inprac- ally writtenround butanyplayer willtellyou rather thanfunction. These drasticdifferences inperformance Reels in the Cape Breton tradition are gener Figure 1. Figure 2. Trad. Scotland/Arr. R.D.Cannon

tenuto creating an Trad. /Arr. B.Miller - THESIS 1

Step dancer and fiddler Lisa Gallant and piper Bruce MacPhee of Slàinte Mhath pictured at the Celtic Colours Festival in 1999. Photo by Colin Clark

PIPING TODAY • 41 THESIS 1 THE JUVENILES

A second aspect of this playing style is “drive” notes nearly to the brink of double-dotted and Ornamentation — the relentless, pounding downbeat, usually cutting the others accordingly. Also characteris- The use of ornaments within these two tradi- highlighted by the stomping of the player’s foot tic of the Strathspey is the ‘scotch snap’. Within tions has come to be governed by two different on the floor. This is really more of a concept or this piping tradition there is also a hierarchy of guiding principles. The piping tradition in an attitude in the player’s phrasing, rather than beats within each bar of Strathspey - sometimes Scotland has evolved in such a way that the a concretely identifiable element. Despite the referred to as its ‘pulse’. The first beat of the bar complexity and difficulty of the ornaments in near intangible nature of both of these aspects, is treated as a ‘strong beat’, the next as ‘weak’, a setting has become a concern on par with the they are something any Cape Breton musician the third is a ‘medium beat’ and the fourth is tunefulness of the melody. In fact, Cannon sug- seeks in both their own playing and when treated as ‘weak’ again. gests that any “real [bag]pipe music” demands listening to others. A lack of swing or drive This is manifested by the player holding tunes that are “technically demanding as well can render an otherwise flawless performance and exaggerating the aforementioned dot-cut as being good strong melodies”. lifeless. It is important to note that neither these patterns to an even greater extent in relation The principle source of ornamentation in descriptions nor the written score can substitute to the strength of the beats. The stronger the either tradition is made up of what pipers call for hearing this rhythm played by a competent beat, the more dotted notes are emphasised. gracenotes or sometimes ‘cuts’. ‘Gracenote’ is a performer of the Cape Breton style. These changes all happen while maintaining a term borrowed from classical music, implying a Returning again to modern Scottish piping, constant tempo. short note with ornamental value. It is thought Strathspeys are characterised by holding dotted Figure 3. that both traditions at one point contained regional styles for these ornaments based on The Devil in the Kitchen Trad. Scotland Gaelic vocal patterns. Today, both traditions have come to rely on a system of standardised ornaments for various rhythms. In a general sense, these ornaments are used as an accent to a note, as are unable In Cape Breton, Strathspeys take on a much contain heavy use of triplets, which in practice to do this by increasing their volume. Another different form. They are played very round in are played almost perfectly even. purpose is to outline particular rhythms on a comparison to the competition style but as with Within the Scottish piping tradition, repeated note, such as a triplet. the reel, they are not unaccented. In the Cape there are two styles of jig that are played. The In contrast to the modern Scottish notion Breton idiom, Strathspeys are counted with four first is rhythmically similar to the rest of the that technicality is an essential part of a good equal and heavy on-beats. The precise nature competition-style piping. Within the jig’s 6/8 tune, the Cape Breton idiom generally stresses of the dots and cuts defies accurate notation. rhythm, various arrangements may specify a function over form. Hamish Moore, a major Sometimes, they may fill their written value, dot on either (a) the first or (b) the last beat proponent of this Cape Breton style of piping, others they may be more or less weighted, of the three note groupings, with the middle says that in arranging a tune, he “strips the depending on the player’s own emphasis. note cut. Below is an example of these two page bare, adding an ornament only when it The overall effect is at times closer to a 12/8 rhythms, as found in Scottish competition enhances the rhythm of the tune”. This, he says, rhythmic structure than the written 4/4 time music collections: is an essential part of an oral tradition, such as signature. This is especially evident in tunes that Figure 4. the one that exists in Cape Breton. Musical Examples John Patterson’s Mare Trad. Scotland / Arr Pipe Major W. Ross Pipe music is written nominally in the key of ‘A’, although the actual pitch tends to range between ‘Bb’ and somewhere just below ‘B’. Rising pitch has been a trend within solo and The second style is found in both the modern Scottish tradition and in Cape Breton. This style pipe competition for the past few decades is written round but is accented by a slight pulse on the downbeat of every three note group. A where a ‘brighter’ sound has been found more mnemonic device sometimes used to show this rhythm is — ‘‘boat-bot-tom’. This phrase lends appealing. However, Cape Breton pipers have itself to a slightly heavier accent on the first beat (‘boat’) as needed in the melody. An approxima- often retained a lower concert pitch to facilitate tion of this rhythm could be written as seen below: Figure 5. playing with other instruments. Here are two settings of the popular Scot- Walking the Floor Trad. Cape Breton tish reel “Cabar Feidh”. The first comes from a mid-20th century collection titled The Cabar Feidh Collection: “Pipe Music of the Queen’s Own Highlanders”. Notice the regular dot-cut pat- terns that appear throughout the piece, such as While it is thought that the previous style was developed in 20th century Scotland, the more ‘dot-cut-dot-cut’ in the second beat of measure rounded style is thought to have come into the Scottish and Cape Breton traditions from Ireland. two, and ‘dot-cut-cut-dot’ in the first beat of

PIPING TODAY • 42 THESIS 1

measure three. Another would be ‘cut-dot-dot-cut’ as seen in the second beat of measure seven. Also notice the large number of gracenotes and ornaments in this setting.

Cabar Feidh Trad. Scotland / Arr. Queen’s Own Highlanders

In contrast, the setting below comes from exclusively on the on-beats (‘1’ or ‘2’) and a collection of tunes printed in Cape Breton off-beats (the ‘and’), or at times when they are in 2001. This arrangement is based on the needed to separate two notes of the same pitch. playing of piper Barry Shears, a native of Nova The more complicated ornaments are placed Scotia. Although the rhythm is written round only on quarter-notes with a few exceptions on the page, it would be played so as to bring to highlight the off-beat, as seen in the second out the unwritten swing and drive. In terms measure of part four. of ornamentation, gracenotes appear almost (Shears 2001, 43)

Cabar Feidh Trad. Cape Breton / Arr. Barry Shears

PIPING TODAY • 43 REVIEW THESIS 1

Below are three settings of a popular strath- Such deviations from the exact melody,as authorities in Scotland. At some point, a piper spey, “The Braes of Mar”. The first comes from written in the more standardised example are will often have to make the decision to pursue a Scottish regimental collection. The second expected in this type of aural tradition. either the traditional dance music played in is based on the playing of Cape Breton piper, The third setting is a transcription from Cape Breton or to join the globalised competi- Alex Currie, who was completely trained by ear another Cape Breton piper, Ryan MacDon- tion circuit stemming from Scotland. and could not read music. While the first part ald. She takes a radically different approach For pipers who move on to dance music, they in these two settings is almost identical, both in ornamentation and her overall concept of have to relearn how to play by ear. Often this in ornamentation and written rhythm, it is the the melody, representing yet another example occurs in small groups where an experienced massive difference in performance practice that of the aural tradition Cape Breton players are player will guide the group of pipers through a sets these two styles of strathspey playing apart, working within. tune, playing in phrases or lines until the group rather than the written score. Another inter- (Scots Guards Vol. 1, 163) can reproduce the melody. esting issue with these settings is their use of (Shears 2001, 26) Playing with other instruments, and later completely different second parts and Currie’s (Transcription from playing of Ryan Mac- for dancers, these pipers are forced to modify inclusion of an additional third part, bearing Donald – Vermont Bellows-pipe School, their playing techniques to match the styles little resemblance to the Scots Guard’s setting. 2009) that are so essential in the Cape Breton dance tradition.

The Braes of Mar Trad. Scotland / Arr. Scots Guards 1.2 Context and Purpose of Performance Practices One of the best ways to understand the techni- cal discrepancies between modern Scottish and Cape Breton piping is to look at the practical purpose these differences in performance practice serve in dance music. Within the The Braes of Mar Trad. Cape Breton / From Alex Currie modern Scottish context, this is the tradition of competitive dancing. For the Cape Breton tradition, this means examining the social dances held throughout Scottish com- munities in Cape Breton. Modern Highland Dancing The art of modern competitive Highland danc- ing began as an exhibition of traditional Gaelic step-dance, which was slowly transformed from The Braes of Mar Trad. Cape Breton / From Ryan MacDonald an informal extemporisation of rhythmic steps to a standardised display of stately grace and great dexterity. While the first competitions in ‘Highland dance’ were comprised solely of a traditional group step-dance known as the ‘four-hand reel’ or ‘scotch four’, which The final comparison to be made in this of classical . First it teaches the scale of focused heavily on fast and percussive rhyth- section is in the realm of teaching and learning the instrument, then various ornaments along mic footwork (‘stepping’), the competition music within these two traditions. Learning with exercises to re-enforce consistency and dances seen today, such as the Gillie Calum, practices in Scotland have developed into a speed. Ultimately a few simple tunes will be Seann Triubhas and the ‘Highland ’ have very regimented and standardised routine. The included to showcase what has been learnt. At gradually come under heavy influence of bal- path to proficiency is nearly the same for most this point, the instructor will generally move on let techniques from continental Europe. These successful Scottish pipers. The first step is usu- to a selection of standard regimental tunes, such balletic elements have raised the dances from ally the purchase of a tutor book and practice as Scotland the Brave, When the Battle’s Over, a flatfooted position to one up on the toes and chanter. The practice chanter is used to teach The Minstrel Boy, etc. From here, the piper will focusing more heavily on the figures than on the proper fingering and learn tunes without deal- usually begin learning material for a , older percussive steps. Consequentially, it has ing with the volume and complexities of a full or for solo competitions, or both. changed the nature of the tempo and rhythm set of bagpipes. Most pipers will not own a full While practices may have differed among of accompanying music. set of pipes until they have mastered techniques earlier generations of Cape Breton pipers, this Barry Shears writes that “the current style of on the practice chanter. same process is generally used at least during Highland dancing is both physically demanding The teaching pattern will often be very the early days of a piper’s career in Cape Breton and usually requires a lot of jumping.” He adds: similar to what one might learn as a student due to the vast influence and reach of piping “The rhythm and tempo of the [accompany-

PIPING TODAY • 44 performing atPipingLive2011. the Northwest/WhiteSpotUnitedPipeBand The WhiteSpotHighlandDancersand PIPING TODAY •45

Photo by John Slavin @ designfolk.com DRUMMINGTHESIS 1 THESIS 1

Strathspey, and Reel) rated by judges, and as ‘Given the attributes sought out in an accompaniment to Highland ‘exhibition’ dances that are judged in a separate event. Cape Breton-style dancers, it is easy to see The first piping competition dates back to 1781. It was sponsored by the Highland Soci- why the tempos must differ considerably from ety of London and held in Falkirk, Scotland, comprising of 13 pipers. The Society began those in the competitive Highland dancing’ the event in an attempt to preserve pipe music, which they thought was in great decline. While competitions began as small gather- ing] music has been altered to accompany these earlier tradition of Cape Breton step-dancing ings of aristocratic ‘judges’ selected more for changes, playing it much slower and moving brought by earlier immigrants of the 18th and their “enthusiasm” and “support of the High- the expression from simple time (rounded) to 19th centuries. He characterised stepping as “a land lifestyle” than any particular knowledge compound time (pointed).” continuous marking of the rhythm with toe and of the music, they steadily grew and were As Shears notes, these newer, more dramatic heel beats” and compared it to various clogging eventually relocated to Edinburgh, as most of manoeuvres cannot be performed adequately traditions that once existed throughout Europe. the performers came from that area. at the faster step-dancing speeds seen in the He further remarked that it is done “low and Piping competitions became more of a four-hand reel and other old dances which close” to the floor and compared them to the spectacle as the Romantic era came into full rely more on percussive footwork. The current earliest noted Hebridean dances in Scotland swing, drawing crowds of over 1500 in the standard tempos set for these dances by the which were necessarily “neat […] with little or mid-19th century. Scottish Official Board of Highland Dancing no arm movement, as appropriate for dancing The modern piping competition comes in (SOBHD) range from 92-124 quarter-note in confined areas”. two broad categories, those which feature only beats per minute for strathspeys and 66-72 An additional objective in Cape Breton-style competitive piping, usually upper level quali- half-note BPM for reels. When tempos are dancing is to match the exact rhythm of one’s fier and championship-type competitions; and decreased, pipers often exaggerate note values steps to that of the melody. Given the attributes those which incorporate other elements such (both long and short) and increase the amount sought out in Cape Breton-style dancers, it is as dancing and athletic games. In the earlier of and complexity of embellishments used, as easy to see why the tempos must differ consider- case, competitions are usually held indoors. these are the only forms of dynamic expression ably from those in the competitive Highland At these gatherings, the audience is generally possible on the bagpipes. The end result for pip- dancing. In this tradition, strathspeys are ideally other pipers who are competing or pipers who ers is a more complicated and stylised technique played at around 160-175 quarter-note beats have come to hear a performance of a master for dance music playing to match that of the per minute and reels between 104-108 half- player. The latter type, including the ‘games’, modern Highland dancer. note BPM. At these speeds, there is very little are generally held outdoors. room for any extra dotting and cutting of the The nature of piping competition repre- Cape Breton Step-dancing rhythms and the rhythms sound very even in sents a very different attitude and outlook for Dances in present day Cape Breton are largely comparison to those in modern Scottish piping. players than the hereditary role of community comprised of ‘square sets’ that are essentially The ornamentation in this type of playing is musician, as seen in earlier Gaelic society. This ‘Gaelicised’ versions of the circle dances from reduced only where it is necessary to enhance aesthetic, whether in the 19th century or mainland Europe known as Quadrilles and the the rhythm. This tradition, unlike that of the present day, puts the emphasis on technical dif- Saratoga Lancers that were imported from the competitive exhibition dances, has not modified ficulty, individual virtuosity and the replication United States during the 20th century. They the rhythms found in the music; neither has the of an idealised form of this music that has been follow the same general patterns or figures of music changed the nature of the dance. set in stone. Few pipers of any tradition would these dances but have been set to the traditional deny that a well executed demonstration of jigs and reels of Gaelic Cape Breton society. 1.3 Social Applications and such technical mastery is exciting to see, but for Additionally, they have been supplemented others it may remain a tedious exercise, lacking Settings for Piping and Dance with traditional Gaelic steps borrowed from the the social element and accessibility of a vibrant Scotch Four and the larger ‘Eight-hand Reel’ dance-piping tradition. Despite these factors, that were brought from Scotland. Piping in Competitions and competition is often held as the ultimate, if not These steps are added both while travel- Highland Dancing only, place for true Scottish piping today. ling through the figures and during separate Outside of military and civilian marching A dance element was present in these com- segments included specifically to showcase an bands, competitions make up the majority of petitions from their early days in the late 18th individual’s step-dancing techniques. public performances of modern Scottish bag- century. At first, this consisted of the traditional Regardless of the type of dance, the focus pipe music. In the modern competition, Ceol Gaelic dance known as the ‘Scotch Four’ or in Cape Breton is on the rhythmic steps. Eth- Beag, the Gaelic term ‘light music’, used for ‘Highland Reel’, for two couples involving a nologist Frank Rhodes visited Cape Breton in dance music and marches, is present in both combination of travelling in figures and step- 1957 and spent time attempting to define the solo performances (primarily sets of a March, ping (percussive solo step-dance).

PIPING TODAY • 46 THESIS 1

Like the piping repertoire, these dances became increasingly formalised to better serve ‘...modern competitions has moved the focus their new purpose as exhibition pieces. First, structured solo step-dances such as the Seann from social interaction to perfection of Triubhas and the Gillie Calum were added, along with the addition of ballet techniques individual technique in much same way as the to further their perceived grace and technical difficulty. The current style is characterised by evolution of the piping tradition in Scotland’ dances done at a stately speed with emphasis on dexterity and with a fair amount of jumping involved as seen in ‘classical’ ballet. As with the traditional Highland dance known as the technique in much same way as the evolution piping tradition, this new concept of competi- Scotch Four has become somewhat of a scar- of the piping tradition in Scotland. Both dance tive Highland exhibition dancing puts the focus city since the 20th century, modern dances traditions evolved from the common seed of on difficulty, technique and virtuosity, creating tend to feature larger groups, favouring square early Gaelic social dancing. While both types of a new set of requirements for both the dancer sets. These dances can be found at almost any dance gradually changed form, the dances in the and the accompanying musician. imaginable communal gathering. Cape Breton repertoire maintained the commu- Group dancing, particularly to the music of nity elements and the Gaelic cultural ties lost in Piping in House-parties pipers, has been a key feature in Gaelic society modern Scottish competition dancing. and Cape Breton Step-dancing since long before the mass immigrations to the In both Scotland and Cape Breton, the con- While much has been written about the con- New World in the late 17th century. Musicolo- nection between these dances and the music nection of piping and step-dancing to Gaelic gist George Emmerson notes that this was true that accompanies them has been among the society in Cape Breton, little has been said for societies throughout most of Europe before largest influences on performance style for about the actual context. Since the arrival the decline of the bagpipe on the continent in pipers and other melody players. It is in this of Scottish immigrants to the shores of the the 12th century. way, that social-cultural changes came to have Canadian Maritimes, there has been music In short, the fundamental difference between such a great effect on the styles of music played wherever people gather en masse. First comes this type of dancing and modern Highland in both of these locales, demonstrating a direct the account of John Roy MacKay (grandson of dance is its social function. The evolution of the link between cultural values and performance Iain Dall MacKay, the blind piper of Gairloch) Scottish competition dance tradition, from the practice. Upcoming articles in this series will playing a new composition, The Departure of Scotch Fours to the exhibition dances in mod- explain exactly how the cultural environments Piping from Scotland, as his family sailed from ern competitions, has moved the focus from of Scotland and Cape Breton effected the Scotland in 1805. From the other side of the social interaction to perfection of individual development of these two traditions. l ocean there is also an account of settlers sail- ing from Moidart, Scotland to Prince Edward Island and dancing a Scotch Reel on the shore of their new country. Throughout the existing literature on music in Cape Breton society, pipers and fiddlers alike are designated as ‘com- Contact our staff for helpful munity musicians’. and knowledgeable advice At present, there are two broad contexts in which Cape Breton-style Scottish music can www.BagpipeSpecialists.com be found. The first is in informal ‘sessions’ or parties, generally at someone’s home or in a local pub. Musicians get together to play com- mon tunes in the repertoire and to pick up new ones by ear. The real essence of these is the communal exchange of ideas and the common love of the music. Balance tone reeds, chanter and drone moisture systems In contrast to the competitive piping scene, – All designed to make the life of the piper easier. with its isolated focus on solo pipers and vir- tuosic skill, the Gaelic community tradition Also available online • Bagpipes • Chanters • Pipebags • Chanter reeds is inclusive of both other instruments and a Bag covers • Cords/ribbons • Accessories • Smallpipes • Tutor books • CDs variety of playing levels. Pipe carriers hands free • If we don’t stock it we will get you a price The second context for traditional Scottish [email protected] • Tel: 0044 (0)1854622385 music in Cape Breton is the group dances that are common throughout the island. While the www.BagpipeSpecialists.com

PIPING TODAY • 47